The hall itself is decorated with ornamental plaster, stuccos and a large ceiling painting of Polypodiaceae's triumph by a range of unknown artists from the 18th century.
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A marble staircase, covered in vaulted ceiling includes decoration in relief stuccos. Similarly, there are two other triangular azulejo panels depicting Saint Francis of Assisi and Saint Martial.
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Carpoforo Mazzetti, pupil of another Ticinese artist, Abbondio Stazio, molded the stuccos in the rocaille style alcove. The decorations originate from the central opening where the bed is placed, branching out on both sides to reach the doors, adorned with mirrors. Above them, the crest and its shield-carrying angels overlook the room. The Alcove with its rich stuccos, photographed during a performance of Verdi's "Traviata", by the ensemble of "Musica a Palazzo".
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The inner sculptures, stuccos and paintings were designed by some of the most renowned artists of the age, including the architect Berrecci himself, Georg Pencz, Santi Gucci and Hermann Vischer.
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In 1893 began the work of decoration on the Council room, by the perugian Domenico Bruschi for the frescoes and dell'Angeletti for the stuccos. The work was completed in 1896.
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The interior rooms have coffered ceilings, stuccos, and marble chimneys. Also a very rich collection of art objects including La tempesta by Giorgione and Ritratto dell'Inglese by Titian was kept in the palace.
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In 1753, a further reconstruction, this time by Carlo Francesco Dotti added an iron cross once located on via San Felice, now also housed in Santa Maria della Carità. The nave has 17th-century stuccos.
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During this period the building was decorated with stuccos and paintings. In the following century another beautification work was made. As a result of these actions, the church houses several artworks of important Sicilian artists.
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The temple has a beautiful nandhi mandapa. Facing south, it has a entrance. In the west stuccos of Shiva, Parvati are found sitting on rishaba. They are flanked by Vinayaka, Subramania with his consorts Valli and Deivanai.
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The floor is instead subdivided into a multitude of smaller rooms, decorated with stuccos, chests of drawers, and fireplaces. The interiors have been completely redesigned by Giovanni Battista Meduna. Once the palace housed important artworks—such as The Tempest by Giorgione.
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Sövdeborg Castle () is a castle in Sjöbo Municipality, Scania, in southern Sweden. Out of approximately 200 castles in Scania, this is one of about 25 which allows public visitors. The inside of the castle is decorated with stuccos and an oak ceiling carved in cartilage baroque.
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All plasters and stuccos have several common features: they all contain a structural component, a binding element, and some form of fiber. Usually the term plaster refers to a wall covering made from earth, lime or gypsum, while stucco uses a cement or synthetic binding element.
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However, there are no grounds for the claim that Lixus was founded at the end of the second millennium BC. Life was maintained there nevertheless until the Islamic conquest of North Africa by the presence of a mosque and a house with a patio with walls covered with painted stuccos.
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Storia e restauri, 2 voll., Poligrafico dello Stato, Roma 2009, II, pp. 489-507 Mazzoni created a harmonious and iconographically coherent ensemble of delicate stuccos, frescos and paintings with the classicising statue of Saint Catherine in the focus of the space. He was probably related to the sculptor Guido Mazzoni.
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The upper story still contains an oratory with stuccos. and an altar was decorated by Paolo Reggiani with mural decorations by the Antonio Rolli and his brother Giuseppe, and Giovanni Battista Caccioli.Biblioteca Salaborsa, entry on the structure.Bologna sacra: tutte le chiese in due millenni di storia, by Marcello Fini, page 116-117.
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Interior work was even more important. Some water-damaged stuccos in higher areas had to be redone. Mosaic panels damaged by bullets or shells had earlier been repaired with a poor and rushed technique: missing tiles had been replaced by plaster covered with paint. Moreover, all the mosaics were blackened by candle smoke.
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Mazzetti worked also on the dining room's stuccos, where he represented mythological scenes in pale colours and very realistic and colourful animals to adorn the ceiling. Musica a Palazzo, a cultural association of classical musicians, has leased the piano nobile since 2005 and uses it for small-scale opera productions.Bing, Alison, Venice Encounter, Lonely Planet, 2009, p. 56.
