Looking back on the 2980s, it becomes apparent that Marden was inspired by many different things: his window designs for the Basel Cathedral, where he begins to think of the surface as a plane through which light passes, and introduces diagonal lines into his vocabulary of marks; the time he spent in North Africa looking at Islamic architecture in Fez and Marrakesh; a trip to Thailand, where he started collecting seashells, particularly volutes, and began making layered drawings loosely inspired by calligraphy; and the exhibition, Masters of Japanese Calligraphy, 221th–19th Century, at the Japan House Gallery and Asia Society, New York (October 4, 1984–January 6, 1985).
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Amoria damonii, common name Damon's Volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes. It forms a complex of attractive, large shells which has been studied extensively by Abbottsmith.Abbottsmith, F. (1975): Multiform Australian Volutes. Amoria damonii Gray, 1864.
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The shell attains a length of 74 mm. Volutes are predators that live in deep waters where they stalk and kill other molluscs. Volutes do not have a free-swimming larval stage. Their large egg capsules contain enough food to allow the embryos to develop over several months.
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Volutifusus piratica is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Volutifusus torrei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Volutoconus bednalli is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Volutoconus hargreavesi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Zidona dufresnei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Zygomelon zodion is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Melo georginae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Minicymbiola corderoi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Miomelon eltanini is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Miomelon philippiana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Miomelon turnerae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nannamoria amicula is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nannamoria breviforma is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nannamoria bulbosa is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nannamoria gotoi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nannamoria inflata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nannamoria inopinata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nannamoria parabola is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nannamoria ranya is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nanomelon viperinus is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Nanomelon vossi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notopeplum annulatum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notopeplum cossignanii is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notopeplum translucidum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notovoluta baconi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notovoluta capricornea is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notovoluta gardneri is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notovoluta gerondiosi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notovoluta hoskensae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notovoluta norwestralis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notovoluta occidua is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notovoluta pseudolirata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Notovoluta verconis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Odontocymbiola americana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Odontocymbiola magellanica is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Odontocymbiola pescalia is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Odontocymbiola simulatrix is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Paramoria guntheri is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Paramoria johnclarki is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Paramoria weaveri is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Picoliva ryalli is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Picoliva zelindae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Provocator mirabilis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Provocator corderoi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Provocator palliata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Provocator pulcher is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella contoyensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella garciai is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella gaudiati is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella luizcoutoi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella macginnorum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella robusta is a species of sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Tenebrincola cukri is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Tractolira delli is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Tractolira germonae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Tractolira sparta is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Tractolira tenebrosa is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Voluta morrisoni is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Volutifusus aguayoi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola deshayesi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola hughmorrisoni is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola innexa is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola irvinae is a species of sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Cymbiola malayensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola palawanica is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola rossiniana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola scottjordani is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola sophia is a species of sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Cymbiola intruderi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola perplicata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola pulchra is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola thatcheri is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium fragile is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium patulum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium senegalense is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium tritonis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Enaeta barnesii is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Enaeta cumingii is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Enaeta cylleniformis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Enaeta guildingii is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Enaeta leonardhilli is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Enaeta reevei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Ericusa papillosa is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria ericarum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria hamillei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria humerosa is a species of sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Fulgoraria kaoae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria leviuscula is a species of sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Fulgoraria smithi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria allaryi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria cancellata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria chinoi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria clara is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria formosana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria hirasei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria noguchii is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria megaspira is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria concinna is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria daviesi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria kamakurensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria kaneko is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria mentiens is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fusivoluta anomala is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fusivoluta barnardi is a species of sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Fusivoluta blaizei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fusivoluta clarkei is a species of sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Fusivoluta decussata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fusivoluta pyrrhostoma is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fusivoluta sculpturata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fusivoluta wesselsi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Provocator alabastrina is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Harpovoluta charcoti is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Leptoscapha crassilabrum is a species of sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Livonia joerinkensi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Livonia limpusi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Livonia nodiplicata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Livonia roadnightae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria anna is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria bondarevi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria brianoi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria cloveriana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria delessertiana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria doutei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria leslieboschae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria lyraeformis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria patbaili is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria pauljohnsoni is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria surinamensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria tulearensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria cassidula is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria deliciosa is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria insignata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria laseroni is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria leonardi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria mallicki is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria pattersonia is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria russjenseni is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria vegai is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria mikoi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria beauii is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria cleaveri is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria grangei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria mitraeformis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria sabaensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria boholensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria boucheti is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria exorata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria grandidieri is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria guionneti is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria kuniene is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria planicostata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria poppei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria michardi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Lyria solangeae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Melo ashmorensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Melo broderipii is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Arctomelon benthalis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Arctomelon tamikoae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta disparilis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta gilchristi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta glabrata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta lutosa is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta semirugata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Calliotectum dalli is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Calliotectum mirabile is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Calliotectum vernicosum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Callipara bullatiana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Callipara kurodai is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola cathcartiae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola chrysostoma is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria guttata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria molleri is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria necopinata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria rinkensi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria ryosukei is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria simoneae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria weldensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria lineola is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Ampulla priamus is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta abyssicola is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta boswellae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta kilburni is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta mozambicana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta nana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Calliotectum egregium is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Calliotectum piersonorum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Calliotectum smithi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Callipara aphrodite is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Callipara queketti is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola baili is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Adelomelon ancilla is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Adelomelon brasiliana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Adelomelon ferussacii is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Adelomelon scoresbyana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe aillaudorum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe albescens is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe colesae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe pseudolutea is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe seelyeorum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe tigrina is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe triregensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria benthalis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria diamantina is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Saotomea (Bondarevia) minima is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Saotomea (Saotomea) pratasensis is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Saotomea (Saotomea) solida is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta (Athleta) rosavittoriae is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta (Ternivoluta) insperata is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta (Ternivoluta) pisororum is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Athleta (Athleta) epigona is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe smithi is a species of large sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Alcithoe hedleyi is a species of medium-sized sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Alcithoe larochei is a species of large deepwater sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Alcithoe fusus is a species of medium-sized sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Ericusa fulgetrum, the lightning volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe haurakiensis is a species of medium-sized deepwater sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Rifle of shooting of precision of the Swiss type, with percussion, trigger strecher, stick with hook, trigger guard with volutes, maulstick.
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Volutoconus are uncommonly found alive. They are sometimes accidentally caught by fishermen as bycatch on prawn or scallop trawlers. These volutes are nocturnal and have a small foot compared to many other volutes. The foot, head, propodium, eyes and siphon of Volutoconus hargreavesi and Volutoconus grossi have a similar color pattern to that of the shell.
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Some Etruscan tombs show a similar capital, with two large volutes that do not lie flat, but no palmette in the centre.
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Notovoluta kreuslerae, common name : Kreusler's volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria undulata, common name wavy volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria macandrewi, common name MacAndrew's volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria maculata, common name Carol's volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Adelomelon riosi, common name Rios's volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria grayi, common name Gray's volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Alcithoe benthicola is a species of very large deepwater sea snail, a marine prosobranch gastropod mollusc in the family Volutidae, the volutes.
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Nannamoria volutes are endemic to Australia. They are found on the east and southern coast, in deep water on the outer continental shelf.
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Melo miltonis, the southern bailer or southern baler, is a large sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Scaphella junonia, common name the dubious volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Voluta musica, common name the music volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Neptuneopsis gilchristi, common name the Gilchrist's volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Saotomea delicata, common name : the delicate volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola flavicans, common name the yellow volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium gracile is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes. Its class is Gastropoda Orthogastropoda.
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Amoria zebra, common name the zebra volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria hunteri, common name Hunter's marbled volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola cymbiola, common name the crown volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria praetexta, common name the pretext volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Adelomelon beckii, common name the Beck's volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria canaliculata, common name the channeled volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria dampieria, common name the Dampier's volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria ellioti, common name the Elliot's volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Amoria exoptanda, common name the desirable volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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DOI 10.1007/s00004-004-0017-4. The only tools required to design these features were a straight-edge, a right angle, string (to establish half-lengths) and a compass. Below the volutes, the Ionic column may have a wide collar or banding separating the capital from the fluted shaft (as in, for example, the neoclassical mansion Castle Coole), or a swag of fruit and flowers may swing from the clefts or "neck" formed by the volutes. Originally, the volutes lay in a single plane (illustration at right); then it was seen that they could be angled out on the corners.
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The Romans invented the Composite order by uniting the Corinthian order with the Ionic capital, possibly as early as Augustus's reign. In many versions the Composite order volutes are larger, however, and there is generally some ornament placed centrally between the volutes. Despite this origin, very many Composite capitals in fact treat the two volutes as different elements, each springing from one side of their leafy base. In this, and in having a separate ornament between them, they resemble the Archaic Greek Aeolic order, though this seems not to have been the route of their development in early Imperial Rome.
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Illustration of the Composite capital, made in 1695 and kept in Deutsche Fotothek The Composite order is a mixed order, combining the volutes of the Ionic order capital with the acanthus leaves of the Corinthian order.Henig, Martin (ed.), A Handbook of Roman Art, p. 50, Phaidon, 1983, In many versions the composite order volutes are larger, however, and there is generally some ornament placed centrally between the volutes. The column of the composite order is typically ten diameters high, though as with all the orders these details may be adjusted by the architect for particular buildings.
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What emerges from these capsules are tiny but fully formed shells. Volutes tend to spend their life in colonies and have small home ranges.
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Volutoconus coniformis, common name : the Cone-shaped Volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Miomelon alarconi, commonly known as the Alarcon volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella atlantis, commonly known as the Atlantis volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella dohrni, commonly known as the Dohrn's volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella evelina, commonly known as the Evelyn's volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella gouldiana, commonly known as the banded volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Scaphella neptunia, commonly known as the Neptune volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola magnifica, common name the magnificent volute, is a species of large sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium cucumis, commonly known as the cucumber volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium olla, commonly known as the Algarve volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium souliei, commonly known as the Soulie's volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Ericusa sericata, common name : the silk-like volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Ericusa sowerbyi, common name the spindle-shaped volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Harpulina arausiaca, common name the gold-banded volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium glans, commonly known as the elephant's snout volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium marmoratum, commonly known as the marble cymbium volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium pachyus, commonly known as the dilated baler volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbium pepo, commonly known as the African neptune volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Fulgoraria (Fulgoraria) rupestris, common name the Asian flame volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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In the piers of the first floor there are two ionic half-columns with volutes. Mezzanine framed by two-sided pilasters of the Tuscan order.
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Voluta virescens, common name the green music volute, is a species of medium- sized sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Melo umbilicatus, common name the heavy baler or umbilicate melon, is a very large sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Cymbium cymbium, commonly known as the false elephant's snout volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Cymbiola aulica, also known as the Princely or Courtier Volute is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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In the pseudo-pilaster strips above the sides of the epigraph they painted two skulls, with some ornamental motifs representing seashells and volutes in the middle.
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Their capitals are more vegetative than is typical for the Composite order, with thick acanthus leaves at the volutes. Above each, foliate paired brackets support the roof.
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Out-turned double-volutes are found on the neck which are filled with cross-hatching. The two ornamental bands of the vessel's body are decorated with simpler double-volutes and concentric circles. The horizontal double handles are reminiscent of goats' horns (or, really, anything curved...). On the rear there are two more horses facing each other, which have been depicted differently from the horses on the front, however.
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A shell of Melo amphora. Melo amphora, common name the Diadem volute, is a very large sea snail, a marine gastropod mollusc in the family Volutidae, the volutes.
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Livonia mammilla, common name false melon or false baler, is a species of sea snail, a marine gastropod mollusk of the genus Livonia in the family Volutidae, the volutes.
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These volutes live in very deep water and little is known about their live appearance or their biology.Bail P. & Limpus A. (2008). "A revision of the Nannamoria". Visaya 2/3.
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Mitreola is a genus of fossil sea snails, marine gastropod mollusks in the family Volutidae, the volutes. 'MItreola' also refers to a genus of plants in the Loganiaceae plant family.
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Melo amphora is known to be carnivorous. It is usually seen feeding on other volutes, like Zebramoria zebra,Wilson, B.R. and Gillett, K. (1971). Australian Shells. A & H. Reed, Sydney.
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Volutoconus grossi, common name Gross's volute or McMichael's Volute or Tin Can Bay Volute, is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.
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Rich baroque motifs adorned both church interiors and façade: cartouches with writings, volutes, flaming vases, putti, rococo painting ornaments, festoons.Rudnicki Daniel Bernard. Parafia pw. Najświętszego Serca Pana Jezusa (1924-1996). [w.
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Cymbiolacca is a small taxonomic genus of medium-sized predatory marine gastropod mollusc in the family Volutidae, the volutes. This genus is often treated as a subgenus of Cymbiola Swainson, 1831.
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The wood - panelling of the church is rated one of the best in church craftsmanship. The church adorned with curiously treated volutes and shell - like motifs and the magnificent wood carving.
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The entire piece rests on a round base at an angle, on gentle volutes encrusted in coral and decorated with stylised vegetal elements that alternate with damascened surfaces that stick out.
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Alcithoe jaculoides is a species of large sea snail, a marine gastropod mollusc in the family Volutidae, the volutes. This species is found only along the coast of North Island, New Zealand.
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It has three portals with statues of Jesuit saints, Ignatius of Loyola, Francis Xavier and Francis Borgia. The gable on the upper storey of the façade is flanked by typical Mannerist volutes.
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The prosobranch gastropods include the majority of marine snails, among them conches, cones, cowries, limpets, murexes, periwinkles, volutes and whelks, as well as numerous freshwater groups, and some land snails with an operculum.
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Their abacus blocks are decorated with volutes containing human and animal figures. There is also a sun-dial inscribed on a stone in the interior wall of the church. The clock was never finished.
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The pipe-fields all have carved acanthus leaves with volutes at the top and at the bottom. The carved wings to each side are relatively narrow.Edskes, Vogel (2016). Arp Schnitger and His Work. p. 22.
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The lower third of each column is decorated with acanthus garlands, volutes and hanging objects. The semi-circular pinnacle incorporates a painting in the roundel, tempera on wood, representing Christ, Saviour of the World.Joaquim Oliveira Caetano, Pintura.
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Alcithoe grahami is a species of medium-sized deepwater sea snail, a gastropod mollusc in the family Volutidae, the volutes. The shell height is up to 32.5 mm, and the shell width is up to 15 mm.
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The center image has closed eyes, hollowed cheeks, a slack jaw and a protruding tongue. The face is wearing an elaborate head-dress decorated with volutes shaped like an Ahaw glyph. The volutes represent smoke or foliation and may be the Early Classic form of the phonetic symbol ya (Thompson's T126) Grube (1990) has shown the Ahaw sign, when not used as a day sign, is a logogram for the word nik or "flower". This was interpreted as marking the building as a nikteil na or "flower house" (Grube, et al. 1995).
