The Parthenon, viewed from the Northwest section of the Acropolis. Greek Classical Period, 447-432 BC. Marble. Athens, Greece. 

Diagram of Doric, Ionic, and Corinthean Order.

Doric: The most simple

Ionic: Has scrolls that trans. from base to the unit

Corinthean: Carved leaves, scroll, most elegant/elaborate

“Porch of the Carytids,” Erechtheum, north side of the Acropolis. 421-405 BCE. Marble. Athens, Greece.

Carytid: figure as a column

The Colosseum, 75-80 AD. Rome 

materials: travertino, a limestone, then tuff for the other pillars and radial walls, tiles for the floors of the upper storeys and the walls; finally,concrete (a.k.a. cement) for the vaults.

"Statue of Titus wearing a Toga", 81 AD, Roman Republican period. Marble; 6 ft 8 in. Vatican Museum, Vatican City.

Barrel Vault of the Nave (Main Aisle), Interior of St.-Sernin, Toulouse, France, c. 1080-1120. French Romanesque style.

Nave (Main Aisle) Ceiling Vaults in Chartres Cathedral, Chartres, France, c. 1220s. Gothic style.

-Pointed Arches vs. Rounded Arch

Themes:

Types of Decoration that Constitute an Italian Baroque Style:

Design attributed to Gian Lorenzo Bernini. Chasuble with the arms of Urban VIII, Rome, 1625-27, red silk damask (weave) with gold thread, with embroidery in gold thread and colored silk on red silk. Santa Maria Maggiore, Rome.

-made for the church

-Barberini bees, crossing keys, floral and vegetal design

-Baroque Style

.Barberini Cabinet, made by Galleria deiLavori, Florence. ca. 1606–23.

Exotic Hardwoods, ebony, and Pietredure(hard stone) inlay work. Metropolitan Museum of Art.

Ciro Ferri (1634-89), Design for the Rear of a Carriage with Valor Victorious over Vice and Arrongance. BAROQUE (Conceived for Rinaldod’Este on his appointment as cardinal), 1688/ITALY. Pen on Paper. Royal Collection at Windsor Castle, UK.

Mattia Giegher, examples of the art of figural napkin folding from Li TreTrattati

(Padua, ITALY 1634), plate 7, from printed book. New York Public Library.

THEMES FOR Seventeenth-Century France

Themes:

Versailles Garden- Plants

Jules Hardouin-Mansart, Orangerie with the Hundred Steps, southeast of the château, 1684-1686. Replaced the original by Le Vauin 1663. Made for Louis the XIV

Tapestry after Charles Le Brun design, “Louis XIV Visits the Royal Manufactory of Gobelins, 15 October 1667.” Woven in the Gobelins workshop of Etienne Le Blond. Wool, silk, gold thread

1729-1734 Baroque

André Charles Boulle, Commode, 1710-20. Walnut veneered with ebony, marquetry of engraved brass and tortoiseshell, gilt-bronze mounts, verd antique marble. 

Boulle Marketry

Baroque 

Charles Cressent, “Monkey” Commode, c. 1745. Satinwood Veneer (marquetry technique), Gilded Bronze, Marble; H. 35.4 in X W: 56.3 in; D. 25.2 in. Rococo Style. Musée du Louvre, France 

Charles Cressent, Wall Clock, 1745. Gilded Bronze and clock movement; 51.2 x 14.6 x 7.1 in. Musée National du Château de Versailles, France 

cupids on top called putti

Jean-Henri Riesener, Mechanical Table, 18th Century, Paris, France. Oak veneered with mahogany and marquetry of fruitwood marquetry, gilt-bronze mounts, mirror glass,iron and brass fittings, green velvet (not original); Metropolitan Museum of Art

GermainBoffrand (designer), Chambre de Parade (Formal Ceremonial Bedchamber), Interior at Hôtel de Soubise, Paris, France, 1735-40. Rococo style.

Pieter de Swart (designer) and probably carved by AgostinoCarlini. Torchère (One of a Pair), 1748-1753, The Hague, Netherlands. Gessoed, Painted, Gilt Limewood, Crushed Glass, Base possibly Dogwood

-Torchèreswere used as stands for candelabra and were usually placed in pairs on either side of a table or in the corners of a room

Giovanni Battista Tiepolo (painter), Interior Fresco Decoration for the Kaisersaal(Imperial Hall-large dining room), in the residence of the Prince-Bishop at Würzburg, 1752.