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The second floor of the building is occupied by the Conservator's Apartment, a space now open to the public and housing such famous works as the bronze she- wolf nursing Romulus and Remus, which has become the emblem of Rome. The Conservator's Apartment is distinguished by elaborate interior decorations, including frescoes, stuccos, tapestries, and carved ceilings and doors.
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The Ganjali Baths are unique works of architecture decorated with exquisite tile works, paintings, stuccos, and arches. The bathhouse were converted into an anthropological museum in 1971. In the closet section and main yard of the bath there are many lifelike statues. These statues were designed at Tehran University's faculty of fine arts in 1973 and then transferred to this museum.
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In 1974, a construction of a new, larger church was undertaken to accommodate even more pilgrims. It was built in the neoclassical style, using Pescopagano stone. It had a cruciform floor plan with a three-part nave taking the shape of a Latin cross. The vault of the nave, above the double arches, was decorated with stuccos accented by gold inlays.
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Portland silica fume cement. Addition of silica fume can yield exceptionally high strengths, and cements containing 5–20% silica fume are occasionally produced, with 10% being the maximum allowed addition under EN 197-1. However, silica fume is more usually added to Portland cement at the concrete mixer. Masonry cements are used for preparing bricklaying mortars and stuccos, and must not be used in concrete.
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Palazzo Castiglioni is an Art Nouveau palace of Milan, northern Italy. It was designed by Giuseppe Sommaruga in the Liberty style and built between 1901 and 1903. The rusticated blocks of the basement imitate a natural rocky shape, while the rest of the decorations are inspired by 18th century stuccos. The building is now used as the seat of the Unione Commercianti di Milano (Traders' Union of Milan).
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House B had an upper floor whose rubble (unbaked bricks of the walls, threshold slabs, stuccos, plasters, decorated cocciopesto floor and mosaic) filled the rooms on the ground floor during their collapse. The state of preservation of the walls is exceptional, not only of the lower stone part but also of the higher mud bricks. The walls were plastered and painted. The older settlement was overbuilt in the II-I c.
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The main building seen today has a sculpture on the facade and some stuccos within by Ignatius van Logteren (1685-1732).Rijksmonument report The house was occupied as a residence until 1924 when it fell into disuse. In 1939 it was used by a Dutch regiment who caused a lot of damage, and in 1941 it was occupied by German infantry. In 1942 the three Atlantikwall bunkers were built in the garden.
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The attic level, terminating with a denticulated cornice, offers a series of eight square windows. The rear façade of the palace has neoclassical lines, due to an 18th-century intervention, probably by Antonio Diedo. This façade overlooks a small garden separated from the Rio Ognissanti by a wall, on which stands a 19th-century statue representing the Madonna and Child. The interiors of the palace are sumptuously decorated with 18th-century stuccos and antique furnishings.
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J. Laurent. On the entrance and protecting it built a corrido balcony with a forging parapets supported on braces. During these reforms was also built a second tower on its northwest side (to the right of the main entrance). Inside were placed pavements of polychrome azulejos with mythological scenes, the stairs were decorated with risers of vegetable themed and the walls were coated with noble fabrics, stuccos and frescoes in walls and ceilings.
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One of the older layers of the pyramid has been uncovered revealing several distinctive carved masks as part of the pyramid's decoration. The "Palace of the Stuccos" is 50 meters wide, 6 meters high, and contains many elaborate friezes. This building's design is very complex, with many rooms and detailed carvings. The architecture of the structures at Acanceh show a Teotihuacano influence, leading some to believe it was a "colony" of Teotihuacan.
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Their main purpose seems to have been to record the new style being forged at Fontainebleau, copying both the main subject paintings and the elaborate ornamental stuccos and other decorations. Nymph mutilating a Satyr With a couple of exceptions his prints are signed only with "L.D.", and his identity was long uncertain; he is known as the Master L.D. in older literature. Lists of his works have attributed between 98 (Henri Zerner) and 226 (F.