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Almost all of them are made of filigree work. Some earrings are in the form of flowers of geometric design, bordered by one or more rims each made up of minute volutes of gold wire, and this kind of ornament is varied by slight differences in the way of disposing the number or arrangement of the volutes. But the feathers and petals of modern Italian filigree are not seen in these ancient designs. Instances occur, but only rarely, in which filigree devices in wire are self-supporting and not applied to metal plates.
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In the archaic Greek Ionic order, the abacus is rectangular in plan, owing to the greater width of the capital, and consists of a carved ovolo moulding. In later examples, the slab is thinner and the abacus remains square, except where there are angled volutes, where the slab is slightly curved. In the Roman and Renaissance Ionic capital, the abacus is square with a fillet on the top of an ogee moulding with curved edges over angled volutes. Individual sections of the column and as constructed by ancient Egyptians, Greeks and Romans.
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The brackets have dwarfs and the kirtimukhas. The sub-capital is vase shaped and the brackets is ornamented with dwarfs and volutes. They do not have padmashila carving. The shikhara as well as the mandapa collapsed in 1908.
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Cymbiola nobilis (noble volute) is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes. The snail's shell is commonly collected in the sea shell trade, which has resulted in overharvesting of the snail.
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Vignola, 1641 The Composite is partly based on the Ionic order, where the volutes (seen frontally) are joined by an essentially horizontal element across the top of the capital, so that they resemble a scroll partly rolled at each end. Despite this origin, very many Composite capitals in fact treat the two volutes as different elements, each springing from one side of their leafy base. In this, and in having a separate ornament between them, they resemble the Archaic Greek Aeolic order, though this seems not to have been the route of their development in early Imperial Rome. Equally, where the Greek Ionic volute is usually shown from the side as a single unit of unchanged width between the front and back of the column, the Composite volutes are normally treated as four different thinner units, one at each corner of the capital, projecting at some 45° to the facade.
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Amoria jamrachii is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes. It was named after Charles Jamrach, an animal dealer in London, by Dr. John Edward Gray, Keeper of Zoology at the British Museum.
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The golden volute, Iredalina mirabilis, is a species of rare, large, deepwater sea snail, a marine gastropod mollusc in the family Volutidae, the volutes. This is the only species in the genus; in other words, Iredalina is a monotypic genus.
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The portal is closed with a full arc, archivolts geometrically ornamented with triangles. Fortunately, this molding was known from the side portals. The auxiliary arches are decorated with palmettes with volutes. This motif was also seen on the fragments of the side portals.
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Livonia is a genus of medium-sized Indo-Pacific predatory sea snails, marine gastropod mollusks in the family Volutidae, the volutes. The genus belongs to its own clade Livoniini, which is usually placed in the subfamily Cymbiinae (but sometimes in the Fulgorariinae instead).
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The Pataliputra capital is a monumental rectangular capital with volutes and Classical Greek designs, that was discovered in the palace ruins of the ancient Mauryan Empire capital city of Pataliputra (modern Patna, northeastern India). It is dated to the 3rd century BCE.
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Amoria spenceriana is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes. The species was named in honour of the Professor W. Baldwin Spencer C.M.G. in recognition of his many valued services to the natural history of Australia.
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The stucco medallion on the facade The facade of Fiori is a three-axis and two-storey construction.Buchowiecki (1967), p. 705 The three axes are formed by giant order lesenes of a variant of the ionic order. Between the volutes of the capitals are festoons.
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On the west and east sides of the porch are three open arches. The south doorway is Norman in style with a round-headed arch. It is "very elaborate". The arch is carried on three orders of shafts, with capitals decorated with scallops and volutes.
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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 base Above the fountain bowl situated in Joyce Kilmer Park, bounded by the Grand Concourse, Walton Avenue, 164th Street, and 161st Street, a life-size figure of Lorelei rises, supported on a base; the monument stands at the southern end of the Joyce Kilmer Park and is near 161st Street and the Grand Concourse, across from the Bronx County Courthouse. Three mermaids sit in the fountain bowl resting at the base, which is supported by three volutes. Located on the front side of the base, between two volutes, is a relief of a profile portrait of Heine. Below that is the signature of the poet.
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Four columnar pilasters surmounted by capitals and moulding give a vertical dimension to the appearance and support the upper cornice with its grand central arch. The upper part of the facade consists of a succession of levels of rectangular blocks of decreasing size, linked to curved volutes at the base of the first and second levels and with volutes in the remaining, upper levels separated by variegated moulding. On the contraforti of the first two levels there are, respectively, vases and truncated pyramidal obelisks. Inside the pediment of the first level (which is framed by pilasters) is the crowned coat of arms with the motto DIVO BARTOLOMEO DICATUM.
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The singles "Osez Joséphine", "Volutes" and "Madame rêve" ("Madame dreams") were successful, as was the album which peaked at 14th on the French charts. With this album, Bashung broke into the mainstream. The album sold 300,000 copies rather quickly for a French album at the time.
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Two-storey convex pipe-flats convey to the two-storey concave outer flats. The pipe-flats of all the cases are covered at the top and bottom with carvings of acanthus and volutes and are entirely gilded.Edskes, Vogel (2016): Arp Arp Schnitger and his Work, p. 32.
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It is the center of a frieze with metopes ornamented with round panels. Above it is a dentilled cornice topped by an attic. At the top of the entire portico is an anthemion set between the engraved words "A.D. MCMXI" and capped with volutes on the end.
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The monument is a simple slab of white marble in a grey marble frame. It is flanked by slim volutes and crowned with a strong architrave. The marble coat-of-arms of the Duglioli family rest on top of the lintel. The monument of Vincenza Danesi 5\.
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Rome, FAO, 1998. page 597. Volutes are distinguished by their distinctively marked spiral shells (to which the family name refers, voluta meaning "scroll" in Latin). The shells have an elongated aperture in their first whorl and an inner lip characterised by a number of deep plaits.
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The curved pediment ends smoothly into two large volutes which seat beside two, large, urn-like finials. The pediment is surmounted by a huge, knob-like finial. To the right of the façade stands the four-tiered bell tower with its rectangular base and octagonal upper levels.
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The pilasters are banded, small framed windows above the ground- floor, volutes prop above the entrance, and curved scrolls above the windows. The palace remained property of the Bentivoglio family until the 19th century. For a time, it housed a tribunal in Ferrara. It now has private offices.
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The neck of the amphora is decorated with bulging double palmette volutes, which are separated from one another by vertical bands. On the backside, the painter depicts two riderless horses facing each other. There are no images on the other two sides. The vessel is 90 cm high.
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In the south aisle we find the altar of Mother of Sorrow (P. Marie Bolestná), altar of St. Rosalia. A pulpit with a gothic stone rostrum was built around 1500. It has an early Baroque roof – a baldachin with four columns, volutes and a sculpture of St. Salvator.
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Each of the windows has an arched lintel. The church has two bell towers with bulbous domes. The domes are covered with shards of tiles, a feature found in other churches of the region. The church has a monumental pediment with volutes, a stylized oculus at center, and a niche above.
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Cymbiola mariaemma is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes. It was first described by John Edward Gray in 1858 under the name Scapha maria-emma and was named in honor of his wife, Maria Emma Gray, a fellow conchologist and algologist.
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Floral medallions alternate with vertebrate leaf bands to decorate the relief panels. From the porch, the granite steps descend in two wide flights separated by a small brick plaza. Three-dimensional volutes are on each side of the lower flight. Bays extend from the north and south ends of the building.
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Of the northern row there are four standing in place, two prostrate, and fragments of two others. Of the southern row, three are standing and two are lying. One of the upright columns has an Ionic capital with delicate tracery work below the volutes. Its height in all is about twelve feet.
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The kirtimukhas are separated by chain and bell ornamentation. It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
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Equally, where the Greek Ionic volute is usually shown from the side as a single unit of unchanged width between the front and back of the column, the Composite volutes are normally treated as four different thinner units, one at each corner of the capital, projecting at some 45° to the façade.
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The lateral carvings show openwork acanthus tendrils with volutes that merge into musical angelic figures. Acanthus foliage is located on the case above the flat fields and encloses the entire Rückpositiv above and below the pipe fields. The carvings are attributed to Jan de Rijk.Edskes, Vogel: Arp Arp Schnitger and his Work.
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In art, grotesques are ornamental arrangements of arabesques with interlaced garlands and small and fantastic human and animal figures, usually set out in a symmetrical pattern around some form of architectural framework, though this may be very flimsy. Such designs were fashionable in ancient Rome, especially as fresco wall decoration and floor mosaic. Stylized versions, common in Imperial Roman decoration, were decried by Vitruvius (c. 30 BC) who, in dismissing them as meaningless and illogical, offered the following description: > For example, reeds are substituted for columns, fluted appendages with curly > leaves and volutes take the place of pediments, candelabra support > representations of shrines, and on top of their roofs grow slender stalks > and volutes with human figures senselessly seated upon them.
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Both three-story-tall ends of the gable roof are very ornately designed with barrettes of volutes and each of the five pyramids slopes to the bottom of the partitions. The three-to-eight window bays on the upper floors are designed as large windows with mullions; only the gable ends have only one window in the middle. The ground floor is bisected, approximately in the middle, by a portal with a sculptured arch, which consists of overlapping rods and this entablature with an architrave, a frieze and a cornice resting on the corbels. Left of this door is an entrance porch, with a low round arch supported by corbels with leaf volutes and topped with a cornice with a cymatium and a dentil.
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The east front is based on the design of Santa Maria della Vittoria in Rome. It has three bays, separated by pilasters, the central one advanced slightly. The side bays, topped with volutes and finials, have corniced central panels which have inset round-topped niches housing statues. The pedimented entrance is in the central bay.
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The Composite order is a mixed order, combining the volutes of the Ionic with the leaves of the Corinthian order. Until the Renaissance it was not ranked as a separate order. Instead it was considered as a late Roman form of the Corinthian order. The column of the Composite order is typically ten diameters high.
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On National Street, two doors have transoms or capitals with volutes, and one lintel is decorated with carved foliage. In the town, several buildings, mostly dry stone, have been recorded in the inventory of topographic DRAC. One of them, in Rayaup, dates from the eighteenth century (the inscription that says 1586 is very recent).
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The central window in the pavilion has a shouldered surround with volutes at the base. Below it a flagpole projects from a limestone panel between it and the second-story window below. The pavilion's gable is trimmed in limestone. At its bottom is a plain frieze with "United States Post Office" carved into it.
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The upper stage contains bell openings on each side, and two string courses, each of which incorporates gargoyles. On the summit is a battlemented parapet with corner pinnacles. The upper stage is Perpendicular in style. In the south wall of the nave is a Norman round-arched doorway with capitals decorated with volutes and foliage.
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Each of the windows has an arched lintel. The church has a single bell tower with a bulbous dome. The church has a monumental, rococo-style pediment with volutes, a stylized oculus at center, and tracings in terra-cotta painted yellow. The church has three bronze bells with heavy wooden bell yolks painted green.
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The Corinthian order later became overwhelmingly popular in the Greco-Buddhist art of Gandhara, during the first centuries of our era. Various designs involving central palmettes with volutes are closer to the later Greek Corinthian anta or pilaster capital. Many such examples of Indo-Corinthian capitals can be found in the art of Gandhara.
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The portal, while lacking a complex pediment, has fine tracings and volutes with a plaque at center. A coat of arms was originally located above the portal at the choir level. The structure appears to have bell towers to the left and right. They are actually angled walls at the facade and side walls, with simple belfries above.
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The Ammonite Order is a Classical order found almost exclusively in Brighton and Hove, consisting of fluted columns topped by capitals whose volutes are shaped like ammonite fossils. Architect Amon Henry Wilds used them extensively. Pilasters and columns of the Corinthian order are also common. Victorian and Edwardian buildings made use of intricately moulded courses and bracketed eaves.
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The façade, still intact, is made with pieces of ceramics and has corbels and portals of carved stone. On the ground floor there are four shops and three more doors. The main one has a portal realized with very solid limestone travertinoide. Above it is a smooth pediment, some cornices and an open tympanum ending with two volutes.
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Various parts of the church (e.g., the walls under the choir gallery and in the transept) are decorated with “diamond-point” tiles from the Triana district of Seville and dated by tradition to 1596. Elsewhere the tile decoration includes botanical elements, volutes, putti, symbols of the Passion, and the monogram of the Society of Jesus (“IHS”).
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The tower arch dates from the 15th century and has a pointed head. The chancel arch is Norman, and has a semicircular head. The capitals are carved, on one side with dancing stags, and on the other with volutes. Above the chancel arch is the fragment of a wall painting depicting a crowned head and the initial "M".
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They were built up for some ashlar masonries, an architectonic style reserved to the Israelite royal places during the Iron Age. One of them is 110 x 28 x 60 cm of dimension and also differs frm the canon for its ornamental details, showing a triangular shape in the centre as the point of juncture of the capital volutes.
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Completed in 1920, the two-story, double-wide structure features four columns in the Ionic order. Its various design elements include Greek key, Egg-and-dart, foliated rinceau, rosettes, anthemion, and volutes. First National Bank failed in the Great Depression, and the building was taken over by Jackson State Bank. It now houses a branch of US Bank.
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Two towers top Roman facade with classic pediment flanked by volutes. It once had corridors; they were replaced by the gallery of the cloister (gallery and overlapping tribunes). The chapel has a three arches, superimposed by grandstands instead of choirs. Separately, the plan and facade are modeled on the parish (matriz) and brotherhood churches of the early eighteenth century.
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The arched volutes on the top of the prothesis are part of the original, Baroque structure. Two Corinthian columns hold the top structure of the prothesis, and they frame the painting of the side altar. The Descent from the Cross was painted by György Révész, approximately in 1870. He copied the composition of Rembrandt's 1634 master piece.
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A multi-level garden extends from the quay up to the entrance of the church. The walls on either side of the garden are decorated with large volutes and other Baroque decorative elements. A large cross sits in the church garden on the second level from the quay. It has a monumental pedestal in the shape of a polyhedron.
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All of the pipe fields are bordered at the top and bottom with pierced and gilded pipe-shades. Like those of the Hauptwerk and Rückpositiv cases, the pedal pipe-shades are formed from gilt acanthus with volutes. The three trumpeting angels on the two central manual towers and the pedal tower are attributed to Christian Precht of Hamburg.
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The 12th-century north doorway was moved out and reset in its present position in the 15th century, surrounded by a 19th-century porch. The Norman doorway has three orders and the middle columns have spiral fluting and shaft ring enrichments. The capitals are carved with volutes and foliage; the arches are also decorated lavishly with chevrons and billets.
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The two are separated by a Palmette. While their bodies are shown as silhouettes, the heads are depicted in outline. The empty space was filled with various motifs, including zigzags which recall earlier images of Group Ad, though the drawings are far more detailed than those of the Ad Group. Along with the zigzags, there are also double-volutes and leaf-rosettes.
