"authors will refer to ""sepals and petals"" where others use ""tepals"" in the same context. In some plants the flowers have no petals, and all the tepals are sepals modified to look like petals. These organs are described as petaloid, for example, the sepals of hellebores. When the undifferentiated tepals resemble petals, they are also referred to as ""petaloid"", as in petaloid monocots, orders of monocots with brightly coloured tepals. Since they include Liliales, an alternative name is lilioid monocots. Terms used in the description of tepals include pubescent (with dense fine, short, soft hairs, downy), puberulent (minutely pubescent, hairs"
"divide the two bodies have fitomorphic decorations. The superior body or españada of recent construction is decorated with pilasters and gothic decorations in relief. In the superior part, there is a clock installed and is crowned by a small dome and a cross. To each side of the españada, there are steeples that have the same decoration style, crowned also by a dome and a cross. The lateral and later facades are reinforced with support columns. The walls are decorated with entablatures and the lateral accesses are framed with ionic columns. Another lateral access even preserves the decoration that is"
"Tepal A tepal is one of the outer parts of a flower (collectively the perianth). The term is used when these parts cannot easily be classified as either sepals or petals. This may be because the parts of the perianth are undifferentiated (i.e. of very similar appearance), as in ""Magnolia"", or because, although it is possible to distinguish an outer whorl of sepals from an inner whorl of petals, the sepals and petals have similar appearance to one another (as in ""Lilium""). The term was first proposed by Augustin Pyramus de Candolle in 1827 and was constructed by analogy with"
"Sepal A sepal ( or ) is a part of the flower of angiosperms (flowering plants). Usually green, sepals typically function as protection for the flower in bud, and often as support for the petals when in bloom. The term ""sepalum"" was coined by Noël Martin Joseph de Necker in 1790, and derived from the Greek σκεπη (""skepi""), a covering. Collectively the sepals are called the calyx (plural calyces), the outermost whorl of parts that form a flower. The word ""calyx"" was adopted from the Latin ""calyx"", not to be confused with ""calix"", a cup or goblet. ""Calyx"" derived from"
"the inner whorl forms petals, which attract pollinators. Tepals formed by similar sepals and petals are common in monocotyledons, particularly the ""lilioid monocots"". In tulips, for example, the first and second whorls both contain structures that look like petals. These are fused at the base to form one large, showy, six-parted structure (the perianth). In lilies the organs in the first whorl are separate from the second, but all look similar, thus all the showy parts are often called tepals. Where sepals and petals can in principle be distinguished, usage of the term ""tepal"" is not always consistent – some"
"recent construction is decorated with pilasters and gothic decorations in relief. In the superior part, there is a clock installed and is crowned by a small dome and a cross. To each side of the españada, there are steeples that have the same decoration style, crowned also by a dome and a cross. The lateral and later facades are reinforced with support columns. The walls are decorated with entablatures with classic decorations that divide the two bodies at the same time. In the middle body, there is an ocular and other four couples of columns. The molds or entablatures that"
"flowers (e.g., Rosaceae, Myrtaceae) a hypanthium includes the bases of sepals, petals, and the attachment points of the stamens. Sepal A sepal ( or ) is a part of the flower of angiosperms (flowering plants). Usually green, sepals typically function as protection for the flower in bud, and often as support for the petals when in bloom. The term ""sepalum"" was coined by Noël Martin Joseph de Necker in 1790, and derived from the Greek σκεπη (""skepi""), a covering. Collectively the sepals are called the calyx (plural calyces), the outermost whorl of parts that form a flower. The word ""calyx"""
"a tourist spot. The structure was built entirely teak and stands adorned with pillars, arches and balconies. It is believed that Tipu Sultan used to conduct his durbar (court) from the eastern and western balconies of the upper floor. There are four smaller rooms in the corners of first floor which were Zenana Quarters. There are beautiful floral motifs embellishing the walls of the palace. The site also holds a painting of grand throne visualized by Tipu Sultan himself. Coated with gold sheets and stuck with precious emerald stones, Tipu had vowed never to use it until he completely defeated"