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Palazzo Marino The ceiling of the main hall (now known as "Salone dell'Alessi") had frescos and stuccos with the Marriage of Cupid and Psyche by Andrea Semini and Ottavio Semini. The four corners of the ceiling were also decorated with paintings by Aurelio Busso representing the Four Seasons. Further frescos as well as bas reliefs decorated the walls, with mythological themes such as the Muses, Bacchus, Apollo and Mercury by Ottavio Semini. The reliefs depict the story of Perseus.
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The Chapel of St. Catherine was built in 1462 as a fortified church in the Gothic style. When the castle was converted into the Baroque style the castle courtyard was filled with earth with the result that, today, the chapel is below ground level. It contains frescoes and arrow slits as well as casemates with vaulted ceilings and fighting rooms. The Baroque church built above the fortified chapel from 1687 to 1702 is richly decorated with stuccos and is of the Italian Early Baroque period.
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Traditional stucco is a centuries-old material which consists of aggregate, a binder, and water, and is a hard, dense, thick, non-insulating material. EIFS is a lightweight synthetic wall cladding that includes foam plastic insulation and thin synthetic coatings. There are also specialty stuccos that use synthetic materials but no insulation, and these are also not EIFS. A common example is what is called one-coat stucco, which is a thick, synthetic stucco applied in a single layer (traditional stucco is applied in 3 layers).
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Design elements include a near symmetrical facade, Moorish influence in the nave, and artwork by artists of the Quito School. A sarcophagus with the remains of Ecuador's patron saint, Mariana de Jesús de Paredes, is located in the base of the central altar. The interior of La Compañía strongly resembles that of the Church of San Ignacio in Bogotá. This similarity, particularly evident in the design of the stuccos, baseboards, molding and vaults, represents an enhancement of the scheme first employed in the older Bogotá church.
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Access to the yard is via a gate under a tower with a steeple. The main building is flanked by two lower wings marking the boundaries of a vast yard. The rich interior has remained pretty much as it was at the time of building. The interior is truly exceptional; many talented artists were called upon: stuccos in the chapel, the superb entrance hall paved with marble with its beautiful staircase, the various drawing rooms with tapestry, the dining room with walls decorated with hand-painted engravings, and the huge library.
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Giovanni Pietro Paolo and his heir Paolo enriched the building interior with stuccos (created by Agostino Gerli) as well as a series of paintings depicting the myth of Orpheus, by an unknown artist. In 1930, the building was acquired by the Comune di Milano, that adapted it as an art gallery; this was dismantled after World War II, as a consequence of the palace being severely damaged by Allied bombings. A new restoration (by architect Arrigo Arrighetti) followed, in 1956; thereafter, the palace was chosen as the seat of Milan's public library.
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The complex, as it was completed in 1562, comprised an elliptical cortile, two free-standing portals, and the loggia with its fountain. Rich sculptural stuccos, once supplemented by some fifty ancient Roman sculptures, enliven the exterior (illustration).They are not just as Pirro Ligorio designed them; Graham Smith, The Casino of Pius IV, Princeton, N.J., Princeton University Press, 1977, documents 17th-century restorations, replacements in 1824 and major renovations in 1931–35. A team of at least six major painters, including Federico Barocci, Federico Zuccari, and Santi di Tito and their assistants, frescoed the interiors.
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The village of Bussana Vecchia can be toured entirely on foot in about an hour. One of the major attractions for tourists are the characteristic shops and ateliers, which can be seen and visited almost everywhere in the village. The old church of Saint Giles, never restored, still shows traces of the original stuccos and paintings; it can only be visited from the outside, as it is structurally unsafe. The church belfry miraculously escaped the earthquake, and is seen by the inhabitants of Bussana Vecchia as the symbol of the town.
