62 Sentences With "architectural ornament"

In the wall sculpture "Peplum III" (2014), the subject is simultaneously a pleated skirt and an architectural ornament.

Both men came to art by way of tradecraft: architectural ornament in Rodin's case, decoration of ceramics in Renoir's.

Patricia E. Kane, the lead curator of American decorative arts at the University Art Gallery here, has overseen a team that is attributing thousands of antiques and fragments of architectural ornament to Rhode Island carvers.

"It's an architectural ornament that's changeable," said Thomas Jayne, an interior designer in New York and the author of "Classical Principles for Modern Design," a book on applying Wharton and Codman's ideas to contemporary interiors.

In 2000 Coade ltd started producing statues, sculptures and architectural ornament, using the original eighteenth century recipes and methods.

In Ruse, the tremors were strong but there was little damage; only one person perished, hit by a huge architectural ornament that fell down from a nearby building.

The property combines early 19th century Federal architecture with a good example of early 20th century commercial architectural ornament. It was listed on the National Register of Historic Places in 2006.

Kent C. Bloomer is an American sculptor, professor and author who is a well known proponent and creator of architectural ornament. He has taught classes on ornament at the Yale School of Architecture for over forty years, and many of his public works of ornament have become well known landmarks. He has written several books and articles on visual perception and architectural ornament, including the principal authorship, with Charles Moore, of “Body, Memory and Architecture,” 1977.

LaManche received a B.A. in Architecture at Yale University studying graphic design under Inge Druckrey, and did a thesis project in architectural ornament/site specific urban installations advised by sculptor Kent Bloomer.

En Ambuquí, Ibarra, preparan la festividad en honor al hobo (In Ambuquí, Ibarra, they prepare the party in honor to hobo); El Comercio, 2 March 2015 The Real Academia Española defines "ovo" as an egg- shaped architectural ornament, though.

The chair-makers, upholsterers. wood carvers, and foundries of Paris were kept busy making luxury furnishings, statues, gates, door knobs, ceilings, and architectural ornament for the royal palaces and for the new town houses of the nobility in the Faubourg Saint-Germain.

It is one of two Sullivan designs in Wisconsin, the other, the Harold C. Bradley House, is also a National Historic Landmark. The design of this bank is fully documented in Sullivan's 1924 A System of Architectural Ornament, published not long before his death.

The building, a prime architectural ornament of the city, follows the canons of classical antiquity: its height and width are identical (), and its length () is exactly ten times its width. It is located in central St. Petersburg, the nearest metro station being Gostiny Dvor.

Pinnacles on King's College Chapel, Cambridge. A pinnacle is an architectural ornament originally forming the cap or crown of a buttress or small turret, but afterwards used on parapets at the corners of towers and in many other situations. The pinnacle looks like a small spire. It was mainly used in Gothic architecture.

He was acclaimed for his class titled "Architectural Ornament" and in 1925 was invited to become an honorary member of the Beaux-Arts Institute of Design. Hoepfner also studied at the National Sculpture Society and George Bridgman Institute in New York City, where he was recognized for having achieved the status of anatomical perfection.

Richard W. Hayes, The Yale Building Project: The First 40 Years, Yale Univ. Press, 2007. At Yale, Bloomer served as Director of Undergraduate Studies in Architecture for seventeen years. In 1978, Bloomer began teaching “Ornament Theory and Design,” exploring the history and meaning of architectural ornament expressed in built work and writings throughout the history of architecture.

Print after his self-portrait Wendel Dietterlin (c.1550-1599), sometimes Wendel Dietterlin the Elder, to distinguish him from his son, was a German mannerist painter, printmaker and architectural theoretician. Most of his paintings are now lost, and he is best knownHeck. for his treatise on architectural ornament, Architectura, published in its final edition in Nuremberg in 1598.

It is typically used as an architectural ornament to the highest point of a building. The word vane comes from the Old English word fana, meaning 'flag'. Although partly functional, weather vanes are generally decorative, often featuring the traditional cockerel design with letters indicating the points of the compass. Other common motifs include ships, arrows and horses.

Congress Voting Independence (ca. 1784-88) by Robert Edge Pine. Harding carved the ionic capitals atop the pilasters in the Assembly Room of Independence Hall, and may have carved the shell frieze. Samuel Harding (died 1758) was an 18th-century American cabinetmaker, remembered for his Queen Anne style furniture and for the interior architectural ornament of Independence Hall, in Philadelphia, Pennsylvania, United States.

Ward, p.29 Mylne learned architectural and figure drawing, and studied the art of architectural ornament, under the direction of Giovanni Battista Piranesi. Piranesi, who had also taught Robert Adam, was a great influence on the young Mylne, and the two continued to correspond after the latter left Rome. Mylne studied the Ancient Roman system of aqueducts, and began to take on paid work as a tutor himself.