-tFresco=technique of mural painting executed upon wet lime plaster.

François Boucher, The Arts and Sciences: Astronomy and Hydraulics, 1750-1752. France (Originally in Collection of Madame de Pompadour at the Château de Crécy. Oil on Canvas The Frick Collection, New York    

Jacques-Louis David, Portrait of Madame Récamier, 1800. France Neo-Classical.

 Oil on Canvas; Musée du Louvre

- On a sofa that were kept in their dining halls (triclyniam)

Jacques-Louis David, Portrait of Madame Henriette de Verninac, 1799. Neo-Classical

Oil on Canvas; Musée du Louvre

Jacques-Louis David, The Emperor Napoleon in His Study at Tuileries, 1812, Neo-Classical (?)

Oil on canvas;. National Gallery of Art, Washington, D.C.

17th-Century Netherlands

Themes:

Tapestry designed by Peter Paul Rubens, The Victory of Truth over Heresy from series Triumph of the Eucharist, c. 1626-33, designed in Antwerp; woven in Brussels. Tapestry, woven wool and silk. Created for the convent of Royal Discalced (Barefoot) Franciscan nuns in Madrid. DUTCH, ITALO BAROQUE

Japanese-Style Man’s Morning Gown (called rockenor banyan), early 18th Century. Made in India (Coromandel Coast) for the Dutch market. Cotton chintz, painted and dyed; 51 1/8 x 74 ¾ (130 x 190 cm). 

Herman Doomer, Troonkast(Throne Cabinet), c. 1635-45, Amsterdam. Wood (ebony veneer, kingwood, rosewood, pseudo-acacia), mother-of pearl and ivory inlay; 86 ¾ x 81 1/8 x 32 7/8 in. 

Daniel Marot the Elder, Dutch Delftware Vase, c. 1690. Tin-enameled earthenware ceramic (Delftware); Height: 28 1/2 in. (72.4 cm). 

17th- and 18th-Century England

Themes:

William Kent (designer), Landscape with the Temple of the British Worthies, c. 1734-35. “Elysian Fields”, Stowe, Buckinghamshire.

Pineapple Teapot, ca. 1755-66, English (Staffordshire). Earthenware pottery (Creamware: lead-glazed earthenware; molded into pineapple shape). 

Designed by Thomas Chippendale (Furniture maker unknown), “Ribband-Back” Side Chair, c. 1755-60, England. Mahogany (textile is later) 

Colonial American Decorative Arts and Material Culture

Themes:

Unknown Maker, Grisaille-Painted Kast, 1690-1720, Probably made in New York City. Painted Tulipwood, Red Oak, and Eastern White Pine. 61.5 x 60.375 x 23 in. (156.2 x 153 x 58.4 cm)

COLONIAL AMERICA

Pie Crust Vents from by Hannah Wolley’s cookbook, The Accomplish'd Lady's Delight (pages 324-325), 1675. COLONIAL AMERICA

Unknown maker, Cupboard, inscribed “Hannah Barnard,” ca. 1715, Hadley, MA. Painted Oak and White Pine; 61 1/8 x 50 x 21 ¼ in COLONIAL U.S.

Probably Eliphalet Chapin Shop(East Windsor, CT), High Chest of Drawers, possibly 1781. Cherry and Eastern White Pine; 87.1 x 40.3 x 20.1 in. (221.3 x 102.2 x 51.1 cm). COLONIAL U.S.

Martin Carlin with Sévres porcelain Small Writing Desk, 1768; France.   Oak and porcelain plaques, gilt-bronze mounts, velvet

Meissen Manufactory. Teapot. 1725. German. Hard-paste porcelain.

Neo-Classical

William Hackwood for Josiah Wedgewood. "Am I Not a Brother?" 1787, British. Black and white Japerware.

Neo-Classical

Meissen Manufactory, Figurine Group in Breakfast Scene. 1740, German. Hard-paste porcelain. 

Neo-Classical

Josiah Wedgewood. Krater Potpourri Cover. 1790, British. Ceramic. 

Neo-Classical. 

Martin Carlinwith Sévres Porcelain Plaque. Secretary Desk. 1776, France. Oak, six sévres soft-paste porcelain plaques and two painted tin. Gilt-bronzemounts; marble shevles ; morié silk.

Neo-Classical

Alexander Bassano. Queen Victoria, 1896. Photo.

Empire?