"a tile with a different design. It has the form of a heraldic shield and bears either the Lübeck heraldic eagle or a stylized tree. These shields are flanked by two male figures who function as bearers of a coat of arms. The terracotta stripes were repaired during restoration work between 1865 and 1870. Only three of the original tiles are preserved as museum specimens. The new tiles approximate the former design, although liberties were taken during the restoration. For example, the design of the heraldic eagle motif is by no means a reflection of the original. The pediment was"
"persists after flowering, but instead of withering, begins to grow until it forms a bladder-like enclosure around the fruit. This is an effective protection against some kinds of birds and insects, for example in ""Hibiscus trionum"" and the Cape gooseberry. Morphologically, both sepals and petals are modified leaves. The calyx (the sepals) and the corolla (the petals) are the outer sterile whorls of the flower, which together form what is known as the ""perianth"". The term ""tepal"" is usually applied when the parts of the perianth are difficult to distinguish, e.g. the petals and sepals share the same color, or"
"their flesh, but for their shells. Tortoiseshell, a traditional decorative ornamental material used in Japan and China, comes from the carapace scutes of the hawksbill sea turtle. Ancient Greeks and ancient Romans processed sea turtle scutes (primarily from the hawksbill) for various articles and ornaments used by their elites, such as combs and brushes. The skin of the flippers is prized for use as shoes and assorted leather goods. The Moche people of ancient Peru worshipped the sea and its animals. They often depicted sea turtles in their art. Leatherback sea turtles enjoy immunity from the sting of the deadly"
"decorative elements. It is decorated with repoussé decoration, engraving, and enamel. The decoration is in the typically Celtic La Tène style, consisting of circles and spirals. There are 27 small round compartments in raised bronze with red cloisonné enamel; the bronze within the compartment forms a sort of swastika, thought to have been associated with good luck and also ""solar energy"". Enamel was a Celtic speciality, and reflects the use of red Mediterranean coral inlays in other British Celtic artefacts, such as the Witham Shield, and here may perhaps be considered as an imitation of imported coral, though the use"
"Tessera A tessera (plural: tesserae, diminutive ""tessella"") is an individual tile, usually formed in the shape of a cube, used in creating a mosaic. It is also known as an abaciscus or abaculus. In early antiquity, mosaics were formed from naturally formed colored pebbles. By roughly 200 BCE cut stone tesserae were being used in Hellenistic-Greek mosaics. For instance, a large body of surviving material from the Hellenistic period can be found in the mosaics of Delos, Greece, dating to the late 2nd century BCE. Ancient Roman decorative mosaic panels and floor mosaics were also produced during the 2nd century"
"necklace or bracelet, and serving as added protection against sickness inflicted by evil spirits. To gain more strength against evil spirits, men and women wear the anting-anting. This consists of a string with a piece of cloth containing beads as pendant (Sherfan 1976:143–147). The Yakan also wear functional gadgets. The pegupaan is a bamboo container for all the paraphernalia for chewing betel nut. The lutuan, a small bronze box with engravings carried at the waist, has a similar function (Sherfan 1976:203). A unique form of visual arts is the facial make-up done on brides and grooms. After creating a foundation"
"12 facets and was covered with rich and complex, but immensely fine geometric ornaments. The mausoleum stands on a great pedestal which looks like dressed triangle feathers. Once, the mausoleum was crowned with a pyramid-cupola. It hasn’t remained up to this days, but all remaining parts are preserved perfectly. All sides of the mausoleum were decorated with ornaments and inscriptions. Upper part of the mausoleum was decorated with ornamental nettings. There is an aperture leading to the mausoleum in the northern part. It leads to the underground part of the mausoleum. It is poorly illuminated by small windows like loopholes."
