semi-domes

You can see inside, at least a little bit, some of these beautiful domes and semi-domes that are so interestingly constructed.

CNN Transcript Nov 30, 2006 2006

The roof, instead of being plain barrel-vaulted, is divided into arches, domes, and semi-domes, resting on massive piers with attached Corinthian pillars.

The South of France—East Half C. B. Black

Above the conchs of the small apses rise the two great semi-domes which cover the hemicycles, and between these bursts out the vast dome over the central square.

Encyclopaedia Britannica, 11th Edition, Volume 4, Part 4 "Bulgaria" to "Calgary" Various

In the Baroque period, instead of employing panels ornamented with stucco work, painting was used not only to cover the domes and semi-domes but also the ceiling and vaultings.

The Catholic Encyclopedia, Volume 12: Philip II-Reuss 1840-1916 1913

In one of the semi-domes of the Mosque of St. Sophia at Constantinople is a gigantic figure of Christ in mosaic, which the Mohammedans have not destroyed, but overlaid with gilding, yet so that the outlines of the figure are still visible.

Mystics and Saints of Islam Claud Field 1902

There the eye travels upward, when the great nave is entered from the narthex, from the arches supporting the gallery to those of the gallery itself, from semi-domes larger and larger, up to the great dome itself, an intricate scheme merging in a central unity.

The Church and the Barbarians Being an Outline of the History of the Church from A.D. 461 to A.D. 1003 William Holden Hutton 1895

From the existence of domes -- which he considers to be almost beyond question -- M. Place deduces that of semi-domes, one of which he assigns to the principal chamber of the harem in the palace at Khorsabad (Fig. 55).

A History of Art in Chaldæa & Assyria, v. 1 Georges Perrot 1873

Khorsabad and elsewhere were covered with barrel vaults, domes, or semi-domes.

A History of Art in Chaldæa & Assyria, v. 1 Georges Perrot 1873

Between the two semi-domes the figure of a man rises above the wall to his middle, suggesting the existence of a barbette within.

A History of Art in Chaldæa & Assyria, v. 1 Georges Perrot 1873

What the wits of Parma had once stigmatised as a _ragoût_ of frogs, now seemed the only possible expression for celestial ecstasy; and to delineate the joy of heaven upon those multitudes of domes and semi-domes was a point of religious etiquette.

Renaissance in Italy Volume 3 The Fine Arts John Addington Symonds 1866