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Finial

A finial is an ornamental architectural element that crowns the apex or summit of a vertical feature, such as a spire, pinnacle, gable, dome, or cupola, typically taking the form of a sculpted leaf, flower, knob, or other decorative motif to provide a visually emphatic termination.^[1]^[2] The term "finial" derives from the Latin finis, meaning "end."^[3] These elements serve both aesthetic and structural purposes, stabilizing pointed forms while enhancing the silhouette of buildings.^[4] Finials have appeared across diverse architectural traditions and historical periods, with early examples traceable to ancient civilizations where they adorned temple roofs and monumental structures to symbolize completion or divine aspiration.^[5] In medieval Gothic architecture, they proliferated on cathedrals and ecclesiastical buildings, often intricately carved in stone to evoke floral or foliate designs that complemented tracery and ribbed vaults.^[6] Their use extended beyond architecture to functional objects like bedposts, newel posts, and curtain rods, where they provided elegant endpoints in woodworking and metalwork.^[7] Materials for finials vary by era and context, ranging from stone and terracotta in monumental buildings to wood, bronze, or cast iron in domestic settings, allowing for intricate detailing that reflects stylistic evolutions from Renaissance candelabrum forms to modern minimalist interpretations. Notable examples include the elaborate stone finials atop the pinnacles of Notre-Dame Cathedral in Paris and simpler urn-shaped variants on colonial American fence posts, underscoring their enduring role in demarcating boundaries and elevating design.^[4]

Introduction

Definition and Purpose

A finial is a decorative terminating element placed at the tip or apex of a structure, such as a spire, gable, pole, or post, often sculpted or cast in forms like fleurs-de-lis, stars, or abstract shapes.^[8]^[9] These ornaments cap vertical features in both architectural and interior settings, providing a finished appearance that draws the eye upward.^[5] The primary purpose of a finial is to enhance aesthetics by adding visual interest, vertical emphasis, and a sense of completion to a design.^[10] Functionally, finials can stabilize structures against wind forces, mark structural endpoints, and protect vulnerable tops from environmental damage, such as by directing rainwater away from entry points on roofs or poles.^[10]^[11] For instance, on flagpoles, finials shield hollow interiors from water ingress^[12] and can facilitate smoother flag operation by helping reduce tangling.^[13] Finials vary significantly in scale to suit their applications, ranging from small versions on furniture and curtain rods—typically 1.5 to 9 inches tall—to larger examples for roofs and spires that measure 3 to 6 feet or more in height.^[14]^[15] This adaptability allows finials to integrate seamlessly across contexts, from intimate household fixtures to grand building exteriors.^[9]

Etymology

The word finial derives from the Latin finis, meaning "end" or "limit," entering English via Old French final ("final" or "last") and Late Latin finalis ("pertaining to an end" or "concluding").^[3] The term first appears in Middle English around the late 14th or early 15th century as fyniall, a variant of final, initially carrying senses related to conclusion or termination.^[16] Its earliest recorded use occurs in the Chester Mystery Plays, a collection of medieval dramatic texts from before 1400, where it describes an ornamental termination.^[16] Distinct from related terms, finial should not be confused with French fini ("finished"), an adjective from the past participle of finir (to finish), also rooted in Latin finis but denoting completion rather than an endpoint ornament.^[17] Similarly, finale—the concluding movement of a musical composition or dramatic work—stems from Italian finale, a noun form of Latin finalis, entering English in the late 18th century and emphasizing narrative or performative closure rather than physical adornment.^[18] In medieval texts, such as architectural treatises and play scripts, finial and its variants were used to denote decorative endings on structures like pinnacles or spires, reflecting its etymological tie to boundary or limit.^[16] By the mid-15th century, the term had shifted in English usage from a general sense of "putting an end to" or "binding" to specifically referring to an architectural or decorative ornament capping a vertical element.^[3] This evolution is evident in 16th-century English texts, where it broadly described "ending ornaments" in building descriptions, before solidifying as a precise architectural term by the 18th century in dictionaries like those compiling Gothic and Renaissance terminology.^[19]