"The roof is topped by a barrel vault and the nave has a wooden ceiling. The southern entrance rests on a plinth and is protected with a grooved tile. It consists of four slightly pointed archivolts, over which runs a honeycomb design similar to that on the posts which support the archivolts. The archivolts have various decorative elements, but the capitals are badly deteriorated. They are decorated with plant motifs, human figures and various fantastic creatures (mermaids, griffins and centaurs). Their base shafts no longer exist. On the right is a small window divided with an arrow, which is framed"
"at Athens, and the Serapeum at Puteoli (modern Pozzuoli). Still more expensive and magnificent tiles were made of bronze and gilt. Imbrex and tegula The imbrex and tegula (plurals imbrices and tegulae) were overlapping roof tiles used in ancient Greek and Roman architecture as a waterproof and durable roof covering. They were made predominantly of fired clay, but also sometimes of marble, bronze or gilt. In Rome, they replaced wooden shingles, and were used on almost every type of structure, from humble outbuildings to grand temples and public facilities. The tegula (Greek solenes) was a plain flat tile, or a"
"this period; most use cheaper silver-gilt for the structural framework. The jewels, which would have been keenly appreciated by contemporary viewers, include two large sapphires, one above God the Father at the very top of the reliquary, where it may have represented heaven, and the other below Christ, on which the thorn is mounted. The gold elements framing God the Father and the central compartment with Christ and the thorn are decorated with alternating rubies and pearls, totalling fourteen of each. All the gemstones have the smooth and polished cabochon cut normal in medieval jewellery, and though they are set"
"barely visible to the naked eye) and puberulous (dense covering of very short soft hairs). Tepal shape is described in similar terms to those used for leaves (see Glossary of leaf morphology). ""Botany: A Brief Introduction To Plant Biology"" - 5th ed. Thomas L. Rost; T. Elliot Weier - Wiley & Sons 1979 . ""Plant Systematics"" - Jones; Samuel - McGraw-Hill 1979 . Tepal A tepal is one of the outer parts of a flower (collectively the perianth). The term is used when these parts cannot easily be classified as either sepals or petals. This may be because the parts"
"care. All parkas were decorated with bird feathers, beard bristles of seal and sea-lion, beaks of sea parrots, bird claws, sea otter fur, dyed leather, and caribou hair sewn in the seams. (Gross & Khera, pg. 34). Women made needles from the wingbones of seabirds. They made thread from the sinews of different animals and fish guts. A thin strip of seal intestine could also be used, twisted to form a thread. The women grew their thumbnail extra long and sharpened it. They could split threads to make them as fine as a hair. They used vermilion paint, hematite, the"
"Aspis An aspis (, plural ""aspides"", ), sometimes also referred to as a hoplon (), was the heavy wooden shield used by the infantry in various periods of ancient Greece. An aspis was deeply dished and made primarily of wood. Some had a thin sheet of bronze on the outer face, often just around the rim. In some periods, the convention was to decorate the shield; in others, it was usually left plain. Probably the most famous aspis decoration is that of Sparta (Lacedaemon): a capital lambda (), for ""Lacedaemon"" its alternative name (). From the late 5th century BCE,"
"The earliest group of survivals, now re-arranged and with the precious metal thread mostly picked out, are bands or borders from vestments, incorporating pearls and glass beads, with various types of scroll and animal decoration. These are probably 9th century and now in a church in Maaseik in Belgium. A further style of textile is a vestment illustrated in a miniature portrait of Saint Aethelwold in his Benedictional (see above), which shows the edge of what appears to be a huge acanthus ""flower"" (a term used in several documentary records) covering the wearer's back and shoulders. Other written sources mention"
"body a good deal of protection in head-to-head combat. The Ancient Greek hoplites used a round, bowl-shaped wooden shield that was reinforced with bronze and called an ""aspis"". Another name for this type of shield is a ""hoplon"". The hoplon shield inspired the name for hoplite soldiers. The hoplon was also the longest-lasting and most famous and influential of all of the ancient Greek shields. The Spartans used the aspis to create the Greek phalanx formation. Their shields offered protection not only for themselves but for their comrades to their left. Examples of Germanic wooden shields circa 350 BC –"
"supported by the external walls and the closely spaced columns. Exterior and interior walls, as well as the columns and piers, were covered with hieroglyphic and pictorial frescoes and carvings painted in brilliant colors. Many motifs of Egyptian ornamentation are symbolic, such as the scarab, or sacred beetle, the solar disk, and the vulture. Other common motifs include palm leaves, the papyrus plant, and the buds and flowers of the lotus. Hieroglyphs were inscribed for decorative purposes as well as to record historic events or spells. In addition, these pictorial frescoes and carvings allow us to understand how the Ancient"
