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There is another fountain known as Fontana della Pigna in Rimini, Italy, also of Ancient Roman origin but heavily restored.The pine cone sculpture crowning this fountain was only installed in 1807, replacing a 16th-century statue of St. Paul damaged by the Napoleonic army.
The name means "pine cone" in Italian, and the symbol of the rione is the colossal bronze pine cone standing in the middle of the homonymous fountain. The fountain, which was initially located in the Baths of Agrippa , now decorates a vast niche in the wall of the Vatican facing the Cortile della Pigna , located in Vatican City .
Stone pine in Brissago, on Lake Maggiore, Switzerland. The stone pine is a coniferous evergreen tree that can exceed 25 metres (80 feet) in height, but 12–20 m (40–65 ft) is more typical. In youth, it is a bushy globe, in mid-age an umbrella canopy on a thick trunk, and, in maturity, a broad and flat crown over 8 m (26 ft) in width. [2]
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Pines of Rome (Italian: Pini di Roma), P 141, is a tone poem in four movements for orchestra completed in 1924 by the Italian composer Ottorino Respighi.It is the second of his three tone poems about Rome, following Fontane di Roma (1916) and preceding Feste Romane (1928).
The male cones are slender conic, 5–11 cm (2.0–4.3 in) long and 1–2 cm (0.39–0.79 in) broad and reddish-brown in colour and are lower on the tree than the seed cones. [3] Seedlings appear to be slow-growing [ 3 ] and mature trees are extremely long-lived; some of the older individuals today are estimated to be between 500 and 1,000 ...
Antinous holding the thyrsus while posed as Dionysus (Museo Pio-Clementino). In Ancient Greece a thyrsus (/ ˈ θ ɜː r s ə s /) or thyrsos (/ ˈ θ ɜːr s ɒ s /; Ancient Greek: θύρσος) was a wand or staff of giant fennel (Ferula communis) covered with ivy vines and leaves, sometimes wound with taeniae and topped with a pine cone, artichoke, fennel, or by a bunch of vine-leaves and ...
Bucket and cone refer to twin attributes that are frequently held in the hands of winged genies depicted in the art of Mesopotamia, and within the context of Ancient Mesopotamian religion. The iconography is particularly frequent in art from the Neo-Assyrian Empire (911–605 BCE ) , and especially Assyrian palace reliefs from this period.