Aedicula in the context of "Baal Hammon"

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⭐ Core Definition: Aedicula

In ancient Roman religion, an aedicula (pl.: aediculae) is a small shrine, and in classical architecture refers to a niche covered by a pediment or entablature supported by a pair of columns and typically framing a statue. The early Christian ones sometimes contained funeral urns. Aediculae are also represented in art as a form of ornamentation.

The word aedicula is the diminutive of the Latin aedes, a temple building or dwelling place. The Latin word has been anglicised as aedicule and as edicule. Describing post-antique architecture, especially Renaissance architecture, aedicular forms may be described using the word tabernacle, as in tabernacle window.

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Aedicula in the context of Hector Guimard

Hector Guimard (French pronunciation: [ɛktɔʁ ɡimaʁ]; 10 March 1867 – 20 May 1942) was a French architect and designer prominent for his Art Nouveau style designs including Paris Métro entrances. He achieved early fame with his design for the Castel Béranger, the first Art Nouveau apartment building in Paris, which was selected in an 1899 competition as one of the best new building facades in the city. He is best known for the glass and iron edicules or canopies, with ornamental Art Nouveau curves, which he designed to cover the entrances of the first stations of the Paris Métro.

Between 1890 and 1930, Guimard designed and built some 50 buildings, in addition to 141 subway entrances for the Paris Métro, as well as numerous pieces of furniture and other decorative works. However, in the 1910s Art Nouveau went out of fashion and by the 1960s most of his works had been demolished, and only two of his original Métro édicules were still in place. Guimard's critical reputation revived in the 1960s, in part due to subsequent acquisitions of his work by the Museum of Modern Art, and art historians have noted the originality and importance of his architectural and decorative works. Guimard was a disciple of Viollet-le-Duc.

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