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Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors. -
Preserving Historic Ornamental Plaster David Flaharty
PRESERVATION BRIEFS Preserving Historic Ornamental Plaster David Flaharty U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services From the time America struggled for a new identity as the 1930s. During this two hundred year period, as the a constitutional republic-and well into the 20th Georgian and Federal styles yielded to the revivals century-its architecture and its decorative detailing Greek, Rococo, Gothic, Renaissance, and Spanish remained firmly rooted in the European classicism of decorative plaster reflected each style, resulting in the Palladio, Wren, and Mansart. wide variety of ornamentation that survives. The tradi tional methods of producing and installing interior Together with skilled masons and carpenters, orna decorative plaster were brought from Europe to this mental plasterers saw their inherited trade flourish country intact and its practice remains virtually un from the mid-18th century until the Depression years of changed to this day. Fig. 1. Ornamental plaster studios employed the following personnel: Draftsmen to interpret architectural details in shop drawings; sculptors who modelled in clay; model makers who assembled sculpted, plain-run and pre-cast elements into an ornamental unit; moldmakers who made rigid or flexible negative tooling; casters who made production units; finishers (often the caster's wives) who cleaned the casts; and laborers who assisted skilled personnel in operating efficiently. This studio was in Philadelphia, c. 1915. Photo: Courtesy, M. Earle Felber. Styles of Decorative Plaster in America, 18th-20th Centuries d e (a) Kenmore, Fredericksburg, Virginia. c. 1752. Georgian in style with orna mental ceilings based on Batty Langley's 1739 English style book, the plaster work was executed by a Frenchman in the mid-1770s. -
Designing Style: a Guide
DESIGNING STYLE A Guide to Designing with Today’s Vinyl Siding CONTENTS Architectural Styles Cape Cod Italianate French Colonial Queen Anne Georgian Folk Victorian Federal/Adam Craftsman Greek Revival Product Overview Traditional Profiles Color and Texture Specialty Profiles The Vinyl Siding Institute developed Designing Style: A Guide to Designing with Today’s Architectural Trim and Other Accessories Vinyl Siding as a resource for designing with and/or specifying vinyl and other polymeric Soffit siding, architectural trim, and accessories. We believe the most effective way to communicate the breadth and depth of products available today — and the creative, limitless possibilities Photo Gallery for design – is by example. Throughout this guide, we’ve included many photographs and illustrations plus information to help create each specific architectural style. Appendix Contents Architectural Styles Product Overview Photo Gallery Architectural Styles This guide showcases nine house designs, each featuring a different architectural style used as precedent. The specific design examples are not intended to represent strict architectural principles, but rather demonstrate design variations inspired by each style. Styles used as precedent were selected from the Colonial, Romantic, Victorian, and Eclectic periods of architecture. They include: Cape Cod Federal/Adam Queen Anne French Colonial Greek Revival Folk Victorian Georgian Italianate Craftsman Each featured style offers an explanation of its distinguishing characteristics and an overview of suggested vinyl siding profiles, colors, architectural trim, and accessories available to help achieve its look, with all of its rich detail. A variety of photographs are included to demonstrate how each style has been interpreted through designs using vinyl siding. The possibilities for residential design are as limitless as your imagination. -
Corinth, 1987: South of Temple E and East of the Theater