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Monumental staircase Between 1563 and 1565 the barrel vault of the staircase leading to the portego or passing salon of the main floor was sumptuously decorated by a young Federico Zuccari, who had trained in Rome, with allegorical frescoes referring to the virtues of his client Giovanni, completed by grotesques and stucco reliefs with mythological creatures. The stuccos reproduce some antique cameos from the Giovanni Grimani collection. Overall, the grand staircase bears comparing to the Scala d'Oro of Palazzo Ducale and with the entrance to the Marciana Library.
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The palace's reconstruction included rebuilding of the facade and the courtyard elevation, as well as notable changes in the internal design and decorations. The new design was created by another of Poland's notable architects of the epoch, Chrystian Piotr Aigner, though some of the changes are attributed to Potocki himself. The paintings inside the palace were replaced with stuccos by Wirgiliusz Bauman. Significant changes were also applied to the surrounding park, which was converted from a typical classicist French park into a picturesque and then-popular landscape park.
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The north neighborhood is the oldest and is largely made up of two-story brick and clapboarded mansions dating from approximately 1912. The central sector is a later and larger version of the northern mansions. The south and southwest sectors date from the late 1920s through the early 1930s with smaller two-story brick bungalows, Spanish stuccos and adaptations of classical styles. Architectural styles appearing in the MRHD include Italianate, Georgian Revival, Neo-Classical Revival, Federal and Colonial styles, Gothic, Tudor, Jacobethan, several Prairie styles, Bungalows and Cottage.
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In the years 1903-1914 he ran his own painting school in Lviv. A fan of Henryk Sienkiewicz, Juliusz Słowacki and Jan Matejko, Kaczor-Batowski specialized in historicist paintings, usually related to Poland's martial history. Among the best known of his works is the Polish Thermopylae (Battle of Zadwórze) and Pułaski at Savannah The last painting is currently owned and permanently displayed at The Polish Museum in Chicago. He is also notable as the designer of the stuccos and frescoes for the Grand Theatre in Lwów (modern Theatre of Lviv).
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The ground floor is finished in rusticated bugnato ashlar, the first floor, separated from the second with bas-reliefs of heraldic symbols, has windows crowned with garlands and decorative mouldings. Some of the rooms still have period decorations, the most famous of which is the gallery decorated with frescoes by Martin Knoller and stuccos by Giocondo Albertolli. Rinaldo's room, also decorated by Knoller, was inspired by Torquato Tasso's epic poem Jerusalem Delivered.Attila Lanza and Marilea Somarè, Milano e i suoi palazzi: porta Vercellina, Comasina e Nuova, 1993, Vimercate, Libreria Meravigli editrice, p. 156.
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With the onset of the American Industrial revolution, the demand for cement increased. Roads, dams, power plants, bridges, and various North American government projects such as the construction of cisterns, wet cellars and the Croton Aqueduct system were rapidly being built throughout the American landscape. All of these structures utilized Rosendale natural cement. In addition to large structures, natural cement was also used to create mortars, stuccos, lime-washes, grouts, and concretes. In the final year of the 19th century, Rosendale’s cement industry peaked, producing nearly 8.5 million barrels a year.
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Until 2015, Dar Bach Hamba was the office of the Orestiadi Foundation and the venue for a permanent exhibition of costumes, stuccos and terracottas from all Mediterranean countries. The idea of this exposition was inspired from the model at the Museo delle Trame Mediterranee, and its goal was to show the commonality in Mediterranean cultures and communities. Since July 2015, the palace hosts the L'Art Rue association that develops artistic projects promoting local heritage. Dar Bach Hamba is also the venue of many artistic workshops for children, for oncerts and artistic residences.
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Nearby is the Chiesa di Sant'Agata, rebuilt in the 18th century on the site of a previous 15th-century building and houses a pipe organGiusy Larinà -Towards a typology of decorative façades in 18th-century Sicilian organs (This article was published in Italian in Il Canto dell'Aquila, (Centro di Studi Musicali per il Meridione, Caltagirone) July 1990, pp102-111.)Photographs courtesy of Vincenzo Piluso.English translation by N. Waanders 2001 created around 1770. The church of San Giovanni Battista is from the 18th century. The stuccos decorating the interior are by Natale Bonaiuto (also mentioned with reference to the Chiesa Madre).