"of these have outlived the buildings that they decorated and demonstrate a wealth of formal border designs of geometric scrolls, overlapping patterns and foliate motifs. With the introduction of stone-built temples, the revetments no longer served a protective purpose and sculptured decoration became more common. The clay ornaments were limited to the roof of buildings, decorating the cornice, the corners and surmounting the pediment. At the corners of pediments they were called ""acroteria"" and along the sides of the building, ""antefixes"". Early decorative elements were generally semi-circular, but later of roughly triangular shape with moulded ornament, often palmate. Ionic cornices"
"containers of perfume. New elements were introduced in the Hellenistic period; colored stones allowed for poly-chromatic pieces, and animal-head finials and spear-like or bud shaped pendants were hung from chains. Ancient Etruscans used granulation to create granulated gold beads which were strung with glass and faience beads to create colorful necklaces. In Ancient Rome necklaces were among the many types of jewelry worn by the Roman elite. Gold and silver necklaces were often ornamented with foreign and semi-precious objects such as amber, pearl, amethyst, sapphire, and diamond. In addition, ropes of pearls, gold plates inset with enamel, and lustrous stones"
"sometimes referred to by the slang term, ""wires"". ""Hexes"" are the oldest form of active protection. They consist of a hollow eccentric hexagonal prism with tapered ends, usually threaded with cord or webbing. They are frequently placed as a passive chock, but are more commonly placed in active camming positions. In the standard active placement, a fall causes the hex to twist in its placement exerting sideways force on the rock in which it is placed. They are manufactured by several firms, with a range of sizes varying from about 10mm thick to 100mm wide. Sides may be straight or"
"slip covering them is black to brownish-red, of high quality, with a metallic sheen. Red and white paint is used copiously for figures and ornaments. Animals are usually decorated with a white stripe on the belly. Ornamentation is often executed quite carelessly. Scholars have so far recognised six workshops. The earliest and best is that of the Paris Painter. They depict mythological motifs such as a beardless Hermes, centaurs, Theseus and the Minotaur, Achilles and Troilos, satyrs, maenads and a beardless Herakles, similar to depcitions common in East Greece. Scenes from the Trojan War are also common. Occasionally, mythological scenes"
"Clipeus In the military of classical antiquity, a clipeus (Ancient Greek: ἀσπίς) was a large shield worn by the Greeks and Romans as a piece of defensive armor, which they carried upon the arm, to secure them from the blows of their enemies. It was round in shape and in the middle was a bolt of iron, or of some other metal, with a sharp point. Pliny the Elder also describes the custom of having a bust-portrait of an ancestor painted on a clipeus, and having it hung in a temple or other public place. From this round bas-reliefs in"
"Joannes Zonaras, even records that a verb, ""typhoomai"" (""to be filled with extreme arrogance""), was derived from it. Toupha The toupha or toufa () is a kind of ornamental crest or head-dress with a plumage of the feathers, hair or bristles of exotic animals, worn in classical antiquity as a triumphal decoration. In surviving depictions, it is most often seen on military helmets and emperors' crowns. One of the most famous touphas is that which surmounted the crown or helmet of the bronze equestrian statue of the emperor Justinian I atop the column of Justinian, erected by said emperor, which"
"of applied and decorative artifacts – decorations, including costume decorations – belt plates, buckles, clasps, bracelets with zoomorphic images, pendants, beads, pommels, sheaths, needle cases, ear-picks, stills and combs. Mythological stories could be seen on the plaques, depicting “complex animals” – mixed bears and fur-bearing animals, on figured pendants in the form of waterfowl, horses, in the images of birds of prey on the pommels. According to the sphere of usage, cult metalwork objects can be devised into groups: for instance, the ones protecting against diseases (they were as a norm kept at home), the others – “spirits of the"
"Under this old skin is a hard skin called a chrysalis. Because chrysalises are often showy and are formed in the open, they are the most familiar examples of pupae. Most chrysalides are attached to a surface by a Velcro-like arrangement of a silken pad spun by the caterpillar, usually cemented to the underside of a perch, and the ""cremastral"" hook or hooks protruding from the rear of the chrysalis or ""cremaster"" at the tip of the pupal abdomen by which the caterpillar fixes itself to the pad of silk. (Gr. ""kremastos"" 'suspended') Like other types of pupae, the chrysalis"
"Imbrex and tegula The imbrex and tegula (plurals imbrices and tegulae) were overlapping roof tiles used in ancient Greek and Roman architecture as a waterproof and durable roof covering. They were made predominantly of fired clay, but also sometimes of marble, bronze or gilt. In Rome, they replaced wooden shingles, and were used on almost every type of structure, from humble outbuildings to grand temples and public facilities. The tegula (Greek solenes) was a plain flat tile, or a flat tile with raised edges, which was laid flat upon the roof, while the imbrex (Greek kalupter) was a semi-cylindrical roofing"