Josef Danhauser, Side Chair. 1815-20. Vienna. Walnut

Biedermeier

Percier and Fontaine (desginers), Jacob-Desmaleter et Cie (furniture makers). Bed of Empress Josephine, 1812.   Carved and Gilded Wood

Empire Style

Percier and Fontaine (designer-architects) Council Chamber, 1800. Chateau de Malmison. 

Empire Style

Duncan Phyfe.Klismos Chair (one of a set of 10 ) 1816. New York.  Mahogany. 

Neo-Classical

Harriet Powers. Pictorial Quilt, Athens, GA. 1895.  Quilted and Embroidered Cotton. 

Robert Adam, Pier Table. 1765. British. Carved and Painted Pine, Marble Veneer Top.

Robert Adam, Armchair for the Etruscan Room at Osterley Park. 1776, London.

Neo-Classical

Alexander Roux. Sideboard, "Death in the Dining Room". 1853, New York City. Black Walnut, American Pine. 

Karl Friedrich Schinkel, Armchair. 1830.  Oak

Gothic Revival

Sévres Manufactory, Milk Jug. 1819-1820, France. Glazed Porcelian with Gilding. 

Empire Style

Karl Friedrich Schinkel, Two Cast Iron Chairs. Potsdam, Germany. After 1826.

Empire Style.

Josef Danhauser, Side Chair, 1815-20, Vienna. “Biedermeier Style.” Walnut (modern upholstery);

36 13/16 x 19 1/16 x 18 15/16 in. (93.5 x 48.5 x 48 cm)

Karl Friedrich Schinkel (furniture designer), Two Cast Iron Chairs in under the Arcade of Roman Baths in Sanssouci Park, Potsdam, Germany. After 1826.

. Thonet Brothers, Bentwood Rocking Chair, c. 1880, Moravia. Bent Beechwood and Cane;

38 ¼ x 20 ¾ x 36 in. (97.1 x 52.7 x 91.5 cm). Museum of Modern Art (MoMA), 493.1953

. Michael Thonet (Thonet Brothers), Side Chair Model No. 14, designed 1859, Moravia.

Bent Beechwoodand Cane; 36 5/8 x 16 15/16 x 18 ¾ in. (93 x 43 x 47.6 cm). The Museum of Modern Art (MoMA), 461.2008.

. Alexander Bassano (photographer), Queen Victoria, 1896. (Carte de Visite) Photograph. Studio of Elliott & Fry.

Nineteenth-Century America: The New Republic to the Gilded Age

Themes:

Henry Cole, Tea Service. Mid 19th Century England.

Empire

Christopher Dresser. Wave Bowl. Late 19th Century. Glazed earthenware. 

Design Reform

Christopher Dresser. Toast Rack, Late 19th Centry. Silver Plated. British

Design Reform-- Aesthetic Movement

Christopher Dresser. Pitcher, Late 19th Century. 

Glass, Silver, Plate and Ebony. 

Asethic Movement-- Design Reform

William Morris and Philip Webb. Red House Room Dresser. Mid 19th Centurty, Built-in Carved Wood- Painting in Morris's deep red "Dragon's Blood" (Color favored by the Art's and Crafts Movement)

Arts &Crafts-- Design Reform

William Morris and Philip Webb. Adjustable Back Armchair. Mid 19th Century

Ebonized wood with Wool Tapestries

Arts and Crafts-- Design Reform

William Morris. Wallpaper, Late 19th Century.

Block Print on Paper

Arts and Crafts--Design Reform

William Morris and Walter Crane. The Story of the Glittering Plain. Late 19th Century.

Book with woodcut illustrations and Goth typeface.

Arts and Crafts-- Design Reform

Lord and Lady Clapham dolls. London, late 18th Century

Wood wrapped with wool, painted faces, human hair

Rococo

Pair of Pockets. Early 18th Century. England.

Linen and linen thread, embroidered with wool (crewel)

Rococo

Court Gown, mid 18th Centrury. England

Embroidered silk with colored silk and silk thread

Rococo

Anna Maria Garthwaite. Woven silks. Early 18th Century. 

"s" and "c"curves, asymmetrical, light and shadow, naturalistic flowers.

Rococo

Man's Waistcoat. late 18th century. France

Linen cavas with silk embroidery.

Butterfly design signifiying the revolution

NeoClassical

False Eyebrows, Patches, Two Cheek "plumpers", Two Breast Pads. 18th Century. England

Rococo