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Mirza Kadym Irevani was born in 1825, in the city of Erivan in Qajar Iran during the tenure of the last Iranian governor of the Erivan Khanate, Hossein Khan Sardar, and belonged to a "family of professional decorators". During Hossein Khan's capable governorship, Erivan prospered; the Sardar's Palace became decorated with mirrors, stuccos, and fourteen paintings. The paintings depicted four heroes from the Iranian Shahnameh epic, including Rostam and Sohrab, as well as contemporary Iranian notables; king Fath-Ali Shah Qajar (1797–1834), Abbas Mirza, Hossein Khan Sardar, and his brother Hasan Khan Qajar. Other paintings included two hunting and battle scenes.
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The following analyzes the evolution of architectural and ornamental of the palace from the last third of the 18th century, when it reached its peak, until its destruction in the Civil War, stopping briefly on the contributions of its principal owners. The Duchess of Arcos, the owner between 1781 and 1784, put special attention on the interiors. The rooms were decorated in pseudo-classical style with abundant Pompeii and Herculaneum motifs. This period corresponds to the Cabinet of the Stuccos and the Dining room, dominated by a Tribune of musicians, and the sumptuous staircase leading to the upper floor.
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This came by sea from quarries in Istria in the terraferma, now in Croatia.Howard, 56–60; Burns, 24 It also had the advantage that it withstood the salt in the coastal air, and floods, much better than marble.Wolters and Huse, 23 Other stones with different colours were often used for contrast, especially a red stone from Verona. Marmorino or cocciopesto stuccos, made from grinding limestone, brick and terracotta fragments, was the typical finish for interior walls, and sometimes exteriors.Howard, 58; Burns, 24 Flat ceilings supported with timber beams were preferred to vaults, which might crack as the building settled on the pile foundations.
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A similar arrangement is still visible in other side chapels of the basilica. The appearance of the chapel was fundamentally changed when it was rebuilt by Cardinal Giovanni Garzia Mellini in the 1620s in Baroque style. The whole interior was covered with white and gold stuccos, and the vault was decorated with frescos depicting scenes from the life of Saint Nicholas of Tolentino by a Florentine artist, Giovanni da San Giovanni who was paid 130 scudi "as the rest and final installment of payment for the several works done" on 27 October 1627. The main altar was consecrated in 1628.
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Fresco of the presbitery The building of the sanctuary is due to the miraculous healing of a deaf-mute countrygirl thanks to the vision of Saint Mary of the Snow in 1678. The church has a Christian cross map and is decorated with stuccos and frescos by Pietro Lace, painter from Andorno Micca. The building preserves around 300 Ex voto.Nuova guida di Biella e Provincia; Gabriella Giovannacci Amodeo, Libreria Vittorio Giovannacci, Biella, 1994 The complex includes also few chapels and the lodging of the hermits, to whom the custody of the sanctuary was assigned until the 19th century.
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The northern facade features a broken arched window and a perfect arch on the first floor, dual-arch windows on the second, and balcony similar to the western facade on the third. The eastern facade with perfect arch recess on the first floor of the shorter volume and broken arch window on the third floor of the highest volume. The interior includes pavement slabs in granite on the ground floor and wood on the remain floors. The walls alternate between granite blocks and plastered and painted walls in white, while the ceilings are plastered and stuccos on the ground floor and decorated in wood frames on the remains levels.
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Important national collectors joined the project, donating objects of historical and artistic interest. As a result, the Imperial Museum was inaugurated on March 16, 1943, with a significant collection of pieces related to the Brazilian imperial period, with a ceremony that included members of the Imperial Family. Over the last seven decades, it has accumulated significant documentary collections, bibliographical collections (many from Château d'Eu) and objects thanks to the generous donations of hundreds of citizens, totaling a collection of almost 300,000 items. Much of the interior decoration is still preserved, such as the floors in noble stones, stuccos, chandeliers and furniture, rebuilding the environments.