History

Ancient and Medieval Origins

The earliest known precursors to finials appear in ancient Egyptian architecture, particularly on obelisks erected during the Old Kingdom period (c. 2686–2181 BCE). These monumental stone pillars, often dedicated to the sun god Ra, featured a tapered pyramidion at the apex, which served as a capstone and symbolic finial. The pyramidion, typically gilded to evoke the sun's rays, represented the benben stone—the primordial mound of creation—and connected the earthly monument to divine solar energy.^[20]^[21] In ancient Greek architecture of the 5th century BCE, acroteria emerged as ornamental elements resembling finials, placed at the apex and lower corners of temple pediments to crown the triangular gables. These decorative pedestals or sculptures, often featuring floral motifs, figures of gods, or palmettes, enhanced the vertical emphasis of structures like the Temple of Aphaia at Aegina (c. 490–480 BCE), where standing figures such as Athena occupied the central acroterion position. Acroteria not only provided aesthetic termination but also balanced the pediment's composition, drawing the eye upward in harmony with the temple's classical proportions.^[22]^[23] In ancient Chinese architecture, finials took the form of decorative clay or bronze ornaments, often mythical beasts like dragons or phoenixes, which crowned the ridges of temple and palace roofs from the Zhou dynasty (c. 1046–256 BCE) onward. These elements symbolized imperial authority, protection against evil spirits, and harmony with cosmic forces, evolving into more elaborate designs in imperial structures like the Forbidden City.^[24] During the medieval period, finials proliferated in Gothic architecture across Europe, evolving into elaborate pinnacles and crockets that adorned cathedrals as symbols of spiritual aspiration. Constructed between 1163 and 1345, Notre-Dame Cathedral in Paris exemplifies this development, with its flying buttresses capped by crocketed pinnacles and finials that directed rainwater while visually pointing heavenward, embodying the era's theological drive toward divine transcendence. These elements, often leaf-like or foliated, clustered on spires and gables to evoke organic growth mirroring the soul's ascent.^[25]^[26] In early Islamic architecture from the 7th century onward, finials appeared on minarets of mosques, marking a parallel cultural adaptation. Though initial Umayyad mosques like the Prophet's Mosque in Medina (7th century) featured simple towers without tops, in medieval Islamic architecture, finials known as ʿalam—often crescent-topped pinnacles—appeared on minarets, symbolizing guidance and connection to the divine call to prayer. These gilded metal or stone terminations influenced regional styles, blending functional elevation with symbolic elevation toward Allah.^[27] Byzantine architecture further shaped medieval European finials through its emphasis on domed terminations and ornate apexes, such as gilded crosses on domes, which filtered into Romanesque and Gothic forms via trade and conquest. This promoted a shared aesthetic of verticality and celestial symbolism across Christian traditions.^[28]

Renaissance to Modern Evolution

During the Renaissance, finials underwent a revival influenced by humanist scholarship and a renewed interest in classical antiquity, incorporating motifs such as urns, acanthus leaves, and eagles drawn from Roman and Greek precedents to symbolize victory and eternity.^[29] These decorative elements adorned the rooftops and gables of Italian palazzos, emphasizing symmetry and proportion in High Renaissance architecture. A prime example is the Palazzo Farnese in Rome, constructed starting in 1517 under architects Antonio da Sangallo the Younger and Michelangelo, where classical-inspired finials contributed to the building's majestic silhouette and cultural prestige.^[30] In the 18th and 19th centuries, finials evolved through neoclassical restraint and Victorian exuberance, blending ancient inspirations with industrial innovation. Neoclassical designs favored simple, elegant forms like flaming torches or spheres to evoke imperial Rome, while the Gothic Revival movement reintroduced ornate, pointed finials reminiscent of medieval cathedrals, often crafted in durable cast iron enabled by advancing manufacturing techniques. The reconstruction of the Palace of Westminster, known as the Houses of Parliament, from 1837 to 1870 exemplifies this Victorian Gothic Revival style, featuring intricate cast-iron finials on pinnacles and spires that enhanced the structure's verticality and narrative detail under architects Charles Barry and Augustus Welby Northmore Pugin.^[31] The 20th and 21st centuries marked a shift toward minimalist and abstract finials in modern and postmodern architecture, prioritizing sleek lines and functional integration over ornate symbolism, particularly in Art Deco and sustainable designs. The Chrysler Building's stainless-steel spire, completed in 1930 and designed by William van Alen, serves as an iconic Art Deco finial, its stepped, sunburst form capturing the era's machine-age optimism while streamlining traditional rooftop ornamentation.^[32] In postmodern contexts, architects like Frank Gehry reinterpreted finials as dynamic, sculptural crowns using materials like titanium and corrugated metal, as seen in fluid rooftop elements that echo classical terminations but adapt to environmental goals such as energy efficiency and material recyclability.^[33] This evolution reflects broader trends in sustainable architecture, where finials contribute to aerodynamic profiles and passive solar design in contemporary structures.