CORINTH, 1987: SOUTH OF TEMPLE E AND EAST OF THE THEATER (PLATES 33-44) ARCHAEOLOGICAL INVESTIGATIONS by the American School of Classical Studies at Athens were conductedin 1987 at Ancient Corinth south of Temple E and east of the Theater (Fig. 1). In both areas work was a continuationof the activitiesof 1986.1 AREA OF THE DECUMANUS SOUTH OF TEMPLE E ROMAN LEVELS (Fig. 1; Pls. 33-37:a) The area that now lies excavated south of Temple E is, at a maximum, 25 m. north-south by 13.25 m. east-west. The earliest architecturalfeature exposed in this set of trenches is a paved east-west road, identified in the 1986 excavation report as the Roman decumanus south of Temple E (P1. 33). This year more of that street has been uncovered, with a length of 13.25 m. of paving now cleared, along with a sidewalk on either side. The street is badly damaged in two areas, the result of Late Roman activity conducted in I The Greek Government,especially the Greek ArchaeologicalService, has again in 1987 made it possible for the American School to continue its work at Corinth. Without the cooperationof I. Tzedakis, the Director of the Greek ArchaeologicalService, Mrs. P. Pachyianni, Ephor of Antiquities of the Argolid and Corinthia, and Mrs. Z. Aslamantzidou, epimeletria for the Corinthia, the 1987 season would have been impossible. Thanks are also due to the Director of the American School of Classical Studies, ProfessorS. G. Miller. The field staff of the regular excavationseason includedMisses A. A. Ajootian,G. L. Hoffman, and J. -
Stylistic Analysis of the Architectural
計画系 684 号 【カテゴリーⅡ】 日本建築学会計画系論文集 第78巻 第684号,497-507,2013年 2 月 J. Archit. Plann., AIJ, Vol. 78 No. 684, 497-507, Feb., 2013 ������������������������������������������������������ STYLISTIC�������������������������������������������������������������������������������������������������������� ANALYSIS OF THE ARCHITECTURAL ORNAMENTATION �������������������������������������������������� 古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析OF THE STOAS OF THE ASKLEPIEION AT ANCIENT MESSENE 古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析 古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析 �� �� * �� �� * * RyuichiRyuichi�� YOSHITAKE YOSHITAKE �� * Ryuichi吉 武YOSHITAKE 隆 一 The Hellenistic sanctuary of the Asklepios at Messene has a square courtyard surrounded by the Stoas from its four sides. It has been The Hellenistic sanctuary of the Asklepios at Messene has a square courtyard surrounded by the Stoas from its four sides. It has been Theconsidered Hellenistic by that sanctuary the Asklepieion of the Asklepios was built at between Messene the has end a squareof the 3courtyardrd century surroundedand the 2nd����������������������������������������������� by the Stoas from its four sides. It has been considered by that the Asklepieion was built between the end of the 3rd century and the 2nd����������������������������������������������� ���������������������������������������������������������������considered by that the Asklepieion was built between the end of the������������������������������������������������������� 3rd century and the 2nd�����������������������������������������������nd�������������� -
Junior High-High School Edition)
1 Glossary for the Virtual Tour (Junior High-High School Edition) A Acanthus – Representation of Acanthus plant leaf used in architecture and decorative arts as an ornamental motif, specifically in Classical architecture of the Greeks and Romans. Also used in the capital of the Corinthian order. Ad valorem taxes – Ad valorem is a Latin phrase meaning “according to the value,” meaning it is a tax proportional to the value of the underlying asset. Usually a type of property tax. Alabaster – A type of fine-grained gypsum that has been used for statuary, carvings, ornaments, church fittings, and monuments. Normally snow-white in color, however, it can be dyed or even be translucent depending on the treatment. Ante-chamber – A room that serves as a waiting area and entry to a larger chamber. Anthemion – A decoration in architecture consisting of radiating petals and used widely in Classical architecture. Arch – A curved structure, usually a doorway or gateway, that serves as support for a structure. Architect – A skilled person in the art of building, who designs complex structures such as government buildings, monuments, housing, etc. Architecture – The art and technique of designing and building. Architrave – In Classical architecture, the lowest section of the entablature (see entablature) directly above the capital of a column. Art Nouveau – Meaning “new art,” Art Nouveau is a style of art and architecture that was popular in the late 19th and early 20th centuries. It is known by its floral designs, flowing lines, and curved tendrils. Attic – Denotes any portion of a wall above the main cornice (see cornice). -