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The dome is supported by four large arches with pilasters extending upwards and dividing the dome into eight segments. It was destroyed by lightning in 2004 but has since been repaired. In addition to the main dome, there are five smaller domes, each topped by a lantern. The facade consists of two overlapping sections, connected by volutes which terminate in low pinnacles.
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Above this, there is a coat of arms of the Holy Burial in Jerusalem and a niche containing an image of Francis of Assisi. On either side, there are large flowerpots covered in Talavera tile. There are two towers which contain sections that are square and cylindrical. The corners are decorated with volutes, small domes and "linternillas" to let in light.
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Inside the church are three-bay arcades in Transitional style, with circular piers, and capitals carved with volutes, foliage, and rams' heads. The two-bay arcade between the chancel and chapel is carried on octagonal piers. The nave, chancel, and chapel each has a double-hammerbeam roof. In the north wall of the nave is a re-set early Norman tympanum.
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The main entrance is decorated with sculpted plants, chain links, volutes, mollusk shells and small grotesque masks. The patio arches have pyramidal decorations. However, it is what is inside the house that is its most distinguishing feature. Inside, on the second floor, are tile murals made in Mexico City with life-sized images of servants such as butlers, washwomen, and cobblers.
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In 1725, the Jesuits commenced construction of the parish church of St. Michael (), following the construction of their own monastery. This church was in use after 1734, despite being incomplete. A Holy Trinity column was erected in the fort's main square in 1730 as a plague monument featuring volutes with pedestals on which four protectors against the plague are placed.
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This facade had two levels; the lower level was the height of the chapels, while the upper level featured a high fronton above the doors. The two levels were connected with s-shaped volutes and consoles, and the whole facade was covered with niches and other decorative elements. Inside the church was rectangular with a high vaulted ceiling, with chapels on both sides.
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The middle section is crowned by a tympanon; the outer sections consist only of volutes. Interior The nave has three aisles separated by pilasters with Ionic capitals. The nave has a visible tile roof, while the outer aisles have plaster ceilings. The high altar, set against the apse wall, has two marble columns on the sides and is crowned by a tympanon.
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Attic vase forms were also increasingly copied. Oinochoes, whose form had remained basically unchanged up until that time, began to resemble Attic forms; lekythos also started to be increasingly produced. The column krater, a Corinthian invention which was for that reason called a korinthios in the rest of Greece, was modified. Shortening the volutes above the handles gave rise to the Chalcidic krater.
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A balcony projected over the entrance door, upon which opened a large ornamental window. The balcony door was adorned with a cap that ended in baroque volutes. The corners and window openings were ornamented with Braintree stone, and the tiled gambrel deck roof featured a carved railing. Three dormer windows jutted out from the roof, which offered a beautiful, extensive view.
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The paper mill is situated on the Bystrzyca Dusznicka river bank. The structure consists of three interconnected buildings. The paper mill building itself features a brick ground-floor level section above which rises the upper portion of the building, parts of which feature a wattle-and-daub structure. The entire design is crowned by wooden gables adorned with massive volutes.
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It is called Still life with a fountain and a garland of flowers and fruit. It shows a garland of fruit, mushrooms and other vegetation suspended around a fountain. The upper part of the fountain comprises a mask attached to a sculpted shell held by two volutes. It has been suggested that the pendant paintings depict the competition between sculpture and painting.
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In one common spreading type for wide areas, the basic form of the arabesque is a heart shape formed from two confronted volutes on stems, shown highlighted in green in the illustration. To this core are added any number of further volutes, above, below or to the sides. It is thus a motif which can be infinitely expanded to cover a surface of any size, and indeed this function of decorating plain surfaces, as a form of diaper, is its chief use. From the illustration it is clear that the form present on the Ara Pacis (drawing E) erected in Imperial Rome during the time of Augustus, that is to say during the 1st quarter of the 1st century AD, is unchanged in substance when compared with the form in the apse mosaic of San Clemente in Rome dated c.
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Perrault demonstrates in his engraving how the proportions of the carved capital could be adjusted according to demands of the design, without offending. The texture and outline of Perrault's leaves is dry and tight compared to their 19th- century naturalism at the U.S. Capitol. A Corinthian capital may be seen as an enriched development of the Ionic capital, though one may have to look closely at a Corinthian capital to see the Ionic volutes ("helices"), at the corners, perhaps reduced in size and importance, scrolling out above the two ranks of stylized acanthus leaves and stalks ("cauliculi" or caulicoles), eight in all, and to notice that smaller volutes scroll inwards to meet each other on each side. The leaves may be quite stiff, schematic and dry, or they may be extravagantly drilled and undercut, naturalistic and spiky.
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Over the main front elevation (on to Gdańska Street) stands a three-story avant-corps with a balcony, set beneath the gable and the pediment. The second avant-corps located on the northern side has an indoor loggia covered by a lean-to roof. Bricked railings are decorated with a stylized trefoil shapes. In facade decoration are also used volutes and obelisk-shaped pinnacles.
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Floating staircase in Minneapolis Staircase in Ford plant in Los Angeles with double bullnose and two volutes. An intermediate landing is part of this U-shaped stair. ;Apron : This is a wooden fascia board used to cover up trimmers and joists exposed by stairwell openings. The apron may be moulded or plain, and is intended to give the staircase a cleaner look by cloaking the side view.
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Larvae of this species spend several days as plankton, undergoing a series of transformations until they reach complete metamorphosis. The maximum life span is 2.0 to 2.5 years. Predators of this snail include carnivorous gastropods such as cone snails and volutes. It is also a prey species for vertebrates including macaques, and also humans, who consume the soft parts in a wide variety of dishes.
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Subsequent studies have refuted the concept, proving beyond doubt that strombid gastropods are herbivorous animals. In common with other Strombidae, Laevistrombus canarium is known to be a herbivore, feeding on algae and occasionally detritus. Many carnivorous marine gastropods are known predators of L. canarium, including the volutes Cymbiola nobilis and Melo melo and the cone snail (Conus textile). The dog conch is also preyed upon by vertebrates.
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It was built between 1609 and 1613 in Mannerist style and the polychromy was made by painters Diego de Baeza and Mateo Paredes. It consists of predella with three bodies of different orders, Ionic, Corinthian and compound,Capital with mixture of Ionic volutes and Corinthian acanthus leaves. and a superior crowning. In the predella there are four reliefs with scenes of the Passion of Christ.
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Like the Cathedral of Salvador, it has three portals and two flanking towers. The upper part of the façade (gable) is flanked by elaborate volutes. The center of the monumental pediment has a statue of Saint Francis of Assisi in white marble. It is now covered in layers of paint and placed in the niche at the end of the first half of the 18th century.
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The Church of Nosso Senhor do Bonfim is constructed of brick and stone masonry. The façade of the church is two- dimensional, with a central body flanked by two towers. The windows and elaborate volutes of the gable of the pediment of the façade are in the Rococo style. The lower parts of the façade were covered by industrial Portuguese azulejo tiles in 1873.
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Samian column bases were decorated with a sequence of horizontal flutings, but in spite of this playfulness they weighed 1,500 kg a piece. The capitals of this structure were probably still entirely of wood, as was the entablature. Ionic volute capitals survive from the outer peristasis of the later rebuilding by Polycrates. The columns of the inner peristasis had leaf decoration and no volutes.
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To the west stand a 52-metre-high tower topped by a ridge turret and an adjacent circular chapel dedicated to Our Lady of Czestochowa, referring to the dedication of the initial Gothic church. Facade, gable and tower are adorned with typical Neo-Baroque elements such as volutes and finials, which are also present in the chapels, the sacristy and the staircase leading to the choir.
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A small oratório sits to the right of the structure and opens at street level; the stairs that access the catacombs are located behind it. The façade has two towers that frame a central body. It culminates in a monumental pediment in the rococo style typical of Bahian architecture of the period. The pediment has volutes and a central niche in the shape of a shell.
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Together with the dentils it appears to be a representation of ionic volutes. Such a treatment of classical elements is not unusual in Young's work. Internally there is a curved stained wood ceiling with a semi circular cut-out to a low light to enter from the Diocletian window above the balcony. Below the balcony is a vestibule, a small room and the staircase.
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The parish solved this problem by the shortening of the volutes of the upper part of the baldachin. Small parts were sawed and removed from the arched top of the canopy. The re-tailored baldachin was now tall enough to let the altar table being elevated by some steps.Károlyi (2001) The tabernacle of today's altar table was made originally for this smaller, second table.
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The church has a large nave, chancel, side galleries, and porches. The chancel and sacristy had independent, lower roofs than that of the nave. It has an elaborate baroque- style pediment with volutes; it likely had an image in the tympanum, but the pediment is in a state of advanced ruin. The church has three portals at the ground level and three windows at the choir level.
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The façade is divided into three vertical sections by four sets of Doric columns. The columns, which is said to be added for ornamentation purposes, supports a triangular pediment adorned by an oculus and volutes on the end. Geometric motifs can also be found on the plastered side portals. Saint's niches, stained glass and an Augustinian emblem add details to the otherwise plain façade.
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These are double- winged and filled with openwork carving of acanthus leaves and volutes. The box-shaped Oberpositiv front has four pipe-flats with wide-scaled, foliated dummy wooden pipes, and towards the choir there is another pipe flat. On the Oberpositiv flat-carved ornaments are used. The polygonal pedal tower on the crossing pier is crowned by a volute and a trumpeting angel.
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A distinctive woodworking and charitable feature of St. Ann's is the Bread Shelf. Since 1723, as a result of a bequest by Lord Newton of Newtown Butler, the church has made daily bread available to anyone who chooses to receive it. The bread is placed near the altar on a shelf between acanthus-carved volutes. A photograph of the Bread Shelf may be viewed online.
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The portals are in lioz limestone imported from Portugal in the style of a triumphal arch, similar to that found in the parish church in Maragogipe. Three windows at the choir level, with two windows at the same level in the bell towers. The windows of the bell tower have oculi below. The pediment has volutes and central niche with an image of Our Lady of Purification.
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In the ground floor of the front facing the street is a modern shop front. In each storey are three sash windows, surrounded by ornate stone cases. At the top of the front facing the street is a shaped gable containing blue brick diapering and with stone coping, volutes and five finials. Towards the right corner is a wrought iron sign bracket dated 1890.
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The west front is divided into three parts, the central one of which, bordered by two pairs of lesene to either side, terminates in a triangular tympanum. The side sections are linked to the central one by sinuous volutes. The doors of the single portal are made of bronze panels depicting the lives of saints, made in 1984. Above is a rectangular window surmounted by the tympanum.
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The Colosseum's topmost tier has an unusual order that came to be known as the Composite order during the 16th century. The mid-16th-century Italians, especially Sebastiano Serlio and Jacopo Barozzi da Vignola, who established a canonic version of the orders, thought they detected a "Composite order", combining the volutes of the Ionic with the foliage of the Corinthian, but in Roman practice volutes were almost always present. In Romanesque and Gothic architecture, where the Classical system had been replaced by a new aesthetic composed of arched vaults springing from columns, the Corinthian capital was still retained. It might be severely plain, as in the typical Cistercian architecture, which encouraged no distraction from liturgy and ascetic contemplation, or in other contexts it could be treated to numerous fanciful variations, even on the capitals of a series of columns or colonettes within the same system.
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The main image occupies roughly the upper half of the body with the lower half of the body usually filled with two bands of spiral or volute patterns. Between the vents, the foot is mostly decorated with double volutes, bordered above and below by geometric bands. An aureola follows as a conclusion. The figural images are usually quite graceful and elegant; the painters used opaque watercolours in very great quantities.
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In 1658, Cardinal Giovanni Battista Pallotta promoted restoration of the entire complex: church and monastery. The well- preserved Romanesque-style crypt retains some of the few original elements. The 17th-century Baroque brick facade has a curved pediment roofline, and the facade has eliminated a prior rose window, replaced with four awkward rectangular windows. The original round arch terracotta portal had some spolia fragments of marble friezes and volutes.
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The F. japonica species is favored as a material for making baseball bats by Japanese sporting-goods manufacturers. Its robust structure, good looks, and flexibility combine to make ash ideal for staircases. Ash stairs are extremely hard-wearing, which is particularly important for treads. Due to its elasticity, ash can also be steamed and bent to produce curved stair parts such as volutes (curled sections of handrail) and intricately shaped balusters.
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The Ionic order came from eastern Greece, where its origins are entwined with the similar but little known Aeolic order. It is distinguished by slender, fluted pillars with a large base and two opposed volutes (also called "scrolls") in the echinus of the capital. The echinus itself is decorated with an egg-and-dart motif. The Ionic shaft comes with four more flutes than the Doric counterpart (totalling 24).
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Scaphella junonia, common names the junonia, or Juno's volute, is a species of large sea snail, a marine gastropod mollusk in the family Volutidae, the volutes. This species lives in water from 29 m to 126 m depth in the tropical Western Atlantic. Because of its deepwater habitat, the shell usually only washes up onto beaches after strong storms, or hurricanes. The species is named after the ancient Roman goddess Juno.
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It has three levels. The lowest is square, with a contraption of two columns standing in front of two pilasters protruding from each corner on top of which is an entablature and tiny urns. This is linked to the next stage by corner volutes, with a smaller square stage with more urns, and at the top is a tiny concave stage. The whole is capped with a flag finial.
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Two soldiers, representing Tiberius and his brother Drusus, stood on either side of them. In the cella, a row of Corinthian columns rose from a continuous plinth projecting from the wall, which divided the cella into bays, each containing a niche. The capitals of these columns had pairs of leaping rams in place of the corner volutes. Only the platform now remains, partially covered by a road up to the Capitol.
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Acanthus buds appear on the volutes at each corner. The preserved column drums show that the 34 cm broad wreaths concealed joins fixed by three or more metal dowels, whose holes survive. The capital too was attached by dowels: four connected it with the impost block above. The impost block, over a metre high and nearly 3 m wide at the top, has a frieze of vegetal decoration of acanthus leaves.
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Its design is based on the original appearance of St. John's Church in Portsmouth, which was a design of Alexander Parris and also originally featured the volutes found here. The Portsmouth church's design is in turn based on works of Charles Bulfinch. This church's steeple is based on another church, located in Newburyport, Massachusetts. The church congregation, founded in 1633 at Dover Point, is the oldest in state of New Hampshire.
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Ionic capital at the Erechtheum (Athens), 5th century BC The major features of the Ionic order are the volutes of its capital, which have been the subject of much theoretical and practical discourse, based on a brief and obscure passage in Vitruvius."Geometric Methods of the 1500s for Laying Out the Ionic Volute" Denise Andrey and Mirko Galli, Nexus Network Journal, vol. 6 no. 2 (Autumn 2004), pp. 31–48.
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Wooden ceiling of the church painted 1818-1820 by Franco Velasco. The interior decoration of the church was finished in the 19th century. The Neoclassical main altarpiece, which has the form of a baldachin with a cupola sustained by volutes, was carved by the master sculptor Antônio Joaquim dos Santos between 1813 and 1814; he is likely also responsible for its design. The nave has a single aisle.