Architectural Applications

On Roofs, Gables, and Spires

Finials serve as decorative and functional caps on roofs, positioned at gable ends or along ridge lines to terminate the roof structure while enhancing its aesthetic appeal. These elements not only demarcate the highest points of a building but also contribute to weatherproofing by channeling rainwater away from vulnerable joints and seams, thereby preventing infiltration into the underlying masonry or timber framework. In practical terms, finials direct water flow along the roof surface, reducing erosion and maintaining structural integrity over time.^[11] A notable example appears in 16th-century French chateau architecture, where fleur-de-lis finials adorn roof peaks, as evidenced by the copper examples atop the ball-shaped bases of the roof lanterns at Château de Chambord, symbolizing royal heritage while fulfilling this protective role.^[34] On gables and spires, finials adopt more ornate configurations, such as orbs, crosses, or pinnacles, to crown vertical elements and emphasize a building's upward thrust. These elaborate forms integrate seamlessly with Gothic and later styles, providing visual culmination to spires while aiding in load distribution. Salisbury Cathedral exemplifies this application, with its iconic spire—erected in the early 14th century (c. 1310–1330) and subject to 19th-century restorations—topped by a copper cross that reaches 404 feet (123 m), serving both symbolic and stabilizing purposes.^[35]^[36] Aerodynamic considerations further inform their design, as finials help mitigate wind pressure on tall spires, promoting overall stability by dispersing airflow and reducing vibrational stresses in high-wind environments.^[10] Regional architectural traditions highlight diverse finial interpretations on roofs, gables, and spires. In 17th- and 18th-century New England colonial buildings, steeple finials on meetinghouses and churches featured restrained, geometric shapes—often conical or ball-topped—to complement the austere Protestant aesthetic, as seen in surviving 18th-century examples like those on reconstructed steeples from the period.^[37] Conversely, East Asian pagoda-style roofs employ dynamic, curled finials that project from eaves and ridges, such as the exotic pinnacles crowning multi-tiered structures, which blend symbolic iconography with structural emphasis, as documented in historical analyses of Chinese and Japanese temple architecture.^[38] These variations underscore finials' adaptability to cultural and climatic contexts, from temperate European climates to monsoon-prone Asian regions.

