Roundel in the context of "Hellenic Air Force"

A tondo (pl.: tondi or tondos) is a Renaissance term for a circular work of art, either a painting or a sculpture. The word derives from the Italian rotondo, "round". The term is usually not used in English for small round paintings, but only those over about 60 cm (two feet) in diameter, thus excluding many round portrait miniatures – for sculpture the threshold is rather lower.

A circular or oval relief sculpture is also called a roundel. The infrequently-encountered synonym rondo usually refers to the musical form.

A roundel is a circular charge in heraldry. Roundels are among the oldest charges used in coats of arms, dating from the start of the age of heraldry in Europe, circa 1200–1215. Roundels are typically a solid colour but may be charged with an item or be any of the furs used in heraldry. Roundels are similar to the annulet, which some heralds would refer to as a false roundel.

Three Crowns (Swedish: tre kronor) is the national emblem of Sweden, present in the coat of arms of Sweden, and composed of three yellow or gilded coronets ordered two above and one below, placed on a blue background. Similar designs are found on a number of other coats of arms or flags.

The emblem is often used as a symbol of official State authority by the Monarchy, the Riksdag, the Government of Sweden and by Swedish embassies around the world, but also appears in other less formal contexts, such as the Sweden men's national ice hockey team, who wear the symbol on their sweaters and hence are called "Three Crowns", and atop the Stockholm City Hall (built 1911–1923). The Three Crowns are also used as the roundel on military aircraft of the Swedish Air Force and as a sign on Swedish military equipment in general, and also on the uniforms and vehicles of the Swedish Police Authority.

The Hetoimasia, Etimasia (Greek ἑτοιμασία, "preparation"), prepared throne, Preparation of the Throne, ready throne or Throne of the Second Coming is the Christian version of the symbolic subject of the empty throne found in the art of the ancient world, whose meaning has changed over the centuries. In Ancient Greece, it represented Zeus, chief of the gods, and in early Buddhist art it represented the Buddha. In Early Christian art and Early Medieval art, it is found in both the East and Western churches, and represents either Christ, or sometimes God the Father as part of the Trinity. In the Middle Byzantine period, from about 1000, it came to represent more specifically the throne prepared for the Second Coming of Christ, a meaning it has retained in Eastern Orthodox art to the present.

The motif consists of an empty throne and various other symbolic objects, in later depictions surrounded when space allows by angels paying homage. It is usually placed centrally in schemes of composition, very often in a roundel, but typically is not the largest element in a scheme of decoration.

In Greek mythology, the legend of Orpheus and Eurydice (Greek: Ὀρφεύς, Εὐρυδίκη, romanized: Orpheus, Eurydikē) concerns the pitiful love of Orpheus of Thrace, located in northeastern Greece, for the beautiful Eurydice. Orpheus was the son of Oeagrus and the Muse Calliope, though in some myths he is considered the son of Apollo. It may be a late addition to the Orpheus myths, as the latter cult-title suggests those attached to Persephone. The subject is among the most frequently retold of all Greek myths.