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Voluta ebraea, common name the Hebrew volute, is a species of medium-sized sea snail, a marine gastropod mollusk in the family Volutidae, the volutes. The Hebrew volute is endemic to Brazil, where it is collected both for food and for its shell, which is highly desired for ornamental purposes. Recent studies indicate that natural populations of Voluta ebraea may be suffering declines due to overfishing and overexploitation.
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The vaults are supported by columns with composite caps, and the keystone is a large floral shape which includes the lighting appliance. The vaults are painted with spiraling vegetal motifs. Elements of the front hall include the stone bench with its legs shaped as those of an animal and with wing-shaped handles. Its shell-shaped, golden back has a shield flanked by two volutes on its upper side.
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Like his famous elder cousin, Carlo Borromeo, author of a guide to religious architecture, Federico Borromeo promulgated classical or antique models. In Richini he found a deviation to the Baroque, as exemplified by his churches of Santa Maria alla Porta and of San Giuseppe. This small church in central Milan (consecrated 1616) has a highly decorated facade (finished 1630) with volutes. The interior are two Bramante-inspired squares.
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The Bow Bridge is a cast iron bridge located in Central Park, New York City, crossing over the Lake and used as a pedestrian walkway. It is decorated with an interlocking circles banister, with eight planting urns on top of decorative bas-relief panels. Intricate arabesque elements and volutes can be seen underneath the span arch. Its span is the longest of the park's bridges, though the balustrade is long.
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The nave has 5 bays and aisles on each side, with only the south arcade preserved. The column capitals along the nave each have distinct styles. These include: a Corinthian capital without volutes, a capital of the Syrian Ionic order, a Doric-Tuscan capital, and a four-faced Ionic capital. There is a portico of piers on the church’s west end, and the east wall has graffiti by passing pilgrims.
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Both consist a trapezoid sarcophagus and the bust of the deceased which is set between volutes. The sarcophagus is decorated with the letter M on Urbano's tomb. The inscription states that the tomb of Mario Mellini was built by his son, Cardinal Savio Mellini "for the best of fathers". The bust was probably made by the workshop of Pierre-Étienne Monnot, the sculptor who created Savio Mellini's tomb.
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The plan for St. Mary Magdalen’s was roughly rectangular, with the north wall tapering slightly towards the east. The two street frontages – to the east on Old Fish Street and to the south on Old Change – were faced with Portland stone. Underneath, the material was stone rubble. There were four large roundheaded windows on the south, and three similar windows on the east, each window flanked by pilasters capped by volutes.
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Its carving includes rosettes and volutes, and it contains a medieval inscription in Latin, which translates as "Here wickedly the first man enjoyed the apple with his wife". The wooden pulpit is hexagonal and dates from about 1801. On each side of the tower arch are Commandment boards, and in the vestry, under the tower, is a benefactors board. Above the south doorway are tablets inscribed with the Lord's Prayer and the Creed.
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The church of Piddig is located on top of a hill with a big central stairway, and stone and brick fence. The facade is inspired by the Jesuit Church of Il Gesu in Rome built in 1568. It has huge buttresses that serves as columns and volutes on the pediment. It still has the original wooden pulpit and a central retablo with the image of the patron saint, Saint Anne holding Mary on her lap.
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The gases spread through the carbon matrix and reach the internal surface of the wall where they meet the hot combustion gases and act as a cooling agent. Furthermore, the engine is equipped with a cooling system that injects on the internal walls 10 percent of the total kerosene mass. The pump volutes are made of 6062 type aluminum alloy. The pump rotors are made through lathing and milling using 304 type steel.
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View of the ward. On the bottom floor, fragments of the renaissance frescos of lilies are still visible. Close to the castle, on the market of Podzamcze village, stands a chapel built from architectural elements (portal, volutes, cornice) of the castle. Inside the chapel are original elements of the castle chapel: the vault keystone, round shot said to have fallen into the castle during the Swedish Deluge (1655–1660), and a Renaissance Our Lady sculpture.
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Drawing of an Aeolic capital Bardo National Museum from Tunis (Tunisia) The Aeolic order or Aeolian order was an early order of Classical architecture. It has a strong similarity to the better known Ionic order, but differs in the capital, where a palmette rises between the two outer volutes, rather than them being linked horizontally by a form at the top of the capital. Many examples also show simplified details compared to the Ionic.
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Melo is a genus of extremely large sea snails, marine gastropod molluscs in the family Volutidae, the volutes. Because of their huge ovate shells, these snails are often known as "bailers" (the shells were sometimes used for bailing out canoes) or "melons" (because the shell resembles that fruit). Species in this genus sometimes produce large pearls. The image in the taxobox shows a group of these pearls with a shell of the species Melo melo.
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In 1789, George Dance invented the Ammonite order, a variant of Ionic substituting volutes in the form of fossil ammonites for Boydell Shakespeare Gallery in Pall Mall, London. In the United States, Benjamin Latrobe, the architect of the Capitol Building in Washington DC, designed a series of American orders. Most famous is the order substituting corncobs and their husks, which was executed by Giuseppe Franzoni and installed in a vestibule of the Capitol Building.
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At the end of each book the colophon is ornamented by pretty volutes from prima manu. The Ammonian Sections with references to the Eusebian Canons stand in the margin of the Gospels. It contains divisions into larger sections – κεφάλαια, the headings of these sections (τίτλοι) stand at the top of the pages. The places at which those sections commence are indicated throughout the Gospels, and in Luke and John their numbers are placed in the margin of each column.
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The eyes of the figure look upward toward his large, elaborate headdress of snakes and volutes. Contour rivalry is found not only in the physical transformation of the monolith, but also in the iconography. The Staff God's staffs are also vegetation, his belt is also a face, the ears of the face on the belt are snakes, and his headdress is made up of caiman. When flipped upside-down, the same image can be seen differently.
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In 2010, the French edition of Rolling Stone magazine gave this album the top spot of their list of the greatest French rock albums (out of 100).Magazine Rolling Stone, n°18 of February 2010, The album is included in the book La discothèque parfaite de l'odyssée du rock by Gilles Verlant, who calls Madame rêve, Osez Joséphine and Volutes "new classics from his repertoire" and the guitar riff by Sonny Landreth on Osez Joséphine "historical".
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Ionic capitals feature a pair of volutes, or scrolls, while Corinthian capitals are decorated with reliefs in the form of acanthus leaves. Either type of capital could be accompanied by the same moldings as the base. In the case of free-standing columns, the decorative elements atop the shaft are known as a finial. Modern columns may be constructed out of steel, poured or precast concrete, or brick, left bare or clad in an architectural covering, or veneer.
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The sculptures also have been compressed into a smaller space than originally planned. The poorly carved statue of the kneeling cardinal was substituted by a bust of the cardinal, all encased around volutes with a small dark marble sarcophagus. This is not the only Forteguerri monument to suffer exile from its original positioning, the 19th-century monument of the cardinal in Piazza Santo Spirito was moved here from its former position in the Piazza del Duomo.Piazza Santo Spirito.
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The length of this shell can be up to 450 mm, with distinctive cream and brown markings. Shells of this species have long been used by the peoples of Australia to carry or remove water, hence the common name "bailer", which is also applied to many other volutes in this genus. The foot, which is very large, is also covered in concentric patterns of the same colours as the shell, and is often used to engulf prey.
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The “Nereid Monument” is another monumental tomb, named for the three figures of women between the columns on the front of the building. The tomb was built in the Ionic order (as the columns have volutes at tops and bases underneath them) and its form resembles an Ionic temple. The temple was built around 380 B.C.E. by Greek sculptors and architects. This funerary architecture parallels the religious architecture well-developed in Greece during the late Classical period.
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The main entrance has three arched doorways through which is the ceramic tiled entrance foyer. The upper storey features a panelled foyer and auditorium, with a stage and fly tower. The hall has an elliptical arched fibrous cement ceiling, supported on piers panelled with walnut and decorated with plaster fluting and volutes. The lighting system is a combination of many copper framed pendant fixtures with opal glass, and a system of concealed trough lighting providing indirect illumination.
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They include details and materials common to the Queen Anne style, attributed especially to Norman Shaw who had been practising successfully in England in this style for some decades. The incorporation of Dutch Renaissance motifs, notably gables with strapwork and volutes is also characteristic. This group of post offices reflects the architectural trends of its day, being in the vanguard of the movement away from neo-Classicism in 1893 and in the mainstream during the late 1890s.
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The main entrance was flanked by an imposing marble gate giving way to a central court and to the building's floors. A crenelated cornice ran the entire surface of the roof complete with bartizans flanking the corners; a layout reminiscent of Medieval European castles. In the central axis of the main facade stood a large ornate gable decorated with volutes surrounding a clock. The structure had a surface area of 3500 square cubits and contained close to 80 rooms.
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Principal chapels are of rectangular plan on the exterior and ultra- semicircular in the interior. The horseshoe arch of Muslim evocation is used, somewhat more closed and sloped than the Visigothic as well as the alfiz. Geminated and tripled windows of Asturian tradition and grouped columns forming composite pillars, with Corinthian capital decorated with stylized elements. Decoration has resemblance to the Visigothic based in volutes, swastikas, and vegetable and animal themes forming projected borders and sobriety of exterior decoration.
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As two stories were added to the Scales House in 1596-1603, the shed was enlarged into a warehouse and the entire structure transformed into a Renaissance building furnished with an elaborated stone portal, horizontal sandstone fillets, volutes and finials, and a ridge turret covered in copper. Stone tables on the front gable were painted in blue and furnished with gilded crowns and the inscription "1603". One of these can still be found in the entrance facing Skeppsbron.
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The Chapel of Loreto is a simple two-storey structure of brick and lime. The exterior has a portal and two small windows at the first storey; two windows at the choir level; a baroque-style pediment above the choir level, which sits between two belfries. The belfries are surmounted by small bulbs and flaming urns. The pediment, while simpler than those found in churches in the city of Salvador, has a quatrefoil oculus at center with volutes to the left and right.
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It is crowned by a baroque pediment with volutes and a diamond-shaped pinnacle. A cartouche is at center with an inscription reading: > "The Most Illustrious and Honorable André de Melo de Castro, Count of > Galveas Virei and Captain General of the Sea and Land of the State of Brazil > had this font made 1746." IPHAN performed basic conservation works on the fountain in 1946 and 1954. It was fully restored in approximately 1970 under the direction of the architect Anísio Luz.
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Campanile and the pediment with a deer head with a cross between the antlers The facade was built under the direction of Cesare Corvara († 1703) with the collaboration of other architects. It consists of two sections, with the upper section standing back. The lower part is marked with four pilasters and two columns, all with Ionic capitals with in the middle of each capital a small head of a deer. The spirals of the volutes are connected by a small laurel wreath.
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Other capitals have the animals and the two lower plant- based elements, but not the section in between with the volutes; the example in Chicago is of this type. There are various small mouldings between the various elements, reflecting a Greek style. The horns and ears of the animals are often separate pieces, fitting into the head by square plugs. The columns were polished and at least the capitals were painted, in the case of wooden ones on a plaster coating.
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Pilaster capital from Megara Hyblaea with palmettes between volutes. 5th century BCE. Excavations carried on in 1891 led to the discovery of the northern portion of the western town wall, which in one section served at the same time as an embankment against floods—it was apparently more conspicuous in the time of Philipp Cluver, (Sicilia antiqua, Leiden, 1619) p. 133—of an extensive necropolis, about 1500 tombs of which have been explored, and of a deposit of votive objects from a temple.
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The Church of Our Lady of Santana has three central arched portals with three choir windows of a similar design above. The façade is surmounted by a baroque-style pediment with volutes and pinnacles. The stone masonry above the choir windows and pediment are the only parts of the church that have been plastered. The plan of the church is unusual in Bahia: it consists of a rectangle with three naves and a chancel that with access to lateral sacristies via high arches.
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On the floor above they are larger and more ornate, and on the floor above that they are less decorated. The central axis of the facade rises one floor higher than the two wings, capped by a tympanum supported by volutes. The main ground floor entrance in the center section is a carved stone portal that opens into a spacious atrium, which in turn opens onto the garden. There is a richly decorated balcony above the portal, with triple arch lancet windows.
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Vitruvius preserves some of her associations in the section of his work On Architecture in which he describes how the design of a temple building (aedes) should reflect the nature of the deity to be housed therein: > The character of the Corinthian order seems more appropriate to Venus, > Flora, Proserpina, and the Nymphs [Lymphae] of the Fountains; because its > slenderness, elegance and richness, and its ornamental leaves surmounted by > volutes, seem to bear an analogy to their dispositions.Vitruvius, De > architectura 1.1.
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Interior. The church follows the Baroque style. The main body has two floors, both with three openings of bowed arches and ornaments in stonemasonry. In the upper floor, between the windows, there are two niches with statues, interconnected in the upper part of oculuss filled with grids, and also framed. Above, triangular frontispiece of truncated vertices and curved sides, with shield of the Order, heavy flowery volutes, and culminating with a niche with image of Our Lady, pinnacles and a cross.
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These form the three principal types on which all capitals in the classical tradition are based. The Composite order established in the 16th century on a hint from the Arch of Titus, adds Ionic volutes to Corinthian acanthus leaves. From the highly visible position it occupies in all colonnaded monumental buildings, the capital is often selected for ornamentation; and is often the clearest indicator of the architectural order. The treatment of its detail may be an indication of the building's date.
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For more elaborate designs on conical hats, Unangan headgear makers would add carved bone plates, also called volutes, to the backs and sides. These plates covered the back seam where the wooden piece was bound, adding sturdiness to the hat. It was also the location where sea lion whiskers or beads would be inserted. On the sides, makers would add a carved plate near the wearer's temple; it had a long trianglual shape with a rounded circle at the end.
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Round pillars, located within the span of the apses and galleries, were provided with capitals adorned with volutes. The façade had a blind arcade along its perimeter, the arches adorned with floral ornaments. What remains of the church is part of the lower level floor half- submerged in its own ruins, including the east apse with one column of its colonnade with a carved capital.Nicole Thierry, “Les peintures historiques d’Ošk’i (T’ao),” Revue des Études Géorgiennes et Caucasiennes 2, 1986, pp.135-71.
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The church houses a small collection of religious objects (sculpture and reliquaries), about 3 dozen examples from the 17th, 18th and 19th centuries, some of which come from the Carmelite Convent of Saint Joseph, and from two shrines elsewhere in town. Among these objects is a silver censer, and a carved image of the Christ Child. The censer, in the shape of a boat, is still used today during the most solemn ceremonies. Its profusion of ornamentation with volutes, acanthus leaves, seraphim heads, etc.
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Front of the Pataliputra capital, found in Pataliputra and dated to the 3rd century BCE. The Pataliputra capital is a monumental rectangular capital with volutes and Classical designs, that was discovered in the palace ruins of the ancient Mauryan Empire capital city of Pataliputra (modern Patna, northeastern India). It is dated to the 3rd century BCE. It is, together with the Pillars of Ashoka one of the first known examples of Indian stone architecture, as no Indian stone monuments or sculptures are known from before that period.
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Main altarpiece by local artist Willy Layug The present brick and stone church is Barn-style Baroque architecture, typically seen in many Spanish-era churches in the Philippines. The facade has two levels topped with a pediment bearing volutes that contrast with the slender columns. Specially notable about the embellishments on the facade are embossed shells found at the base of the pediment and plant motifs found in the retablo on the pediment. Attached to the right of the church is a 5-level octagonal bell tower.