On Poles, Towers, and Flagstaffs

Finials on poles and flagstaffs primarily function as ornamental caps that secure flag fabric against wind while enhancing aesthetic appeal and visibility from a distance. These structures, often freestanding or semi-portable, benefit from finials that prevent fabric entanglement and provide a dignified termination to the vertical form. Common designs include spears, balls, and symbolic motifs, with the finial's placement at the apex ensuring prominence in ceremonial or public settings.^[39] In the United States, eagle finials emerged as a popular choice for military flagstaffs in the late 19th century, symbolizing national strength and freedom; for instance, a gilded bronze eagle finial from this era was designed for battle flagpoles, and by 1898, the White House flagpole featured a patriotic eagle topper. U.S. military regulations have long mandated eagle finials on presidential and official flagpoles to denote rank and authority, with the spread-eagle variant reserved for high ceremonial use by branches like the Army, Navy, and Air Force. Materials such as brass are favored for their corrosion resistance and longevity in outdoor exposure, allowing finials to withstand harsh weather while maintaining a polished appearance.^[40]^[41]^[42]^[12] On towers such as lighthouses, finials crown the lantern roofs, contributing to structural stability and navigational signaling by marking the highest point for visibility at sea. For example, the Seven Foot Knoll Lighthouse, constructed in 1855 in Baltimore Harbor, features a small metal finial atop its octagonal lantern, held by iron mullions amid truncated triangular galleries, which aids in directing light beams while protecting the enclosure. Similarly, restorations at the South Haven Lighthouse in Michigan have incorporated brass finials on the lantern to shield vents and preserve the tower's maritime function. These elements underscore finials' role in utilitarian towers, where they balance decoration with protection against elements like wind and salt corrosion.^[43]^[44] In modern applications, finials appear on antenna masts and towers of skyscrapers to facilitate lightning protection, intercepting strikes and channeling electricity safely to ground systems. The Empire State Building, completed in 1931, exemplifies this with its 60-foot mooring mast topped by a lightning rod installed in the mid-20th century, which safeguards the structure from the 25 to 100 annual strikes it endures due to its height and location. Such finials on urban masts not only serve protective roles but also integrate with broadcasting antennas, ensuring operational reliability in high-rise environments.^[45]^[46]

Furniture and Decorative Applications

On Bedposts and Canopy Frames

Finials have been integral to the design of four-poster beds since the 16th century, serving as decorative crowning elements on bedposts that enhanced both aesthetic appeal and structural support for canopy frames. In Elizabethan-era beds, such as those crafted from oak during the late Tudor period, finials often took the form of carved wooden spheres, knobs, or symbolic motifs like lions, positioned atop the tall posts to symbolize status and provide ornate termination to the vertical lines of the furniture. For instance, the state bed associated with Henry VII and Elizabeth of York, dating to around 1486 but emblematic of early 16th-century royal craftsmanship, featured four lion finials atop the bedposts, though similar animalistic or spherical designs adorned bedpost tops in contemporaneous four-posters to evoke grandeur and fertility symbols like acorns and grapes. These early finials, typically made from high-quality European oak and sometimes painted with expensive pigments such as ultramarine, not only ornamented the posts but also anchored the heavy textile canopy, preventing sagging and slippage of draped fabrics in drafty chambers.^[47] By the 18th century, finial design evolved with the Rococo and neoclassical influences of the Chippendale style, where turned wooden finials became more refined and varied in form, often featuring bell-shaped, flame, or acanthus-leaf motifs in mahogany for a lighter, more elegant profile. Thomas Chippendale's designs, as illustrated in his 1754 Gentleman and Cabinet-Maker's Director, emphasized such turned finials on four-poster beds to balance intricate carvings on the posts below, creating a harmonious rhythm in bedroom ensembles suited to the emerging middle class and aristocracy. These finials, precisely lathe-turned for symmetry, capped the posts at heights that supported tester frames (the horizontal canopy structures), distributing the weight of silk or velvet hangings while adding vertical emphasis to make rooms feel taller in modest spaces. A notable example is a Chippendale-style bed from the mid-18th century, with elongated vase-shaped posts surmounted by carved finials incorporating egg-and-dart and bellflower details, demonstrating the style's blend of functionality and ornament.^[48]^[49] In the Victorian period (19th century), finials on bedposts and canopy frames reached new levels of material diversity and eclecticism, with traditional wood and brass reflecting industrial advancements and revivalist tastes. Four-poster beds from this era, often in mahogany or iron, featured urn-shaped or ball finials at the post peaks, providing colorful, durable accents that complemented the era's emphasis on domestic comfort and hygiene. These finials served dual purposes on canopy frames: as tension points to secure fabric drapes, minimizing slippage and ensuring even distribution of weight, and as stylistic flourishes that created an illusion of heightened elegance in compact Victorian bedrooms. A representative Victorian mahogany four-poster, circa 19th century in George III revival style, exemplifies this with its arched canopy surmounted by urn finials, blending ornament with practical support for layered textiles.^[50]