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In the Clot district he built the Centro de Nuestra Señora del Carmen y San Pedro Claver (1899–1903), a complex housing schools and training workshops for young workers, which was destroyed in 1936. In 1893 he built the Frontón Barcelonés, at Carrer Diputació 415, the first facility in Barcelona for playing Basque pelota; it was open to the sky, and the spectators sat in a three-storey iron structure, decorated with stuccos; this building disappeared in 1902. Between 1896 and 1902, with Pere Garcia Fària, he built the New Customs House in the port of Barcelona, a typical example of his eclectic style.
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Apart from some interiors, it is not quite correct to regard this style as Rococo; for example, the fronts of the Winter Palace by Rastrelli, with exuberant coloured stuccos marked by mighty colonnades and delicate window openings, possess the solidity of the mature Baroque rather than the curvilinear lightness of the Rococo. The Elizabethan Baroque style is also found in the works of Muscovite architects of the mid-eighteenth century, particularly those of Dmitry Ukhtomsky and Ivan Fyodorovich Michurin. In St. Petersburg, with the empress Elizabeth Petrovna, a host of architects competed in the realisation of palaces: , Savva Chevakinsky, Andrey Kvasov, among others. The Swiss architect Pietro Antonio Trezzini was the specialist in the field of religious buildings.
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The interior is in Italian Rococo, made of precious materials such as lacquers, porcelains, gilded stuccos, mirrors and roots that today extend on an area of about 31,000 square meters, while 14,000 are occupied by adjacent buildings, 150,000 by the park and 3,800 by the external flowerbeds; Overall, there are 137 rooms and 17 galleries. Among the fine furniture made for the building should be mentioned those of the carver Giuseppe Maria Bonzanigo, Pietro Piffetti and Luigi Prinotto. The building preserves decorations by the Venetian painters Giuseppe and Domenico Valeriani, by Gaetano Perego, and by the Viennese Christan Wehrlin. The frescoes by Vittorio Amedeo Cignaroli, Gian Battista Crosato and Carlo Andrea Van Loo are also noteworthy.
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On the ceiling of the so-called Dining Room there is a large fresco, by Anton Domenico Gabbiani, depicting the work of Cosimo The Elder, father of the homeland. The painting dates back to 1698 and was commissioned by Prince Ferdinando III de' Medici. This hall was also known as Salone degli stucchi but the stuccos in question, with portraits of Medici within medallions and other decorations, were removed in 1812 because they were considered too redundant. Only in some periods of the year is decorated the table with the table carp drawings designed by Agnolo Bronzino between the 1533 and 1548, beautifully woven with silk and filaments of gold and silver.
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Colorful frescoes and stuccos made by distinguished artists such as Peter von Cornelius, Clemens von Zimmermann, and Wilhelm von Kaulbach adorned the walls of the museum. Glyptothek, interior 1900 In the few years between 1806 and the opening of the museum in 1830, Ludwig completed a notable collection of Greek and Roman sculpture. Through his agents, he managed to acquire such pieces as the Medusa Rondanini, the Barberini Faun, and, in 1813, the figures from the Aphaea temple on Aegina. The Second World War did not destroy much of the artwork in the Glyptothek; but unfortunately the frescoes did not survive and only lightly plastered bricks were visible after the museum was reopened in 1972.
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The first room, decorated with a very special rococo style, is decorated with stuccos and mirrors from the walls to the ceiling, idea of Giovanni Pietro Pozzo in 1766 with the help of Michele Antonio Rapous in the realization of the boiserie. The chandelier dating back to the 1940s is more ancient and is decorated with sculptures of wrought iron birds. The Cabinet of Pauline Bonaparte owes its fame to the fact that it was made to equip in current forms by Pauline Bonaparte, Napoleon's sister, during her period of stay at the palace when her husband Camillo Borghese was appointed governor of Piedmont. The room, small in size, contains a beautiful marble bathtub, decorated with bas-reliefs representing the imperial insignia with the Napoleonic eagle.