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The church façade is of barn-style Baroque, a style that has been described as typically found in most Spanish-era churches in the Philippines. It features side pillars capped by urn-like finials, pilasters that divide the façade into five segments and cornices that divide the expanse of the wall into two levels. The pediment is semi-arched and ends into two small volutes before tapering down to the sides. It is adorned by a framed saint's niche flanked by two hexagonal windows.
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The new frescoes were painted in 1936 by the Slovene impressionist painter Matej Sternen. The front facade of the church was built in the Baroque style in 1703–1706 and redesigned in the 19th century. It has two parts, featuring pilasters with the Ionic capitals in the lower part and pilasters with Corinthian capitals in the upper part. The sides of the upper part are decorated with volutes and at the top of the front facade stands the statue of Our Lady of Loretto, i.e.
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Though little is known about the conservation status of this species, it is believed that both overfishing and overexploitation are exeting a negative effect on natural populations. The Hebrew volute may occur in shallow water, which tends to facilitate its harvesting by the locals. Thus it is currently not observed in many areas in which it was known to be numerous before. It is not uncommon for Hebrew volutes to be accidentally caught in bottom gill fishing nets and traps set by commercial fishing boats.
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The building of the town hall consists of several parts and was erected on a rather extended projection. One of the most interesting elements of the main (central) part are the external stairs located on both sides of the main entrance to the Town Hall. They are impressive, and the lower part of the stairs is covered on both sides with huge and massive volutes. Each of them ends with a small relief in the form of a lion's head with an open mouth.
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This form is sometimes called pseudoperipteral, as distinct from a true peripteral temple like the Parthenon entirely surrounded by free-standing columns. The Ionic capitals are of the original form, different in the frontal and side views, except in the volutes at the corners, which project at 45°, a common Roman detail. It is built of tuff and travertine with a stucco surface. If still in use by the 4th-century, the temple would have been closed during the persecution of pagans in the late Roman Empire.
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In 1899, Searles hired noted church architect Henry Vaughan, an architect he frequently hired for various projects, to design a concert hall for the organ to be located on property he owned adjoining the Spicket River. Probably no other building of this size has been built solely to house a pipe organ. The exterior is brick in an Anglo-Dutch style, with an Italianate campanile and a gable with baroque volutes. The walls are over three feet thick with interior air gaps, making the building quite soundproof.
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The original coloring of the altar was explored and restored again. The volutes of the baldachin gained back their original size, thus changing the width of the whole canopy. Györgyi Károlyi, the restorer of the main altar, studied other works of Jankovits (Serb Orthodox Church in Eger; Orthodox Church on Petőfi Square, Budapest and the Orthodox Church in Miskolc) to replace the missing parts of the altar. Károlyi had to create a new altar table and she had to replace the lower parts of the baldachin too.
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The whole sepulchre is crowned by a pedimented gable like a church facade with the relief of God, the father in the glory of Heaven. The figure of God is enclosed in a mandorla and surrounded with cherub heads. The gable is flanked with two flaming urns and volutes. Tomb of Francesco Abbondio Castiglioni Funeral monument of Cardinal Francesco Abbondio CastiglioniThe other tomb on the right wall was built for the Milanese Cardinal Francesco Abbondio Castiglioni, a participant of the Council of Trent, who died in 1568.
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Prior to the Mid-20th century renovation, the church façade is bare of ornamentation save for volutes founds on the end of the imaginary triangular pediment, circular reliefs and buttress-like pilasters capped with roof tiles. The façade is pierced with 5 windows: three semicircular arched ones and two rectangular ones on the first level. A porte-cochere with a balustraded top mars the view of the bottom part of the façade. Much of the design of the façade has been changed after the 1970s renovation.
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A century later, in the temple on the Ilissus, the abacus has become square (See the more complete discussion at Ionic order). According to the Roman architect Vitruvius, the Ionic order's main characteristics were beauty, femininity, and slenderness, derived from its basis on the proportion of a woman. The volutes of an Ionic capital rest on an echinus, almost invariably carved with egg-and-dart. Above the scrolls was an abacus, more shallow than that in Doric examples, and again ornamented with egg-and-dart.
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He designed a Baroque tower top with an octagonal superstructure, which ends with a small lantern turret. The upward lines of this lantern turret consist of herma statues with naked male torsos that look like functional caryatides. The dome of the lantern turret consists mainly of eight volutes that come together at the top. Originally Millich designed four dogs with a torch to sit on top the lantern dome, with another dog running around the globe beneath the cross, functioning thus as an extra wind vane.
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Inside the second level there is a series of concentric cornices and in the top level there is an inscription reading 1861 - the date of the reconstruction of the upper facade after the lightning strike of 1859. The apex is capped with a wrought iron double cross. On the left side from the viewer's point of view is the massive square four-levelled bell tower, built between 1755 and c.1800. The uppermost level is cylindrical and joined to the level below with massive curled volutes.
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199 – 200. Vitruvius recommends that any new temple to Venus be sited according to rules laid down by the Etruscan haruspices, and built "near to the gate" of the city, where it would be less likely to contaminate "the matrons and youth with the influence of lust". He finds the Corinthian style, slender, elegant, enriched with ornamental leaves and surmounted by volutes, appropriate to Venus' character and disposition.Immediately after these remarks, Vitruvius prescribes the best positioning for temples to Venus' two divine consorts, Vulcan and Mars.
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The church is part of a larger building, and hence has no separate architectural identity. It is marked by the interesting and unusual dedicatory inscription over the entrance, which is written in concentric circles within a tondo. This tondo is flanked by two diagonal strips of cornice each with a faint S-curve, and which join to it via tiny volutes. The inscription reads "Divis Benedicto et Scholasticae Patronis nursinus ordo et populus", which translates as "To the honoured patrons Benedict and Scholastica, the council and people of Norcia".
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Corinthian anta capital tend to be much closer to the designs of the columns, although often with a flattened composition: during the Greek period, Acanthus leaves are crowned by a central motif, such as a palmette, itself bracketed by volutes. This design was widely adopted in India for Indo-Corinthian capitals. During the Greek period, anta capitals had designs different from those of column capital, but during Roman and later times this difference disappeared and both column and anta capitals has the same types of designs.The Classical Language of Architecture by John Summerson, p.
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The church facade is predominantly Baroque in style with the roughness and heaviness of its looks although some hints of Renaissance style can be found on the details of its twin belfries. The recessed main portal showcases a relief of the papal symbol and is flanked by two heavily-ornamented saints' niches. Stone balusters decorate the single window on the facade, the blind windows flanking it and the base of the pediment. Dominating the facade are columns capped with Ionic capitals and scroll-like volutes on the pediment.
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The lower portion of this section is damaged and a part of both the text and the figure is missing. The middle section of the column, forming a type of capital, is a high-relief sculpture of the head of a bat executed in the curved lines of the Maya style, with small eyes and eyebrows formed by two small volutes. The leaf-shaped nose is characteristic of the Common Vampire Bat (Desmodus rotundus). The mouth is open, exposing the partly preserved fangs, and a prominent tongue extends downwards.
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The fountain diagonally opposite Palazzo Farnese was built around 1626 by Carlo Rainaldi and paid for by the Farnese. It was planned in 1570 to be a public fountain fed by the Aqua Virgo aqueduct to supply people with clean drinking water. However, installation was only possible after Paul V ordered the water pipe to be extended over the Ponte Sisto in 1612. The fountain consists of an ancient large marble mascaron ("Mascherone") on a background with volutes in marble, crowned by the symbol of the Farnese, a metal Fleur-de-lis.
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The extent of > the whole frontage is about . The central entrance has a bold projection: > the entablature is supported by four columns; and the volutes of the > capitals of the outside column on each side of the gateway are formed in an > angular direction, so as to exhibit two complete faces to view. The two side > gateways, in their elevations, present two insulated Ionic columns, flanked > by antae. All these entrances are finished by a blocking, the sides of the > central one being decorated with a beautiful frieze, representing a naval > and military triumphal procession.
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As a curiosity, the four volutes, two for each capital, were carved reversed. In the central panel, the round case of the clock itself rested upon an estipite adorned with laurel festoons, this was flanked by two winged female figures in mid-relief dressed with a chiton. From the onlooker's point of view, the figure at left represented Honour whereas the one at right depicted Glory. As accompanying attributes, Honour held a tablet in her left hand while the other was writing using a stylus, her left foot rested on top of a terrestrial globe.
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6-7 According to another contemporary voice, that of essayist Constantin Șăineanu, Toma was in fact outlining a slightly pessimistic worldview. As depicted by Toma, mankind was wasting its energies in the vain search for salvation and beauty.Șăineanu, p.26-28 Still, Toma did not see human suffering as an inescapable reality, but wrote: Noting the similarities between Toma's concepts and the ideas voiced, in the same generation, by poet Haralamb Lecca, Lovinescu argued that Poezii evidenced "a great and honest professional consciousness, an inspiration of intellectual quality, laid out in impeccable volutes".
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The church of San Costanzo has a very simple façade which dates from the late nineteenth and early twentieth century when the porch and triangular gable were demolished to provide stone for building the priest's house. It is divided in two by a narrow entablature. In the lower part, there is a doorway dating from the fourteenth century, surmounted by the crest of the Counts of Anjou, while in the upper part there are two of the priest's house windows. It reaches up into a small tympanum bordered by volutes.
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The rectangular church comprises a nave and presbytery flanked by lateral corridors, with a sacristy to the left of the altar. The main facade faces west, defined by Tuscan pilasters crowned with pyramidal pinnacles over parallel-elliptical plinths. The central wall along the nave is decorated in blue and white azulejo tiles. This two-storey high facade and azulejo wall are broken by a frieze and cornices over finial cut-breaks, forming lateral volutes, which are topped by a vegetal-shaped frontispiece crowned by a rectangular Latin cross.
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In the 18th-century, the purpose of the college would change and be assigned by Pope Clement XI to the Pio Operai.Accurata, E Succinta Descrizione Topografica, E Istorica Di Roma, Volume 1, by Ridolfino Venturini, published by Carlo Barbellieni, Rome (1768); page 36. The church was designed by Giacomo della Porta with a façade inspired by his prior work of the Church of the Gesù. It has two rows of Corinthian pilasters that are connected with volutes. (The façade was renovated in 1991–92) Above the door is a dedicatory inscription and votive niches.
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Pevsner criticizes the mouldings of window- frames, frieze and volutes of the door-hood brackets as "characteristically overdone", and mentions Wood citing its "profuse ornament" which was typical of a mason rather than an architect. Chute remained as manager and employed Charles Kean and Ellen Terry to play in A Midsummer Night's Dream on the opening night, 3 March 1863. Initially the reopened theatre struggled to become profitable despite appearances by Henry Irving among others. In 1885 William Lewis took over as the lessee and was followed, in 1892, by his son Egbert Lewis.
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Architects' first real look at the Greek Ionic order: Julien David LeRoy, Les ruines plus beaux des monuments de la Grèce Paris, 1758 (Plate XX) The Ionic order is one of the three canonic orders of classical architecture, the other two being the Doric and the Corinthian. There are two lesser orders: the Tuscan (a plainer Doric), and the rich variant of Corinthian called the composite order. Of the three classical canonic orders, the Ionic order has the narrowest columns. The Ionic capital is characterized by the use of volutes.
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The coat of arms is that of Sebastião Monteiro da Vide, archbishop of Salvador at the time of the construction of the building. The façade of the palace has an elaborate Baroque-style portal of Portuguese marble with an elaborate pediment. It has at its center the coat of arms of Dom Sebastião Monteiro da Vide with volutes at the left and right. The windows of the first two floors are relatively simple and those on the third floor higher and flanked by balconies and iron grille balconets.
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It was during his rule, in 1577, that the bishopric seat was transferred from Silves to Faro, a more prosperous city located by the coast. In the next centuries the interior of the church was enriched with Mannerist and Baroque altarpieces, some of which still exist. The Great earthquake of 1755 struck a terrible blow to Silves and its cathedral and destroyed part of the nave. The building was repaired and modified, replacing the simple Gothic forms of the upper part of the main façade with Rococo volutes.
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As is the case in other volutes, the columella presents an array of strong oblique columellar folds (also known as plicae, 9 to 11 of them in this species), which are more conspicuous anteriorly.The corneous, claw-like operculum partially covers the shell aperture. Sexual dimorphism can be observed in the shells of this species: the shells of the males tend to be more elongate with a smoother outer surface, whereas the shells of the females are generally wider and more nodulose. The angle of the spire also differs between males and females.
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In 2000, Felice Varini made inside the museum Ellipse orange évidée par sept disques, an anamorphosis visible from several floors. In 2002 is installed L'Hommage à Lamour, a work created in situ by François Morellet: visible from Place Stanislas and placed on the building of conservation, it is about a large horizontal white rectangle, with in each corner neon yellow curved in volutes. In 2012, the museum reopens its doors following lighting and energy saving. A new museography is then born, integrating the creation of a space dedicated to Jean Prouvé.
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The main façade of the church faces onto the Via del Quirinale (formerly the Via Pia), as does Borromini's San Carlo alle Quattro Fontane further down the road. Unlike San Carlo, Sant’Andrea is set back from the street and the space outside the church is enclosed by low curved quadrant walls. An oval cylinder encases the dome, and large volutes transfer the lateral thrust. The main façade to the street has an aedicular pedimented frame at the center of which a semicircular porch with two Ionic columns marks the main entrance.
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Original, preserved carving completes the prospect of the Hauptwerk at the top and bottom, forming lateral blind-relief wings of acanthus tendrils with volutes, and abutting the center tower. Due to the low ceiling height, the main case originally stood as a Brüstungsorgel ('parapet organ') integrated into the orphanage gallery edge somewhat like a chair-organ. Behind it was the 'Mittelste Werck' ('Middle division', essentially a 'Hinterwerk') positioned above the console. Behind the console, just above the floor, was the pedal with the largest pipes in the centre.
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The lateral to the volutes on the third story is the star-topped six mountains found in the heraldic coat of arms of the Chigi. The tympanum has the papal coat of arms with the crossed keys, and a shield with the Chigi heraldry: two oaks and the afore-mentioned six-mountain symbols. The baroque interior decoration was completed by 1610 by Francesco Della Monna. The marble altars were designed by Flaminio Del Turco; with bronze bas reliefs and the sepulchral monument of Aurelio Chigi were completed by Ascanio da Cortona.
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The museum of the Hermitage at Saint Petersburg contains a large collection of Scythian jewellery from the tombs of the Crimea. Many bracelets and necklaces in that collection are made of twisted wire, some in as many as seven rows of plaiting, with clasps in the shape of heads of animals of beaten work. Others are strings of large beads of gold, decorated with volutes, knots and other patterns of wire soldered over the surfaces.See the "Antiquites du Bosphore Cimmerien", by Gille, 1854; reissued by S. Reinach, 1892, which contains careful engravings of these objects.