On Curtain Rods and Other Household Fixtures

Finials on curtain rods function both practically, by preventing curtains from sliding off the ends, and decoratively, by adding an ornamental flourish to window treatments. Traditional shapes such as spears and acorns are prevalent, often crafted from materials like brass, wood, or glass to complement the rod's aesthetic. These end pieces emerged prominently in the late 19th century, with innovations like telescoping brass rods patented in 1907 by Charles Kirsch, enabling adjustable lengths for various window sizes.^[51] During the Art Nouveau period (circa 1890–1910), finials on curtain rods frequently incorporated flowing, organic motifs inspired by nature, such as vines or floral elements, executed in elegant glass or cast metal forms. This style reflected broader decorative trends emphasizing asymmetry and natural curves, as seen in ornamental designs by decorators like George A. Schastey for Gilded Age interiors.^[52] By the 1920s, under Art Deco influences, ornate brass finials became popular in lavish interiors, often paired with wrought-iron rods featuring spear tips to evoke medieval grandeur.^[52]^[51] Beyond curtain rods, finials cap other household fixtures like newel posts on staircases and lamp bases, enhancing structural and visual termination. In Victorian homes (1850s–1890s), newel posts typically featured turned or paneled wooden designs—often in walnut—with finials in urn or ball shapes to denote the staircase's base and add architectural detail. For instance, octagonal paneled newels from the 1860s–1870s included burled insets for texture, transitioning to box-style posts by the 1880s in Queen Anne styles. Lamp finials, similarly, topped harp fittings in brass or crystal, providing both stability and subtle elegance. In modern contexts, affordable plastic finials have proliferated since the mid-20th century, offering durable, lightweight alternatives in simple geometric forms for everyday use.^[53]^[54] Design trends for these household finials evolved from the opulent 1920s, where brass examples in geometric or floral patterns aligned with Art Deco's bold luxury, to the mid-century modern era (1940s–1960s), favoring sleek, minimalist profiles in wood or matte metal to emphasize clean lines and functionality. This shift mirrored broader interior movements toward simplicity, as exemplified by adjustable rods with understated wood-finish finials in contemporary reproductions.^[51]^[55]

Symbolic and Cultural Uses

As Headgear and Personal Ornaments

Finials have appeared in headgear as decorative crowning elements, often taking the form of plumes, crests, or jeweled knobs that cap helmets or crowns to denote status or authority. In ancient Egypt during the New Kingdom (ca. 1550–1070 BCE), the Hedjet or white crown of Upper Egypt featured a conical shape, symbolizing divine kingship and often paired with ostrich feathers in the Atef variant worn by pharaohs and deities like Osiris.^[56] These finials were typically crafted from gold or inlaid with semiprecious stones such as carnelian and jasper, as seen in surviving headdress elements from tombs like that of Thutmose III's foreign wives at Wadi Gabbanat el-Qurud.^[57] Feather-based finials became common on military helmets across cultures, serving both ornamental and identificatory purposes. In 19th-century European armies, shakos—tall, cylindrical headdresses—were frequently topped with colorful feather plumes acting as finials to indicate rank or regiment, such as the red or white pompoms on British infantry caps during the Napoleonic Wars.^[58] Similarly, ancient Roman centurions' galea helmets bore transverse crests of feathers or horsehair as elevated finials, enhancing visibility on the battlefield and signifying leadership.^[59] These plumes, often sourced from ostriches or exotic birds, added height and grandeur, evolving from earlier Bronze Age European helmets decorated with feather accents around 1000 BCE.^[60] Among Indigenous peoples of the North American Plains, war bonnets incorporated eagle feathers as trailing finials, each earned through acts of bravery and arranged to trail from a central beaded band, symbolizing the wearer's spiritual and social standing.^[61] Worn by leaders in ceremonies rather than combat, these headdresses, dating back to at least the 19th century in documented forms, used golden eagle feathers for their rarity and sacred value.^[62] As personal ornaments, finials manifested in smaller scales on hairpins and brooches, adapting architectural motifs to intimate adornments. Ancient Roman hairpins from the 3rd–5th centuries CE often ended in bird-shaped finials of bronze or bone, securing elaborate updos while evoking themes of flight and elegance.^[63] In Shang dynasty China (ca. 1600–1046 BCE), bone hairpins featured decorative finials carved into animal forms, such as birds, to hold hair in place during daily or ritual wear.^[64] Jeweled brooches with finial tips, like those from the Getty's collection (ca. 525–400 BCE), incorporated gold doves perched on spheres, blending utility with symbolic ornamentation in personal jewelry.^[65] These miniature finials, much like their larger counterparts, emphasized status through craftsmanship and material luxury.

