Benvolio and Tybalt are both dramatic foils in the play.
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Gaudí built this mansion in 1886–89 for textile baron Count Eusebi de Güell Bacigalupi, his most important patron. (The prominent four bars of the the banner of Catalunya, on the facade between the parabolic arches of the entrance attest to the nationalist fervor the two men shared.) Gaudí's principal obsession in this project was to find a way to illuminate this seven-story house, hemmed in as it is by other buildings in the cramped quarters of El Raval. The dark facade is a dramatic foil for the brilliance of the inside, where spear-shaped Art Nouveau columns frame the windows, rising to support a series of detailed and elaborately carved wood ceilings.
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Creatures of Nevada was created in the period in the 1990s when Battenberg was examining issues of the environment with studies of wildlife, particularly scrappy predators such as ravens, hawks, and coyotes, and he sometimes invented fierce-looking creatures. The block-long work is located along a pedestrian platform below the main sidewalk, halfway down to the Truckee River itself, up against the south embankment wall of the river. Parts of the wall are fountains that tumble into a series of long, narrow basins running at the foot of the wall. Battenberg's dozen panels, with one exception, each feature a single animal in cast and welded bronze—a bird of prey, a stag, a bear, a hare, a coyote, and a bighorn sheep. The panels are separated from each other by arcing rivulets of water. At the center is a wall of fountains, the outlets for which Battenberg designed and cast small animal heads. None of the figures is solid, and they seem to have been assembled of wood, bone, and strips of bark, but each has a significant dramatic presence. The practical result of the strips of material is that each figure is made up of many edges which suggest sharpness and a message to "keep away." These are tough, resilient creatures in a hostile environment, not softened by their watery setting—it is symbolic of many such animals in Nevada. They are not reliefs, but separately realized sculptures, using the wall behind them as a dramatic foil.