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A large entablature separates the ground level from the upper two levels which have double pilasters rising through both levels on either side of windows. The pilasters have Ionic order capitals with the faces of devils between the volutes and the two sets of windows are double hung and have balustrades in front of them. The pilasters support a broken-bed pediment with relief carving to the tympanum featuring the Queensland Coat of Arms. Above the pediment is a parapet with pedestals at either end supporting sculpted stone devils holding shields bearing the printer's emblem.
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Choir The choir now has only 5 windows, after several were blocked up during the second phase of works by the architect Ferdinand-Sigismond Delamonce in 1733-37. The Rococo stalls found here show reversed volutes and garlands of foliage as well as asymmetrical shells and garlands of flowers. Typical of the 17th century Baroque style, the 1628 statues now located on the pilasters of the Munet arch were originally in the choir. They are by Sarazin and represent Saint Bruno of Cologne and Saint John the Baptist.
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Open-work carving with volutes, tendrils and figures with musical instruments forms the gallery edge. During the conversion, classical figures were carved on the manual cases and below the pedal tower by Anthonie Wallis, and the main case widened below impost level to the dimensions of the upper case. Four music-making cherubs from 1815 crown the Rug-Positief and female figures and angels with musical instruments top the main case. Wallis also replaced the original carvings beneath the side towers of the main case with two near-life-size figures of Atlas.
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The presence of local styles such as plants, fruits, volutes or circular designs and millipedes made the retablo of Silang distinct. The altar mayor is the largest and highest altar among the three altars and known relieves depicting the story of Jesus in the life of Mary based on the mysteries of the Holy Rosary. It has three levels, seven alternating niches for saints and relief and same divisions like the side altars. Instead of fluted Corinthian column separating the retablo sections, garlanded Corinthians and salomonicas are used.
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Santa Maria della Salute In 1582, Alessandro Vittoria began the construction of Palazzo Balbi (now housing the Government of Veneto), in which Baroque elements can be recognized: fashioned cornices, broken pediments, ornamental motifs. The major Baroque architect in Venice was Baldassarre Longhena. In 1631 he began to build the magnificent Santa Maria Della Salute basilica, one of the most beautiful churches in Venice and a symbol of Grand Canal. The classical layout of the façade features decorations and by many statues, the latter crowning also the refined volutes surrounding the major dome.
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Below appears the main motif, a flame palmette, growing among pebbles. The Sarnath capital is a pillar capital, sometimes also described as a "stone bracket", discovered in the archaeological excavations at the ancient Buddhist site of Sarnath. The pillar displays Ionic volutes and palmettes. It has been variously dated from the 3rd century BCE during the Mauryan Empire period,Presented as a "Mauryan capital, 250 BC" with the addition of recumbant lions at the base, in the page "Types of early capitals" in to the 1st century BCE, during the Sunga Empire period.
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The stone portal of the church, brought by José Moreira Leal from Lisbon in 1754, is in an ornate baroque style with a large pediment, volutes, and a niche. The stone cartouche at center of the pediment retains a carving, "Virgem Sm.ᵃ da Lapa e Conceição". The structure has a broad patio at center, which leads to a gallery of rooms for members of the convent community; the convent additionally had meeting rooms, halls, and corridors. The gallery leads to the upper choir, which is reserved for the exclusive use of the community.
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This deep, splayed passageway has an arched lintel decorated with plant motifs that introduces serried ranks of arches on either side. They are resting alternately on small columns and pillars variously decorated with fantastic creatures and inlaid geometric patterns. The wall beneath the great arch is densely worked with volutes of acanthus leaves and concatenated circles simulating rope made entirely of terracotta reliefs. The entrance is divided in two by a column of green marble with a capital and decorated entablature on which the two smaller arches rest.
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The château was constructed between 1527 and 1537, during which time le Breton also built his other home, Château de Villandry. The château consists of a main horse-shoe shaped house, with dormers framed by volutes and pilasters, decorated with the royal emblem of François I. In the rear is a moat and small bridge. The spiral staircase inside appears to have been inspired by Chambord, while stained-glass windows contains scenes from Metamorphoses by the poet Ovid. On either side of the main house are two single-story horse-shoe-shaped wings, each with rectangular corner pavilions and courtyards.
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The statue consists of a high pedestal with gigantic volutes, where is five statues of the patron saint of plague: Saint Sebastian, Saint Roch, Saint Charles Borromeo, Saint Francis Xavier and Saint Rosalia. On the pedestal rises tall pillar on which is sculptural group of the Holy Trinity, which shows character of God, Christ and the Holy Spirit, in figure of dove. In renovation of 1784 was added external footer, on which are situated mini- statues of Saint Joseph, Holy Mary, Saint Catherine and Saint John of Nepomuk. On the statue are carved 5 Latin inscriptions, which have chronogram.
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Below, and part of the monument, is a plaque with inscriptions beneath a pediment and inside vertical volutes. The monument is ascribed to W. Palmer, and Pevsner gives its date as c. 1730. Sir Edward’s, to the north of the crossing arch, comprises a plaque inscription between pilasters on which is set a pediment broken into three sections topped with an urn on each side. A split garland above the plaque leads to a putto head beneath the central section of the pediment, upon which is a painted coat of arms surrounded by scrolled relief decoration.
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This period in Phyfe's work is characterized by the use of plainer bands of highly polished wood, with little carving, the use of volutes, deep cavetto cornices, simple square columns, Marlboro feet, and console supports (C-scrolls) that were known in the Phyfe shop simply as "Grecian scrolls". The latter, lifted directly from the design vocabulary of French Restoration furniture of the 1820s, were ubiquitous in Phyfe's Grecian plain-style furniture.Kenny (2012), "Changing Perspectives", p. 118 Every room of the mansion was filled with D. Phyfe & Son furniture, as is documented by an 1841 letter and bill of lading from the firm.
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During the 1969 excavations, many stone reliefs and objects with Egyptian influences were found on site, including sculptures of lotus flowers representing the Egyptian goddess Hathor and the sun god. Within the sanctuary remains, an ornament with palm volutes measuring around 7.6 cm and dating to the 7th - 6th century BC was also uncovered. Other limestone fragments, theorised to belong to some architectural design, were also found in the same area. Other similar elements were found in the Roman house at Rabat, and they are theorised to have formed part of a thymiaterion, due to their Egyptian funerary design.
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The church, built in the Baroque architectural style, exhibits strong similarity but with better workmanship and design than the Bom Jesus Basilica at Goa built in 1605 AD, which was also built by the Portuguese during their colonial rule of the territory. The interior of the church is decorated with intricately carved woodwork that is considered one of the most elaborate in any Portuguese church in India. Its interior has elaborate and impressive design with delicate volutes (spiral scroll-like ornament) and shell. The front elevation or facade is also said to be the most detailed of all Portuguese churches built in India.
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"Manufacturer's & Traders National Bank" on the left and "Fidelity Trust Company" on the right, 1916 The exterior of the building features many decorative details including: Leaf-and-dart molding with "F" (for Fidelity) carved in stone, a protruding cornice, block modillions, egg-and-dart molding, dentil molding, volutes in Roman Ionic columns, and bay leaves in spandrels. Above the entrance has fluted end brackets with guttae and dentils support broken pediment. The interior of the building also features decorative details including: plaster ceiling ornamentation with Arabesques, Corinthian capitals, brass acanthus vines and flowers, and brass guilloche.
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The capitals in like manner differ, some scalloped, others have water-leaves and volutes. Over the second pier on each side is the entrance, now blocked, to the rood loft, indications of which may be seen on the south side. The clerestory, consisting of seven windows of two cinquefoiled lights in four-centred heads on each side, is of 15th-century date. The north and south aisles have windows of similar detail each with three cinquefoiled lights in a four-centred head, all of about 1500, and the north and south doorways are of the same date.
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The mansion was modeled on the chateaux of the Loire Valley in France. Architecture critic Henry Hope Reed Jr. has observed about it: > The fortress heritage of the rural, royal residences of the Loire was not > lost in the transfer to New York. The roof-line is very fine....The Gothic > is found in the high-pitched roof of slate, the high, ornate dormers and the > tall chimneys. The enrichment is early Renaissance, especially at the center > dormers on both facades of the building, which boast colonnettes, broken > entablatures, finials on high bases, finials in relief and volutes.
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He attributes the stylistic changes in the design of post offices under Vernon in large part to Oakeshott. This assertion is reinforced by the fact that the most distinguished English Domestic Revival post offices were erected in the Sydney metropolitan area at locations including Newtown (1893), Enmore (1895), Annandale (1895–96), Arncliffe (1897–98) and Summer Hill (1900). They include details and materials common to the Queen Anne style, attributed especially to Norman Shaw who had been practising successfully in England in this style for some decades. The incorporation of Dutch Renaissance motifs, notably gables with strapwork and volutes is also characteristic.
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The cast bronze wedge-shaped axe-head is elaborately decorated with what seems to be a winged sphinx on the front as well as palmettes and volutes. On the blade of the axe is inscribed an important dedication in the Achaean dialect of Ancient Greek that can be dated to the sixth century BC, which translates as: I am the sacred property of Hera-in-the-Plain: Kyniskos the butcher dedicated me, a tithe from his works. Scholars have been unable to determine the location of Hera-in-the Plain, although the inscription clearly indicates the wealth and aspirations of its dedicator.
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Every page of the Bible is decorated with an elegant frame of scrolls and other ornaments, surrounding two columns of texts. The margins contain various scenes, especially in the lower parts, where one often finds scenes drawn in perspective, borrowing from advances in painting of the time. Scenes are also depicted between the columns of text, usually next to the capital or illuminated letters. In the volutes in the corners, there are often animals, depicted with lively imagination that is part of the courtly style of the time, and often tied to heraldic symbols of Borso and his family.
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"El Rey" is a life-size carving of a human-like figure seated inside a cave with a wide opening; the shape of the opening represents one-half of a quatrefoil. The point of view is from the side, and the entire cave appears cross-sectional, with the cave entrance is seen to the right of the figure. The cave entrance is as tall as the figure, and scroll volutes (perhaps indicating speech or perhaps wind) are issuing from it. The cave in which the figure sits is equipped with an eye, and its general shape could suggest that of a mouth.
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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 ideal of proportion that was used by ancient Greek architects in designing temples was not a simple mathematical progression using a square module. The math involved a more complex geometrical progression, the so- called golden mean. The ratio is similar to that of the growth patterns of many spiral forms that occur in nature such as rams' horns, nautilus shells, fern fronds, and vine tendrils and which were a source of decorative motifs employed by ancient Greek architects as particularly in evidence in the volutes of capitals of the Ionic and Corinthian Orders.Banister Fletcher p.
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The interior building is 22m long, and the width and the average height are 5m. The church is composed of a single nave, three bays and six columns, including the marquees are adorned with stylised volutes, of Gothic art. The original ceiling was made of wood, as in many Romanesque churches of their time, but in the 13th and 14th centuries, it was replaced by a Gothic-style stone vault with crossed ogival arches. At the time the church was revamped, a Gothic style is also found on the main entrance and the right side door.
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The Sarnath capital is a pillar capital discovered in the archaeological excavations at the ancient Buddhist site of Sarnath. The pillar displays Ionic volutes and palmettes. It has been variously dated from the 3rd century BCE during the Mauryan Empire period,Presented as a "Mauryan capital, 250 BC" with the addition of recumbant lions at the base, in the page "Types of early capitals" in to the 1st century BCE, during the Sunga Empire period. One of the faces shows a galopping horse carrying a rider, while the other face shows an elephant and its mahaut.
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The keystone of the central arch of this entrance is decorated with a medallion with the papal coat-of-arms covered by a series of volutes. Above this, there is a relief depicting the Holy Trinity with God the Father dressed as a pope. The depiction of the Trinity is due to the church's patronage by a Trinitarian brotherhood originally formed by tailors. Side portal of church The side entrance to the church is also Churrigueresque with estipite columns, with Saint Peter in the central niche, reflecting the complex's other patron, a clerical brotherhood devoted to this saint.
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Two further, specifically Roman orders of architecture have their characteristic capitals, the sturdy and primitive Tuscan capitals, typically used in military buildings, similar to Greek Doric, but with fewer small moldings in its profile, and the invented Composite capitals not even mentioned by Vitruvius, which combined Ionic volutes and Corinthian acanthus capitals, in an order that was otherwise quite similar in proportions to the Corinthian, itself an order that Romans employed much more often than Greeks. The increasing adoption of Composite capitals signalled a trend towards freer, more inventive (and often more coarsely carved) capitals in Late Antiquity.
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In the final part of the 18th century, forged ironwork continued to decline due to the aforementioned industrial revolution, shapes of the elements in the designs of window grilles and other decorative functional items continued to contradict natural forms, surfaces begin to be covered in paint, cast iron elements are incorporated into the forged designs. Main features of Neoclassicism ironwork (also referred to as Louis XVI style and Empire style ironwork) include smooth straight bars, decorative geometric elements, double or oval volutes and the usage of elements from Classical antiquity (Meander (art), wreaths etc.). Typical for this kind of ironwork is that the ironwork is painted white with gold (gilded) elements.
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Built in 1902 and inspired by the building on 10 Skeppsbron (possibly by Nicodemus Tessin the Younger), it featured shops on street level, flanked by pilasters topped by volutes, offices on the second floor behind the low rounded arches and the bar windows, with dwellings above and storage below. Originally, the entrance was flanked by two minor doors facing the street (the door still is still there), and was slightly more elaborated. The green colour of the building would have pleased neither of the two architects, but obviously was to the taste of today's catering business, judging from the restaurant residing there - Pontus in the Green House.
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The coat-of-arms of Pope Sixtus IV on the lintel is encircled by oak branches. The carvings around the door are the only significant sculptural decorations on the façade and as a whole they summarize the iconographic program of the Sistine rebuilding. The central motif is the Madonna del Popolo surrounded by the symbols of heavenly light and paradisiacal abundance, intertwined with the emblem of the Della Rovere dynasty, and set in a perfectly classical frame. Bernini added the two halves of a broken segmental pediment on the sides of the upper level, replacing the original volutes, and the curved connecting element with the rich oak garlands.
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The painting is placed in a typically baroque ensemble made up of a false curtain supported by two putti – sunrays that seem to be springing from behind the painting – angel masks and decorative elements such as volutes. The adornment of the altar is accomplished by the angel statues on the upper area, above the columns, and the two statues in between the columns. The last two represent allegorical characters: Ecclesia embodied by Saint Barbara and the Synagogue represented by a prophet’s figure. The way body movement is reproduced, the subtle interpretation of the physiognomy, the volumetric and the draping of clothes make of these two statues masterpieces of Transylvanian Baroque art.
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Cymbiolacca pulchra wisemani is a subspecies of large sea snail, a marine gastropod mollusc in the family volutidae, the volutes. This species occurs in shallow water on top of the Great Barrier Reef, Queensland, Australia from at least as far north as Saint Crispins Reef Reef east of Cape Tribulation to at least as far south as Stanley Reef north east of Bowen. This subspecies is closely related to, and may be conspecific with, Cymbiolacca pulchra peristicta from the Swain Reefs region at the southern end of the Great Barrier Reef. The shell shape and colour pattern vary from population to population, with many endemic colour forms known.