In Heraldry, Religion, and Symbolism

In heraldry, finials often appear as stylized charges in coats of arms, symbolizing completion or elevation. The fleur-de-lis, a common finial-like motif, has been a prominent element in French royal heraldry since the 12th century, where it represents purity and divine favor associated with the Virgin Mary and the monarchy.^[66]^[67] This emblem, derived from the stylized lily flower, was adopted by the Capetian kings around 1147, adorning shields and crests to denote noble lineage and moral integrity.^[68] In religious contexts, finials carry profound symbolic weight, particularly in Christian traditions. Cross finials atop Byzantine church domes and spires signify the culmination of sacred space, evoking Christ's triumph and the connection between earth and heaven, as seen in bronze artifacts from the early medieval period.^[69] Similarly, dove finials or motifs on altar canopies in Orthodox and Byzantine liturgy represent the Holy Spirit's presence and divine peace, often suspended above the Eucharist to symbolize spiritual nourishment and the soul's ascent.^[70]^[71] Beyond institutional uses, finials embody broader themes of completion and aspiration in art and literature. In Masonic symbolism from the 18th century onward, pine cone finials symbolize enlightenment and immortality, derived from the thyrsus in ancient Dionysiac mysteries.^[72]^[73] This motif appears in esoteric depictions of aspiration toward higher knowledge, paralleling literary motifs where finials mark narrative or philosophical culminations, such as in allegories of moral elevation.^[74]