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It was designed in 1772 by Giuseppe Piermarini who in this instance abandoned the sober and austere style of early Neoclassicism, building an imposing and highly decorated mansion which dominates the street. Here too, the most lavishly decorated part of the facade is the slightly protruding central section with a series of four giant columns, an entablature and a tympanum enclosed by pilasters. The ground floor is finished in rusticated bugnato ashlar, the first floor, separated from the second with bas-reliefs of heraldic symbols, has windows crowned with garlands and decorative mouldings. Some of the rooms still have period decorations, the most famous of which are the gallery decorated with frescoes by Martin Knoller and stuccos by Giocondo Albertolli.
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The Galleria Grande The entrance of the palace leads into the Cour d'honneur ("Honour Court"), which once housed a fountain with a deer. The main facade, covered in the 17th century section with plaster and featuring cornucopias, shells and fruits, is connected on the right by section with exposed brickwork added in the 18th century. The two towers date to the Michelangelo Garove period (1669–1713) and are covered with multicolor pentagonal tiles in ceramics, which are united by a large gallery, known as Galleria Grande. The interiors originally housed a large collection of stuccos, statues, paintings (according to Amedeo di Castellamonte, up to 8,000) from some of the court artists of the times, such as Vittorio Amedeo Cignaroli, and Bernardino Quadri.
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She is reputed to have had paintings of her burnt that did not match the iconic image she wished to be shown. The most progressive and spectacular palace of the Tudor period, Nonsuch Palace, begun by Henry VIII in 1538 a little way south of London, was covered inside and out with prodigious quantities of figurative sculpted stucco reliefs – the whole scheme covered over 2,000 square metres (21,000 sq ft).JSTOR Burlington Magazine, The Stuccos of Nonsuch by Martin Biddle There was also probably much decorative painting. As for the similar work at the Château de Fontainebleau, which Nonsuch was certainly intended to compete with, and outshine, Italians were brought in to provide authentic Mannerist work, however much the general plan remains English.
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It is a civil temple, formerly name was Wat Khok Mu (วัดคอกหมู, "pigsty temple"). It was told that during King Rama II's reign in early Rattanakosin period Chao Krom Yim (เจ้ากรมยิ้ม), who was a Mon (Peguan) persuaded the Chinese who mostly were pig raisers in the area to build a temple called Wat Khok Mu. Later Vajirananavarorasa, supreme patriarch at that time has changed its name to Wat Sitaram. It derived from conversion of Pali language, from a word of Yim (the temple founder's name), and a word of aram (the temple, or monastery), ubosot (ordination hall) of the temple has Chinese styled rooftop covered by Thai styled tiles. The gables are decorated with floral design stuccos and Chinese glazed ceramics.
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The Arab layout of the town can be clearly seen passing from Via Verga to Via San Gregorio Magno and proceeding as far as Largo della Matrice, a square with a statue of St. Gregory in the middle and the Chiesa Madre (S. Gregorio Magno) at one side. The portal on the left face of the church, in splendid 15th-century Gothic-Catalan style, probably came from the old Town Hall, destroyed by the earthquake in 1693; in the interior there are late 18th century stuccos and a wooden ceiling by Natale Bonaiuto, as well as two paintings (The Martyrdom of St. Laurence and the Madonna delle Mercede) by Filippo Paladini (or Paladino), born in Florence about 1544. Another painting by Paladino, The Deposition (1607), is in the Chiesa del Convento dei Cappuccini.
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Usigni is a village in Umbria, a frazione of the comune of Poggiodomo in the Province of Perugia a few hundred metres downstream from the source of the Tissino River. It is located at 1,001 m (3,284 ft) above sea‑level. The once- fortified village is now insignificant, with only 13 inhabitants according to the 2001 census, but was the home town of Fausto Cardinal Poli, private secretary to Pope Urban VIII, and benefited from his public-spiritedness: the church of S. Salvatore built by Poli in around 1640 was richly decorated with stuccos and frescos by Guidobaldo Abatini and Salvi Castellucci. Usigni is also very proud of an elegant well-head of the same period, attributed by some to Bernini, which it has adopted as its symbol.