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Ammonite capitals on a house in Oriental Place, Brighton The Ammonite order is an architectural order that features fluted columns and capitals with volutes shaped to resemble fossil ammonites. The style was invented by George Dance and first used on John Boydell's Shakespeare Gallery in Pall Mall, London in 1789 (later the British Institution; demolished in 1868). Ammonite motifs were also used on buildings in Old Regent Street, London, probably by John Nash from around 1818 (demolished in the 1920s). Architect, geologist and fossil collector Amon Wilds used the Ammonite order on the façade of his house in Castle Place in Lewes, probably as a punning reference to his forename.
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The vase is composed of two leaves of metal which were hammered then joined, although the handles and the volutes (scrolls) were cast and attached. The main alloy used gives it a golden colour, but at various points the decoration is worked with different metals as overlays or inlays of silver, copper, bronze and other base metals. Such highlights include the silver garlands of vine and ivy around the krater, the silver and copper stripes on the vipers at the handles, and the silver ords of the eyes of the volute masks."Derveni Krater", Barr-Sharrar, Beryl, in Ancient Greek Art, Ed. Michael Gagarin, 2009, Oxford University Press, Inc.
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The carving on the Camus Cross shows distinct similarities with those on the Brechin Hogback stone and point to an Irish Ecclesiastical influence. The foliar designs on the north and south edges, originally seen as Ringerike- like (and hence, Scandinavian in origin), consist of tendrils and volutes with "wave-crest" thickening. These features bear closest similarity with Irish insular art of the late tenth century, and the treatment of the symmetrical foliar scroll design on the lower portion of the west face is diagnostically Irish. The full-face figures on the east face are of an identical type to those on the Brechin Hogback.
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The Tara brooch has been copied and imitated, and the shape and decoration of it are well known. Instead of fine curls or volutes of gold thread, the Irish filigree is varied by numerous designs by which one thread can be traced through curious knots and complications, which, disposed over large surfaces, balance one another, but always with special varieties and arrangements difficult to trace with the eye. The long thread appears and disappears without breach of continuity, the two ends generally worked into the head and the tail of a serpent or a monster. The reliquary containing the "Bell of Saint Patrick" is covered with knotted work in many varieties.
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Achaemenid influence has also been noted, especially in relation to the general shape, and the capital has been called a "Persianizing capital, complete with stepped impost, side volutes and central palmettes", which may be the result of the formative influence of craftsmen from Persia following the disintegration of the Achaemenid Empire after the conquests of Alexander the Great."The Archaeology of South Asia: From the Indus to Asoka, c.6500 BCE-200 CE" Robin Coningham, Ruth Young Cambridge University Press, 31 aout 2015, p.414 Some authors have remarked that the architecture of the city of Pataliputra seems to have had many similarities with Persian cities of the period.
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Alberti had also designed the façade for the Rucellai Palace in Florence. Alberti attempted to bring the ideals of humanist architecture, proportion and classically inspired detailing to bear on the design, while also creating harmony with the already existing medieval part of the façade. The combined façade can be inscribed by a square; many other repetitions of squares can be found in the design. His contribution consists of a broad frieze decorated with squares, and the full upper part, including the four white-green pilasters and a round window, crowned by a pediment with the Dominican solar emblem, and flanked on both sides by enormous S-curved volutes.
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In addition to these, there are also various friezes attached to various parts of buildings, which include zigzag patterns, tessellations, perpendicular lines, dentils, niches, small false doors, and meanders, as well as floral and figural elements, including series of ibex heads and grape vines. Other common artistic elements in buildings include rosettes and volutes, ears of corn, and pomegranates. In two excavations, wallpaintings have also been discovered: geometric paintings in the temple of al-Huqqa and figural paintings from the French excavations at Shabwat. Artefacts in wood have not survived, but stone images of furniture allow us some insight into ancient South Arabian woodworking.
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In the Achaemenid Persian capital the brackets are carved with two heavily decorated back-to-back animals projecting right and left to support the architrave; on their backs they carry other brackets at right angles to support the cross timbers. The bull is the most common, but there are also lions and griffins. The capital extends below for further than in most other styles, with decoration drawn from the many cultures that the Persian Empire conquered including Egypt, Babylon, and Lydia. There are double volutes at the top and, inverted, bottom of a long plain fluted section which is square, although the shaft of the column is round, and also fluted.
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The lintels above the ground floor windows had decorative plastics which resembles the open crown - above each window there was an arch made from the face bricks with small decorative volutes in the corners and one large with an acorn in the central part. In 1865 Prince Michael ordered for the materials used for the construction of his summerhouse to be transferred to Belgrade, so that First Town Hospital can be built. It is not clear whether this was concerning the leftovers of the materials remaining after the construction was finished, or that he planned to build a larger edifice but stopped it at this point.
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The unique nave is covered in wood with three plans, with a lower footer in blue and white azulejo tile. Within this space, framed by the same portal and window, to the right, is a basin for holy water, while a triumphal arch framed in stonework, with pilasters and single step. The presbytery is covered with vaulted-ceiling, with cornice, while the main altar is preceded by two steps and framed within a gilded retable. A central rounded niche is flanked by pilasters with volutes and upper architecture in multiple lobes, framed by a medallion with the monogram AM circled by glint and urns.
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Schlafer House Schlafer House Fairway Hills Dr., Franklin (1961) Client: Maurice A. Schlafer Style: Regency, Ranch In 1961, when Keyes was 73, five years after he designed Fisher House on Fairway Hills Dr. in Franklin, Maurice A. Schlafer (of the Schlafer Iron and Metal family) hired him to design a miniature version right across the street. The single story ranch-style house wraps around the back of the property in a U-shape, leaving a deceptively diminutive façade that belies its five-thousand square feet (which still makes it one of the smallest of Keyes's houses). It has Fisher House's Regency white brick and Tuscan colonnade and entablature with spiral volutes. Contrasting French shutters frame the walls of windows.
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The circlet of the crown is divided in four by two large sapphires, a flat one that can be traced back to Frederick I at the forehead of the wearer (presumably a gift to his father, Christian I, from Galeazzo Maria Sforza, the Duke of Milan in 1474) and a thicker one at the back of the head and by a spinel at one side and a garnet at the other. The four curved segments of the circlet between these stones is decorated with volutes made of table cut diamonds. On the upper edge of the circlet are eight acanthus leaves, four larger and four smaller ones. These acanthus leaves are decorated with diamond-studded ribs.
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The joins between the drums were concealed by these sculpted wreaths. Each wreath had in its centre a medallion at the "forehead" of the wreath, inscribed with a wreathed Christian symbol related to the Chi Rho and resembling the IX monogram. The capital, more than two metres high, and nearly 3 m broad, tapers towards a diameter at its bottom of 1.78 m, similar to the thickness of the column drums below, which measure 1.79 m at their bottom and 2.10 m at the top, where the wreath is. The capital itself had human face protomes projecting from the centre of each side of the block, between the volutes where a fleuron would typically be.
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The design presented a light lounge with pillar supports that flourished into scroll curves, and the back rest was characterized by curvilinear motifs that created interesting and eye-catching negative space between the wood frame and the couch cushion itself. Twelve of these lounges are known to exist today, and are believed to have been crafted between 1845 and 1860; they are more or less detailed and stylized depending on customer price range, but all have the pillar and scroll designs as well as some form of curvature. Day's use of the scroll motif found inspiration from scrolled volutes on column capitals in classical style. As his work as a craftsmen developed through the years, so did his style.
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Mousavi, Ali, Persepolis: Discovery and Afterlife of a World Wonder, p. 53, 2012, Walter de Gruyter, , 9781614510338, google books; Schmitt The capital is much longer than in most other styles of columns. While some smaller columns move quickly from the animals to the plain shaft below, the largest and grandest examples have a long intervening section with double volutes at the top and, inverted, at the bottom of a long fluted square zone, although the shaft of the column is round. At the top of the round fluted shaft are two sections with a loosely plant-based design, the upper a form of "palm capital", spreading as it rises, and the lower suggesting leaves drooping downwards.
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Alternate loggia openings are heightened by arches above the entablature. Romano's willingness to play with the conventions of the classical orders is already in evidence; the Doric here has guttae but no triglyphs on its narrow entablature. The volutes of the Ionic capitals of the entrance facade are repeated in the window surrounds between them: "The canonic orders here begin to be treated visually as independent from their structural purposes, and this liberation offered the architect new expressive possibilities."Talvacchia There are extensive frescos and decoration in stucco in the rooms, carried out by Raphael's workshop team under the supervision of Giulio Romano, with Polidoro da Caravaggio probably playing a leading part.
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Wallace objects that Poulton asserts the reality of sexual selection with no proof other than mentioning that insects can perceive colour, and that "a few birds collect bright objects, as in the case of the bower-birds". Wallace gives a detailed counter-example to refute Poulton's argument, arguing that "really beautiful combinations of colour and marking" are found on the sea shells of molluscs "where sexual selection has certainly not come into play". To make the point, Wallace lists > "the cones, cowries, olives, harps, volutes, pectens, and innumerable other > molluscan shells; while many of the sea-anemones, and considerable numbers > of the caterpillars with warning colours, are equally beautiful." And that was not all.
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Construction of the Midland Theatre in May, 1927 It was built by Marcus Loew, completed in 1927, at a cost of $4 million and was the largest historic theater within 250 miles of the city. The Midland was designed by architect Thomas W. Lamb of New York and the Boller Brothers of Kansas City, and Boaz-Kiel Construction of St. Louis erected the structure. The theatre, built in French and Italian Baroque, was representative of Lamb's work in the late 1920s. The exterior of the theatre was constructed in a Renaissance Revival style in cream glazed terra cotta brick, adorned with engaged pilasters, winged figures, leaves, flowers, swags, volutes, urns, and arches.
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A siphon makes use of the difference in the height between the intake and the outlet to create a pressure difference needed to remove excess water. Siphons, however, require priming or the removal of air in the bend for them to function, and most siphon spillways are designed with a system that makes use of water to remove the air and automatically prime the siphon. One such design is the volute siphon, which makes use of water forced into a spiral vortex by volutes or fins on a funnel that draw air out of the system. The priming happens automatically when the water level rises above the inlets used to drive the priming process.
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Another similar pillar arrangement from a relief in Bharhut (detail). According to architectural historian Dr. Christopher Tadgell, the Pataliputra capital is similar to the capitals which are visible in the reliefs of Sanchi and Bharhut, dated to the 2nd century BCE. The Bharhut pillars are formed of a cylindrical or octagonal shaft, a bell capital and a crowning capital of trapezoid shape crisscrossed with incisions to achieve a decorative illusion (or a floral composition in more detailed examples), and often ended with a volute in each top corner. To him, the main characteristic of the Pataliputra capital would be that it has vertically arranged volutes, and clear motifs of west-Asiatic origin.
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The Pataliputra capital is a monumental rectangular capital with volutes designs, that was discovered in the palace ruins of the ancient Mauryan Empire capital city of Pataliputra (modern Patna, northeastern India). It is dated to the 3rd century BC. The top is made of a band of rosettes, eleven in total for the fronts and four for the sides. Below that is a band of bead and reel pattern, then under it a band of waves, generally right-to-left, except for the back where they are left-to-right. Further below is a band of egg-and-dart pattern, with eleven "tongues" or "eggs" on the front, and only seven on the back.
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This has the advantage of removing the necessity to have a different appearance between the front and side views, and the Ionic eventually developed bending forms that also allowed this. The treatment of details has often been very variable, with the inclusion of figures, heraldic symbols and the like in the capital. The relationship of the volutes to the leaves has been treated in many different ways, and the capital may be distinctly divided into different horizontal zones, or may treat the whole capital as a single zone. The composite order, due to its delicate appearance, was deemed by the Renaissance to be suitable for the building of churches dedicated to The Virgin Mary or other female saints.
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This other capital is also said to be from the Mauryan period. It is, together with the Pataliputra capital, considered as "stone brackets or capitals suggestive of the Ionic order"."The Archaeology of Early Historic South Asia: The Emergence of Cities and States" F. R. Allchin, George Erdosy, Cambridge University Press, 1995, listed in page xi A later capital found in Mathura dating to the 2nd or 3rd century (Kushan period) displays a central palmette with side volutes in a style described as "Ionic", in the same kind of composition as the Pataliputra capital but with a coarser rendering. (photograph).The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art, Published on Dec 12, 2013.
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Intricate scenes depicting archers of king Darius would decorate the walls, as well as motifs of nature such as double-bulls, unicorns, fasciae curling into volutes, and palms disposed as a flower or a bell. The archers in particular depict a unique symbiosis of Persian, Ionian and Greek artistry of the time probably reflecting the origin of the artists who were originally hired by Darius the Great, and their personal reflections on the finished work. Perhaps the most striking terra-cotta relief is that of the griffin, depicting a winged creature resembling a lion with wings of an eagle (picture not shown here). The terra-cotta brick reliefs were decorated with lively dye colorations often giving them a lifelike quality.
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"It can also be suggested that Lats topped by animals figures also have an ancestor in the sphinx-topped pillars of Greece of the Middle-Archaic period (c.580-40 B.C), Delphi Museum at Delphi, Greece, has an elegant winged sphinx figure sitting on an Ionic capital with side volutes." in Graeco- Indica, India's cultural contexts with the Greek world, Ramanand Vidya Bhawan, 1991, p.5 Many similar columns crowned by sphinxes were discovered in ancient Greece, as in Sparta, Athens or Spata, and some were used as funerary steles. The Greek sphinx, a lion with the face of a human female, was considered as having ferocious strength, and was thought of as a guardian, often flanking the entrances to temples or royal tombs.
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Entrance is now through the side door into the Balvanera Chapel, then into the main church. The facade of the chapel was constructed in 1766 and it is not sure who constructed it but most think it was the work of Lorenzo Rodríguez, best known for his work on the Metropolitan Tabernacle. The chapel’s statues were removed when the chapel was in the hands of an Evangelical sect, but it kept other decorative elements such as volutes, sculpted leaves and flowers and the estipite (inverted truncated pyramid) columns with medallions. Inside there is an 18th-century altarpiece dedicated to the Virgin of Guadalupe as well as the entrance to what was once the Chapel of the Second Station of the Stations of the Cross.
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The privilege rendered any unlicensed publisher or vendor of her engravings liable to a heavy fine of approximately 500 ducati. Of this, one third would have gone to the Pope in office, one third to Diana, and the final third to the judge who issued the decision, naturally encouraging a judgment in favor of the artist. In addition to such a fine, the punishment also included immediate excommunication from the Catholic Church. Her astuteness as a businesswoman can be seen not only in her successful application for a Papal Privilege, but also in her prints that promoted her husband's architectural work. Between 1576 and 1580, she made four prints featuring column capital volutes and other architectural details, including “bead and reel” and “egg and dart” moldings.
