strapwork


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strap·work

 (străp′wûrk′)
n.
Decorative work, popular in northern Europe in the 1500s and the early 1600s, consisting of interlacing straplike bands, often used in low relief on ceilings, screens, and panels.
References in periodicals archive ?
The beautiful, "very exotic" strapwork holds it to the ceiling.
The image stands on a base beautifully carved in the Mannerist style with strapwork that is typically found in large 17th- and 18th-century Philippine colonial santo.
It's not at all that simple, though: 10-sided and eight-sided shapes are connected with "girih" tiles (meaning strapwork or knot) that bind the design together.
Eventually, however, this was almost completely demolished, making way for a home built in the Scottish Jacobean style with detailed gables and dormers with an assymetrical front elevation laced with strapwork.
That is probably why the intricate 'carpet pages' with their interlaced cruciform strapwork precede each of the four gospels following the portrait of the particular evangelist.
The lattice structure consists of alternating two symmetrical motifs formed from flat steel and strapwork and is taken in color.
This vase had a detached base and some of the strapwork handles were missing.
Its "flamboyant, spiky script" (1) supports elaborate ascenders and descenders featuring many novelties: ballooning hearts; a scroll (illusionistically entwined around the ascender of the h in Humphrey) citing the duke's personal motto; and bright blue and red ink that colors the extensive strapwork emerging from his name.
It is decorated with a rust-colored and pale blue strapwork design below a gilt band.
Until this time [the 1590s] any decoration on maps was stylized, taking the form of clouds, strapwork, windheads and, very occasionally, figures or portraits.
Hidden away in the strapwork lower right is the map number 'a3'.
With the introduction of Serlio and Vitruvius into the Low Countries, it would appear that architecture began to develop along more rigorously classicizing lines, and indeed this is true, but the authors here demonstrate how Coecke's illustrations tended to favor the more inventive aspects of Vitruvian style, such as the cartouches and more elaborate strapwork that are conducive to the more varied architectural styles of the Low Countries.