1 Classical Architectural Vocabulary
Classical Architectural Vocabulary The five classical orders The five orders pictured to the left follow a specific architectural hierarchy. The ascending orders, pictured left to right, are: Tuscan, Doric, Ionic, Corinthian, and Composite. The Greeks only used the Doric, Ionic, and Corinthian; the Romans added the ‘bookend’ orders of the Tuscan and Composite. In classical architecture the selected architectural order for a building defined not only the columns but also the overall proportions of a building in regards to height. Although most temples used only one order, it was not uncommon in Roman architecture to mix orders on a building. For example, the Colosseum has three stacked orders: Doric on the ground, Ionic on the second level and Corinthian on the upper level. column In classical architecture, a cylindrical support consisting of a base (except in Greek Doric), shaft, and capital. It is a post, pillar or strut that supports a load along its longitudinal axis. The Architecture of A. Palladio in Four Books, Leoni (London) 1742, Book 1, plate 8. Doric order Ionic order Corinthian order The oldest and simplest of the five The classical order originated by the The slenderest and most ornate of the classical orders, developed in Greece in Ionian Greeks, characterized by its capital three Greek orders, characterized by a bell- the 7th century B.C. and later imitated with large volutes (scrolls), a fascinated shaped capital with volutes and two rows by the Romans. The Roman Doric is entablature, continuous frieze, usually of acanthus leaves, and with an elaborate characterized by sturdy proportions, a dentils in the cornice, and by its elegant cornice. -
Old House Guide Glossary/Index of Terms -A- Abutment- a Solid
Old House Guide Glossary/Index of Terms -A- abutment- a solid piece of masonry used to support a projecting part of a structure acanthus- a common plant of the Mediterranean, whose leaves, stylized form the characteristic decoration of capitals of Corinthian and Composite orders. In scroll form it appears on friezes, panels, etc. adobe- mud brick dried in the sun; unburned brick of earth and straw; a structure made of such adaptive use- modifying a building for a use different from that for which it was originally designed. Old houses, for example are often adaptively used as professional offices. adobe- a sun-dried, unburned brick of earth and straw; a structure made of such bricks anthemion- a common Greek ornament based upon the honeysuckle or palmette; used singly or as a running ornament in friezes, cornices, iron work, etc; very adaptable decoration apron- “a decorative, raised panel immediately below a window sill. Particularly to be seen in Renaissance architecture” arcade- a series of arches supported by columns or piers; a building or part of a building with a series of arches often forming a covered passageway arch- “a structure of wedge-shaped blocks of material over an opening which support one another by mutual pressure basket- arch constructed with arcs from 3 centers resembling the handle of a basket compound, recessed- doorway, where a number of concentric arches are set within and behind each other; a series of arches, one on top of another, growing smaller as they move away from the surface and into the interior of the structure, a form of décor detailing used for the enhancement of the main portal or window. -
NATIONAL REGISTER of HISTORIC PLACES INVENTORY -- NOMINATION FORM Iiiiiiililti
Form No. 10-300 (Rev. 10-74) DATA SHEE UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE i'^S*wS:'--fe*:H?;*?*s»;: NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM iiiiiiililti SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS ___________TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS______ I NAME HISTORIC Hermitage Hotel AND/OR COMMON LOCATION STREET & NUMBER 231 6th Avenue North _NOT FOR PUBLICATION CITY, TOWN CONGRESSIONAL DISTRICT Nashville __ VICINITY OF Fifth STATE CODE COUNTY CODE Tennessee 47 Davidson 037 CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE _D I STRICT —PUBLIC 2LOCCUPIED _AGRICULTURE —MUSEUM _2BUILDING(S) .