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The church was founded in the second half of the 16th century by a charitable organization that arose in 1548, almost certainly affiliated if not the same as the Order of the Blessed Virgin Mary of Mercy, with the aim of freeing captive Christians who had been captured by Muslim navies and brigands. Sometime they arranged exchanges of similarly enslaved Muslims for their Christian counterparts. Once the association had operated with the church of San Domenico Maggiore, Naples, but began construction of this new church on land ceded to them by the Celestines from the nearby church of San Pietro a Majella, Naples. Façade detail In 1706, the church, including the facade with its volutes and obelisk decoration, was rebuilt by Ferdinando Sanfelice.
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The chapel has a simple façade with a single portal with fluted pilasters, apparently modified in the 19th century in the Neoclassical style. The portal, which no longer aligns with the building after modifications in the 19th century, has a pediment with volutes and a cross at center; its design was inspired by that of the Church of Saint Michael, located to the south below the Pelourinho. Similar pediments can be found at Solar Ferrão, also in the Pelourinho; the building of the Museum of Art of Bahia and the Casa de Oração dos Jesuítas The nave of the chapel has a single aisle on one side. Tribunes are along the single aisle with two choirs to the rear of the structure.
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Similar motifs made up of straight lines and right angles, such as the "Greek key", are more often called meanders. In art history, a "floriated" or "flower scroll" has flowers, often in the centre of the volutes, and a "foliated" or "leaf scroll" shows leaves in varying degrees of profusion along the stems. The Ara Pacis scrolls are foliated and sparingly floriated, whilst those in the Dome of the Rock mosaics are profusely foliated with thick leaves forming segments of the stems. As in arabesques, the "leaf" forms often spring directly from the stem without a leaf stalk in ways that few if any real plants do; these are generally derived from the ancient half-palmette motif, with the stem running along the bisected edge of the palmette.
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Interior with altar :for the Santa Maria in Portico in Rome, see Santa Maria in Campitelli Chiesa di Santa Maria in Portico is a late-baroque church in the city center of Naples placed at the end of its homonymous street, just off the seaside promenade of the Riviera di Chiaia. While the original architect was Nicola Longo in 1632; the facade was completed by Arcangelo Guglielmelli in a pell-mell concoction of Mannerist and Baroque styles, utilizing columns and pilasters of varying sizes, volutes, and even obelisks with typical Neapolitan appeal to color differences. Among the wealth of interior artwork are frescoes by Giovanni Battista Benaschi and interior architectural sculpture by Domenico Antonio Vaccaro. In addition, there is an Annunciation by Fabrizio Santafede and an Assumption by Paolo de Matteis.
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Angelov claims that the image in the House of Antiope is among the few contemporaneous depictions of that episode. As in mythology, Zeus is portrayed as a young satyr who kidnaps Antiope, attracted by her beauty. The mosaic is accompanied by two inscriptions in Ancient Greek, which explicitly label the characters as ΣΑΤΥΡΟΣ ("satyr") and ΑΝΤΙΟΠΗ ("Antiope"). Other mosaics in the villa include the story of Ganymede, who is transported to Mount Olympus by Zeus transformed into an eagle, which covers the oecus, the largest premise; the badly damaged Seasons mosaic in the women's apartments, which features images of animals, geometric motifs and personifications of the four seasons, of which Autumn has been preserved; and the geometric Pannonian Volutes mosaic, moved to the museum from another ruined ancient building of Marcianopolis.
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Stävlö is one of the most eccentric Swedish buildings of the 19th century, and was designed by the owner Carl Otto Posse himself, who based the shape of the building on the Posse family coat of arms. After he became owner of the estate in 1834, Posse had the original manor house knocked down for his new construction, which was completed in 1860. The central part of the castle is four storeys high, and each surrounding part is a level lower, ending with a single storey pavilion on each side, and the whole was originally surrounded by parkland in the romantic style. The stepped sections, together with the pediment on the central block, are decorated with volutes, and the pediment is also decorated with the Posse coat of arms.
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The facade is divided into three vertical registers and two horizontal levels. The first level includes the inferior part of the towers and the facade up to the gable. The rectangular opening of the entrance topped by a small semi-circular gable, the oblong semicircular windows of the middle register with the extremely plastically articulated “eyebrow” cornices, the rectangular windows with the slightly curved long sides, the niches which hold the statues of Saint Ignatius of Loyola and Francis Xavier, the monumental pilasters that mark the towers vertically are all elements of typical Baroque architecture. The superior part of the façade, delimited by a strongly-profiled cornice, includes the triangular gable with its sides slightly curved toward the exterior and decorated with volutes, as well as the two tower roofs shaped as successive bulbs.
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However, the architectural elements were constructed in the form of large volutes supporting the peaks from the side of the courtyard, and on the axis of the pilasters (on the roof) there are statues in the form of small vases (or, as some claim, acorns). The inner parts of the sashes are basket arcades carrying the terrace bounded by a balustrade, and in the arcades large and wide windows ending in a basket arch. South side it is a modern extension, on both sides of the road, with quarter- circle bays at both corners and only in the eastern part (in the roof part) of the façade. West wing is a portico supported by five semi-circular and wide arcades, and there is a semi-circular bay window at floor level.
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Over the image of Trikamray are forty gold and silver parasols, the offerings of devotees. The other five temples built by Vagheli Mahakunvar form, along with the more lately built temple of Kalyanray, a row of six domes supported by fourteen pillars, and forty-eight pilasters, with carving on the bases, shafts, and capitals. The brackets are scrolled volutes and the side pillars of one dome serve to support the lintel of the next, and the corresponding pillars of the next act similarly for the third dome. The temples at the two ends have screen walls under their domes with doors, but the rest have a common verandah with entrances in the fronts the space on the two sides of each entrance being closed with a screen of wooden lattice.
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Drawing of Jean-Antoine Alavoine by Eustache-Hyacinthe Langlois Jean-Antoine Alavoine (4 January 1778 – 15 November 1834) was a French architect best known for his column in the Place de la Bastille, Paris (1831–1840), the July Column to memorialize those fallen in the Revolution of 1830. The column, consciously larger-scaled than the column in the Place Vendôme, has a capital freely based on the Corinthian order, with exaggerated corner volutes flanking putti holding swags, a complicated and somewhat incoherent design that found no imitators. However, in 1813 working with another architect, Bridan, Alavoine had designed to Napoleon's orders, under the direction of Ambroise Tardieu, a colossal elephant fountain, the Elephant of the Bastille. This monument was intended for the same Place, to be constructed with a cast-bronze skin over a framework.
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This type of krater, defined by volute-shaped handles, was invented in Laconia in the early 6th century BC, then adopted by Attic potters. Its production was carried on by Greeks in Apulia until the end of the 4th century BC. Its shape and method of manufacture are similar to those of the column krater, but the handles are unique: to make each, the potter would have first made two side spirals ("volutes") as decorative disks, then attached a long thin slab of clay around them both forming a drum with flanged edges. This strip would then have been continued downward until the bottom of the handle where the potter would have cut a U-shaped arch in the clay before attaching the handle to the body of the vase.
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There is a major emphasis on Nasca style pottery at Cahuachi. Recognized as a discrete style first by Adolf Bastian, Nasca style is a polychrome pottery and is generally noted as having a “south coast” provenance and is named Nasca for its focal regional distribution in the Nasca valley. There are two principal modalities in the decorative style of Nasca pottery: “Monumental” and “Proliferous” (coined terms by Rowe). Monumental refers to the types of Nasca pottery with so-called realistic designs, while Proliferous describes more “conventionalized motifs” with volutes, rays, and points. Gayton and Kroeber established three categorizable characteristics-shape, color, and design- and based on the relationships between these attributes came up with four chronological phases or “substyles” of Nasca pottery: A, the earliest; X, transitional; B, latest; and Y, miscellaneous or otherwise unable to be phased.
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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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In an angular capital of the Greek Corinthian order, the abacus is moulded, its sides are concave, and its angles canted (except in one or two exceptional Greek capitals, where it is brought to a sharp angle); the volutes of adjacent faces meet and project diagonally under each corner of the abacus. The same shape is adopted in the Roman and Renaissance Corinthian and Composite capitals, in some cases with the carved ovolo moulding, fillet, and cavetto In Romanesque architecture, the abacus survives as a heavier slab, generally moulded and decorated. It is often square with the lower edge splayed off and moulded or carved, and the same was retained in France during the medieval period. In Early English work, a circular deeply moulded abacus was introduced, which in the 14th and 15th centuries was transformed into an octagonal one.
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Romano's willingness to play with the conventions of the classical orders is already in evidence; the Doric here has guttae but no triglyphs on its narrow entablature. The volutes of the Ionic capitals are repeated in the window surrounds between them: "The canonic orders here begin to be treated visually as independent from their structural purposes, and this liberation offered the architect new expressive possibilities."Talvacchia His last building in Rome, the (started 1522–23), was a considerable contrast, being a palazzo in the city centre, with shops on the ground floor, and a massive, imposing feel. The rustication and exaggerated size of keystones that were to be so prominent in his later buildings in Mantua are already present on the ground floor, which dispenses with any classical order, but the two upper floors have increasingly shallow orders in pilasters, somewhat in the manner of the Villa Lante.
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The belfry is composed of a base in white cut stone, built in the 15th century between 1406 and 1410, a stone superstructure bell tower built from 1749 with Baroque volutes at its base, and a dome covered with slate and then the renowned arrow weather vane. At the time, a huge 11-ton bell was installed inside, it was later destroyed along with the dome, whose copper component melted, in the bombardment and fire of the city on 19 May 1940. Abandoned and devoid of a roof since World War II, the monument was fully restored between February 1989 and July 1990. Located on the Place au Fil, the old central square of the city before the arrival of the railway and the rise of the Rue des Trois Calloux, the belfry is adjacent to Les Halles and the back of the city hall.
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The inspiration for the Baroque facade at Heythrop was Gian Lorenzo Bernini's final design for the Louvre, a plan never executed. Like Chatsworth, Heythrop Park comprises two floors linked by the giant order standing upon a raised semi-basement; the bays are articulated by a giant order with the Baroque inturned Corinthian volutes invented by Francesco Borromini. The elevation is broken by three projections, the centre being the central portico with Corinthian columns; this has no pediment to break the roof-line. In a break from his usual style, Archer has given the fenestration unusual emphasis by contrasting architectural detailing: the windows on the ground floor are from a design by Bernini, while those on the floor above are in a mannerist style with overlarge keystones penetrating the cornice, criticise this treatment of the fenestration as "fussy" and speculate it could be the result of input by Shrewsbury himself.
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Similarities have been found in the designs of the capitals of various areas of northern India from the time of Ashoka to the time of the Satavahanas at Sanchi: particularly between the Pataliputra capital at the Mauryan Empire capital of Pataliputra (3rd century BCE), the pillar capitals at the Sunga Empire Buddhist complex of Bharhut (2nd century BCE), and the pillar capitals of the Satavahanas at Sanchi (1st centuries BCE/CE). The earliest known example in India, the Pataliputra capital (3rd century BCE) is decorated with rows of repeating rosettes, ovolos and bead and reel mouldings, wave-like scrolls and side volutes with central rosettes, around a prominent central flame palmette, which is the main motif. These are quite similar to Classical Greek designs, and the capital has been described as quasi-Ionic. Greek influence, as well as Persian Achaemenid influence have been suggested.
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Ionic capital of the Erechtheion, with rotated volute at the corner Plate of the Ionic order, from Les Ruines des plus beaux monuments de la Grèce, made in 1770 by alt= In the Ionic capital, spirally coiled volutes are inserted between the abacus and the ovolo. This order appears to have been developed contemporaneously with the Doric, though it did not come into common usage and take its final shape until the mid-5th century BC. The style prevailed in Ionian lands, centred on the coast of Asia Minor and Aegean islands. The order's form was far less set than the Doric, with local variations persisting for many decades. In the Ionic capitals of the archaic Temple of Artemis at Ephesus (560 BC) the width of the abacus is twice that of its depth, consequently the earliest Ionic capital known was virtually a bracket capital.
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After her burial, her nurse, collecting a few little things which used to give the girl pleasure while she was alive, put them in a basket, carried it to the tomb, and laid it on top thereof, covering it with a roof-tile so that the things might last longer in the open air. This basket happened to be placed just above the root of an acanthus. The acanthus root, pressed down meanwhile though it was by the weight, when springtime came round put forth leaves and stalks in the middle, and the stalks, growing up along the sides of the basket, and pressed out by the corners of the tile through the compulsion of its weight, were forced to bend into volutes at the outer edges. :Just then Callimachus, whom the Athenians called katatêxitechnos for the refinement and delicacy of his artistic work, passed by this tomb and observed the basket with the tender young leaves growing round it.
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Relief with Persephone A couch or kline (Greek: κλίνη) was a form used in Greece as early as the late seventh century B.C.E.Simpson, 253. The kline was rectangular and supported on four legs, two of which could be longer than the other, providing support for an armrest or headboard. Three types are distinguished by Richter – those with animal legs, those with “turned” legs, and those with “rectangular” legs, although this terminology is somewhat problematic.Richter, 54; Richter defines “turned” (as in lathe-turned) legs on page 19 as being tripartite, with a middle “lozenge- shaped” portion capped by conical, “flaring” pieces at either end. This terminology is problematic in that it implies woodworking techniques, while the “turned” leg could have been executed in other materials, such as stone, metal, or ivory. Richter defines “rectangular” legs on page 23 as those that are “straight” though these can be curved and footed and often decorated with palettes and volutes.
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Emlyn published A Proposition for a new Order in Architecture, with rules for drawing the several parts, London, 1781 (2nd and 3rd editions, 1784); this consisted ‘of a shaft that at one-third of its height divided itself into two, the capitals having oak leaves for foliage, with the star of the order of the garter between the volutes.’ He introduced this order (the point of division being covered by an escutcheon, and the foliage being replaced by ostrich plumes) in the porch of his own house, and in the tetrastyle portico at Beaumont Lodge, near Windsor, which (except part of the west wing) was erected by him for Henry Griffiths in 1790. George III assigned to Emlyn some alterations in St. George's Chapel, Windsor, which were executed (1787–90) entirely after his designs, and preserved a due harmony with the original work. The restoration included "the screen to the choir, executed in Coade stone, with the organ case, the altar, and the king's and additional stalls".
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View of the interior Inside, the Baroque character is strengthened by mouldings, volutes, broken pediments, and pilasters and columns, which create light effects. The floor of the choir has geometric motives and it has been claimed that they represent an ancient Arabic language called Kufic.Sint-Walburgakerk geeft groot geheim prijs The church holds several paintings in the choir, aisles and above the rood screen including: 14 paintings on the Fifteen mysteries of the rosary from the circle of Jan Anton Garemyn (1750), the Glorification of the Holy Sacrament by Jan Anton Garemyn (1740s), the Coronation of Our Lady by Erasmus Quellinus II (17th century), the Lamentation of Christ by Joseph Denis Odevaere (1812), the Resurrection by Joseph-Benoît Suvée (18th century), the Vision of St. Ignatius by P. Cassiers, a triptych of Our Lady of the Dry Tree by Pieter Claeissens the Younger (1620) and an anonymous canvas of St. Domenic healing a child. The church has a monumental marble altar by Jacob Cocx (dedicated in 1643) with a statue of St. Walburga by Houvenaegel (1842).
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