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[47]
[PDF] Chippendale's Director - The Metropolitan Museum of Art
On March 22, 1753, the World published a letter to the editor on the subject of current fashion: “A few years ago every thing was Gothic; our houses, our beds, ...
[48]
Bed in the Chippendale Style - Hammond-Harwood House
Jun 17, 2022 · The main features of the bed are the carved acanthus leaves, half rosettes, bellflower drops, and egg and dart motifs on the four elongated vase ...
[49]
of george iii style, 19th century - Christie's
Free deliveryA VICTORIAN MAHOGANY FOUR POSTER BED OF GEORGE III STYLE, 19TH CENTURY The arched canopy, surmounted by urn-shaped finials, on turned foot-posts, with later ...
[50]
Hanging Curtains & Drapery 1900–1939 | Arts & Crafts Homes Online
Mar 15, 2024 · European Medievalism returned; wrought-iron rods, often twisted and with spear finials, were in vogue. A period catalogue shows metal drapery ...
[51]
Design drawing for double-window curtains for the Hegeler House ...
The distinctive ornamental finial for the curtain rod was also used by Schastey throughout numerous rooms in the Worsham-Rockefeller House. Design drawing ...
[52]
The Changing Look of the Newel Post, Part One: 1850 – 1939
Apr 17, 2018 · Exuberantly paneled, this type of newel post was fashionable from the 1850's through the early 1880's and was commonly found in Gothic Revival, ...
[53]
Curtain Rod Finials at Lowes.com
from round and pearlescent to angular and bold — in finishes that either blend in with your ...
[54]
Mid-Century Adjustable Curtain Rod - West Elm
In stock $29 deliveryInspired by '50s and '60s style. The smooth wood surface looks sleek in your space. Metallic mounting hardware adds a hint of shimmer. Vintage charm.Missing: minimalist | Show results with:minimalist
[55]
Egyptian Crowns/Headdresses - Buffalo Architecture and History
The white crown of Upper Egypt (Hedjet), flanked with red ostrich feathers for the Osiris cult. Woven from plant stems. Sometimes worn with uraei and sun disks.
[56]
Headdress element -- see 26.8.117a - The Metropolitan Museum of Art
Artwork Details · Title: Headdress element -- see 26.8. · Period: New Kingdom · Dynasty: Dynasty 18 · Reign: reign of Thutmose III · Date: ca. · Geography: From Egypt ...
[57]
Shako, 1861-1869 pattern, worn by Lieutenant W Richie, 100th ...
From 1800 onwards, the shako became the standard military headress of most regiments in nearly all armies. It retained this dominant position until the mid- ...
[58]
The Roman Soldier's Helmet - Galea - Romans in Britain
The purposes of these plumes or crests are thought to have been either for decoration, unit identification or as an indication of rank. Evidence from sculpture ...
[59]
Helmets embellished with feathers and horsehair
Around 1000 BC, in the Bronze Age, two bronze helmets decorated with bull's horns were sacrificed in a bog near Veksø (Viksø), west of Copenhagen.
[60]
Feathered war bonnet (article) | West - Khan Academy
Feathered headdresses, or more correctly, eagle-feather war bonnets, were and are objects of great significance for peoples of the Plains tribes.<|separator|>
[61]
Headdress | National Museum of the American Indian
This headdress, created 1985-2010, is likely Plains, made of felt, feathers, beads, and fur. It was donated by Senator Inouye's widow.
[62]
https://americanindian.si.edu/collections-search/object/NMAI_407769
[63]
Hairpin finial - China - Shang dynasty (ca. 1600–1046 BCE)
Title: Hairpin finial; Period: Shang dynasty (ca. 1600–1046 BCE); Culture: China; Medium: Bone; Dimensions: H. 1 11/16 in. (4.3 cm); W. 1 1/2 in.
[64]
Pin with a Dove Finial - Getty Museum
Mar 6, 2025 · 525–400 B.C. ... A gold hair pin has a tapering shaft, spiralled on the upper section, and a finial of a dove seated on three spheres. A circlet ...
[65]
Fleur-de-lis | History, Meaning & Uses - Britannica
Sep 13, 2025 · The lily was said to have sprung from the tears shed by Eve as she left Eden. From antiquity it has been the symbol of purity and was readily ...
[66]
The Fleur-de-lis: Meanings, Uses, and Facts - FamilySearch
Aug 21, 2020 · With each use, the fleur-de-lis holds unique symbolism. In a religious context, it may denote purity. French monarchs used the symbol to denote ...Missing: 12th | Show results with:12th
[67]
https://www.familysearch.org/en/blog/fleur-de-lis-symbolism-and-meaning
[68]
[PDF] A Byzantine Bronze Finial for a Church
The obvious finial for the dome of a Byzantine church, as already stated, would be the cross. In pictures of the Holy Sepulchre in Jerusalem, as represented on ...Missing: Orthodox | Show results with:Orthodox
[69]
The Elements of the Altar or Holy Table in the Byzantine Tradition
Jun 19, 2024 · Indispensable attributes of the altar are the Cross and the Testament. The Cross is laid there as a sign of Christ's victory over the Devil and ...Missing: finials | Show results with:finials
[70]
Eucharistic Dove, early 13th century (Medieval). Acquired by Henry ...
Used for storing communion wafers, doves such as this were suspended above the altar to signify the presence of the Holy Spirit at the Mass.
[71]
Leading With Beauty - California Freemason Magazine
Apr 1, 2019 · The pinecone carries its own rich symbolism – it is considered to be an ancient symbol of human enlightenment. In this school of thought ...Missing: finial | Show results with:finial
[72]
https://californiafreemason.org/2019/04/01/leading-with-beauty/
[73]
The Kundalini Kings: Masonic Symbolism In French Royal Art ...
Jan 28, 2016 · France´s kings were enlightened Freemasons used the Pine Cone symbol in their art ... finial (pineal gland) to activate the Third Eye. The ...Missing: literature | Show results with:literature<|control11|><|separator|>