^PRIVATE —UNOCCUPIED —^COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS —EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT —IN PROCESS —YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED X.YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION —MILITARY —OTHER: OWNER OF PROPERTY NAME Alsonett Hotels STREET & NUMBER 9 East Huron Street CITY. TOWN STATE Chicago _ VICINITY OF Illinois j LOCATION OF LEGAL DESCRIPTION COURTHOUSE. REGISTRY OF DEEDS. ETC. Register's Office STREET & NUMBER Davidson County Courthouse CITY, TOWN STATE Nashville Tennessee H REPRESENTATION IN EXISTING SURVEYS TITLE DATE —FEDERAL —STATE —COUNTY _LOCAL DEPOSITORY FOR SURVEY RECORDS CITY. TOWN STATE DESCRIPTION CONDITION CHECK ONE CHECK ONE —EXCELLENT —DETERIORATED —UNALTERED ^ORIGINAL SITE X-GOOD —RUINS -XALTERED —MOVED DATE. _FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE The architectural style of the Hermitage Hotel is Beaux Arts Classicism. Exempli fication of the style is found in the arched openings that are situated between coupled columns, the articulated five level composition and the extravagant use of detailing influenced by the French Renaissance style. -
Mar-A-Lago HABS WO
Mar-a-Lago HABS WO. FLA-195 MAC 1100 South Ocean Boulevard Palm Beach Palm Beach County- Florida PHOTOGRAPHS WRITTEN HISTORICAL AND DESCRIPTIVE DATA Historic. American Buildings Survey Office of Archeology and Historic Preservation National Park Service Department of the Interior Washington, D.C. 202^0 5o- Ff-iw HISTORIG AMERICAN BUILDINGS SURVEY HABS NO. FLA-195 MAR-A-LAGO Location: 1100 South Ocean Boulevard, Palm Beach, Palm Beach County, Florida Present Owner: Mrs. Marjorie Merriweather Post Present Occupant: Mrs. Marjorie Merriweather Post Present Use: Winter residence Statement of Mar-a-Lago is one of the most lavish of the mansions Significance: built in Florida in the early 20th century when the State was a wintering place for the country's wealthiest and most prominent families. Architecturally, it fol- lowed the contemporary vogue for the Spanish Revival, a style particularly suited to the climate and history of the area. Henry M. Flagler, the man almost solely responsible for developing the resort economy of the State, intro- duced the Spanish Revival to Florida. In 1884, he sent the fledgling architects, John Carrere and Thomas Hastings, to Spain for two years to gather impressions and ideas before beginning the design of the Ponce de Leon Hotel in St. Augustine. Flagler's commission launched an important architectural firm and established a style that was to dominate Florida resort architecture. Palm Beach was the most exclusive of the Florida resort communities in the early 20th century. Addison Mizner made the Spanish Revival style de rigueur for palatial building there. For their wealthy clients, he and Marion Sims Wyeth designed numerous Mediterranean villas with patios to take advantage of the winter sun and spacious rooms for lavish entertaining. -
The Adam Room Factsheet
The Adam Room factsheet The Adam Room The room used by the Council of Lloyd's is an adaptation of the original dining room of Bowood House in Wiltshire. Designed in 1763 for the first Earl of Shelbourne, this is considered to be an important early work by Robert Adam. The famous Scottish architect had just returned from Rome and was full of enthusiasm for re-establishing the architecture of classical antiquity. Bowood faced massive repair costs in 1956 and it was decided to demolish a sizeable part, including the Adam Great Room. This coincided with the building of the new Lloyd's premises in Lime Street. So the architect, Terence Heysham, conceived the idea of recreating the Great Room in its entirety in the new building. Having been purchased at auction, the room was moved from Wiltshire and installed in Lime Street under the direction of George Jackson and Sons. This was the same company that had installed the room at Bowood almost two centuries earlier. Plaster work which could not be incorporated in the committee room in the Lloyd’s 1958 building was preserved in an adjoining vestibule. So in 1986, when it was moved to the present Lloyd's building, it was possible for the room to be Robert Adam restored to its original proportions. Portrait by George Willison, c. 1773 By courtesy of the National Portrait Gallery, London Today the room provides a striking contrast between the classical interior design of Adam and the post-modern architecture of Lord Rogers, who designed the present Lloyd’s building.