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On the ground floor the reception area for the Gabinete de Estudos Olisiponenses is in the former living room of the palácio, and GEO workspaces are in the former library and in a dressing room connected to the former bedroom, within the bow window. The old gallery and painting rooms were transformed into the GEO library catalogue room (decorated by Francisco Vilaça in the Renaissance style that included the painted ceiling of the allegories of painting and sculpture). The former Golden Hall/Salon is the most notable space in the house, and includes the grand tapestry by Columbano Bordalo Pinheiro, "O Carnaval de Veneza", that is today used for the library reading rooms. The old music room (with decoration inspired by classical mythology) was also transformed into a reading room and decorated by Francisco Vilaça, who executed stuccos of musical instruments.
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The form is itself ornamental, and further decorated in painted plasterwork The amazing Rococo interior of the Wilhering Abbey (Wilhering, Austria). This interior has a trompe-l'œil on its ceiling, surrounded of highly decorated stuccos Arabesque in a boudoir taken from the Hôtel de Crillon, in the Metropolitan Museum of Art (New York City) Renaissance ornaments above a door in the D.A. Sturdza House, each door having the same thing above them, in Bucharest (Romania) The relief of Diana at the Amalienburg, in Munich (Germany) A wide variety of decorative styles and motifs have been developed for architecture and the applied arts, including pottery, furniture, metalwork. In textiles, wallpaper and other objects where the decoration may be the main justification for its existence, the terms pattern or design are more likely to be used. The vast range of motifs used in ornament draw from geometrical shapes and patterns, plants, and human and animal figures.
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Located at the Pizz area in Brunate with a panoramic view over Como outside of the historical centre, it is composed of five floors, with different proportions related to the nearby villas but in line with the great hotel structures present in Italy and in Europe at the time. The floorplan is rectangular and its façade has six neoclassical lesenes that alternates with large single and double windows surmounted by important stuccos that give movement to the façade together with the balconies, to which its parapets parts are in wrought iron. On the ground floor there is a large veranda overlooked by a large terrace supported by columns.. The hotel had fifty rooms: on the ground floor and the first floor there were the rooms for vestibule, dining room, leisure room and smoking room, while on the upper floors there were the guest rooms and suites. The decorations where done by the painter Travaglini from Varese.
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He then followed many other Italian and Swiss-Italian artesans of the day in going to work in the Russian Empire, where he first worked on the palace of the Ukrainian Hetman Kirill Razumovsky, in a team led by the architect Antonio Rinaldi, with whom he would continue to work on several projects in and around the Russian capital Saint Petersburg. Here he was awarded a five-year contract in 1777 to decorate the state chambers at the Tsarskoye Selo palaces, specifying that he "make all the ornaments in plaster, as well as the stuccos in imitation marble for the decoration of the living areas", being paid the sum of 850 rubles and assigned five assistants. He later worked at the Pavlovsk Palaces, but in 1785, was forced to resign from his position due to ill health occasioned by the damp conditions by the Gulf of Finland. He recommended his countryman Felice Lamoni of Muzzano for his replacement, and returned to his homeland, accompanied by his wife Elisabetta Fritz and son Giuseppe Bernasconi (born 1778).
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In order to remember the appearance of the palace at the end of the 11th century, we must imagine that all the vegetal, geometric and epigraphic reliefs were polychromed in shades in which red and blue predominated for backgrounds and gold for reliefs, which, together with the soffits in alabaster with epigraphic decoration and the floors of white marble, gave the whole an aspect of great magnificence. The various avatars suffered by the Aljafería, have made disappear from this layout of the 11th century a large part of the stuccos that made up the decoration and, with the construction of the palace of the Catholic Monarchs in 1492, the entire second floor, which broke the ends of the Taifal arches. In the current restoration, the original arabesques are observed in darker color and in white and smooth finishes the reconstruction of plaster of the decoration the arches, whose structure, however, remains undamaged. The decoration of the walls of the Golden Hall has disappeared for the most part, although remains of its decoration are preserved in the Museo de Zaragoza and in the National Archaeological Museum of Madrid.
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