curvaceously

The floors, too, had golden lines snaking curvaceously across their width.

(Relief is too small a word for something that curvaceously swells toward and then erupts in a corner.)

SR 598 heads west as a two-lane road that curvaceously ascends the mountain without the benefit of climbing lanes.

Its 110-plane fleet will be repainted in gleaming navy, orange and silver, a stylized Russian flag unfurling curvaceously down each tail fin.

Cross-country skiers know where to find their gear in most ski shops - in dusty, understocked corners, behind the Alpine boots and curvaceously shaped downhill skis.

This path angled down below the clifflike western face of the peak the castle stood on, wending its way curvaceously through pastures and forest and slope.

The U.S. Highway curvaceously crosses Fleming Mountain and descends into the James River gorge at Coleman Falls.

The state highway heads south as Afton Mountain Road, which descends the mountain curvaceously and passes through the village of Afton, where the highway crosses over a CSX rail line.

In the next room extravagantly polished pink marble is curvaceously carved to look as if it, too, had been softly stretched and probed, leaving smooth hollows on the sides and a hole in the center between fine liplike curves.

Edward Roth, Big Daddy to 60's teenagers and creator of curvaceously customized cars and delightfully repugnant cartoon characters, notably the slobbering Rat Fink, died on Wednesday in his studio in Manti, Utah.

D1 OBITUARIES B6 Big Daddy Roth The creator of curvaceously customized cars and delightfully repugnant cartoon characters, notably Rat Fink, Edward Roth was 69.

Given this conflict, it makes perfect sense that for his final tableau this dedicated deflator of the American Dream had himself buried upright in one of that dream's more eloquent symbols, a curvaceously streamlined late-1930's Packard.

The hotel is linked via a zoomorphically shaped podium that snakes curvaceously around the boundaries of the site to two residential apartment blocks entitled Palace of Wind One and Palace of Wind Two.

Leger was the first artist to be exhibited at the Janis Gallery, and so it is especially fitting that on this occasion his paintings have been presented, among them "The Juggler and the Dancer" (1954), which with its curvaceously abstracted depiction of the human figure has so much in common with sculptures by Arp.