The creation of romantic art in Greece can be explained mainly due to the particular relationships that were created between recently liberated Greece (1830) and Bavaria during King Otto's years. Notable sculptors of the new Greek Kingdom were Leonidas Drosis whose major work was the extensive neo-classical architectural ornament at the Academy of Athens, Lazaros Sochos, Georgios Vitalis, Dimitrios Filippotis, Ioannis Kossos, Yannoulis Chalepas, Georgios Bonanos and Lazaros Fytalis.

Likewise, the architectural ornament, in the form of carved wood fascia boards, screens and panels, could be quite elaborate. Apart from this domestic rural architecture, there is evidence that more classical type buildings may have been built on the island. A nearby example of similar classical Hindu-Buddhist Malay architecture is Candi Muara Takus in the Riau province of Sumatra. Like the Singapore example, it also featured the use of sandstone as well as terraces.

Chandelier and murals Proscenium wall and boxes. Architectural ornament by Charles Bushor and Joseph A. Bailly Bust of Mozart with figures of Poetry and Music The interior might be considered an early example of American Baroque Revival architecture. The auditorium is graced by a large crystal chandelier, which measures in diameter, and weighs . When installed, the chandelier contained 240 gas jets, which were converted to electricity in 1900, and rewired in 1957.

Following typical Seljuq procedure, a Christian basilica on the site was converted into a mosque following the capture of the city in 1080. Much of the building material and architectural ornament incorporated in later rebuilding, especially columns and capitals, was salvaged from this basilica and other nearby Byzantine structures. Evidence of an early building program dates from the time of Mesud I.Konya, The Grove Encyclopedia of Islamic Art and Architecture, Vol.2, (Oxford University Press, 2009), 391.

Karp's was the second art gallery to open on West Broadway, which ultimately became the core of the SoHo gallery district. His initial focus at O.K. Harris was on Photorealism, with artists such as Robert Cottingham and Robert Bechtle. Other artists represented by the gallery included Deborah Butterfield, Malcolm Morley and Duane Hanson. In the early 1960s, Karp led efforts to salvage architectural ornament from older New York City buildings that were being demolished for new construction.

Notable sculptors of the new Greek Kingdom were Leonidas Drosis (his major work was the extensive neo-classical architectural ornament at the Academy of Athens), Lazaros Sochos, Georgios Vitalis, Dimitrios Filippotis, Ioannis Kossos, Yannoulis Chalepas, Georgios Bonanos and Lazaros Fytalis. The School of Paris Lady knitting by Périclès Pantazis. A few Greek painters studied in Paris. Despite residing in the French capital and following the guidelines of the French Art Academy, they invariably had their own interpretations.

From the beginning, the project was referred to as Tudor City, referring to its style of architectural ornament. Known as Tudor Revival, the style mixed the 16th-century English forms Tudor and Elizabethan. In early 20th-century America, these architectural motifs had come to symbolize the comforts of suburban living. Tudor City was conceived as an urban response to the suburban flight of the middle class, and therefore was designed with the architectural forms expected in a suburban development.

A fountain on the lower Steinweg, one of Marburg's main lanes, close to St. Elisabeth Church, which in some neo-gothic restoration attempt was topped with the effigy of a generic monk that was locally believed to represent Konrad, was continuously stoned by the students of the University of Marburg, and after many attempts at replacement, had to be substituted with an architectural ornament. Konrad appears in a work by the English novelist Charles Kingsley, who wrote his Saint's Tragedy about Elisabeth.

The most popular and enduring form of structural clay tile is its use in vertical applications as a structural element. In the vertical application, structural clay tile blocks are used in both columns and load bearing walls. Likewise, structural clay tile blocks were frequently used as backing for exterior walls, often filling the voids behind architectural ornament, stone, or brickwork. In early steel construction, clay tile blocks were historically used as infill between structural members, which provided much needed lateral support.

Leonidas Drosis Ioannis Kapodistrias' statue in Corfu (city) Close up view of the Athena column, Academy of Athens (modern) Leonidas Drosis (; died in 1882) was a Greek neoclassical sculptor of the 19th century. Born in Nafplion, he later studied in Athens and Munich on a scholarship provided by Simon Sinas. Drosis's major work is the extensive neo-classical architectural ornament at the Academy of Athens, for the Danish-Austrian architect Theophil Hansen. The Academy was also funded largely by Sinas.

The pillars "owe something to the pervasive influence of Achaemenid architecture and sculpture, with no little Greek architectural ornament and sculptural style as well. Notice the florals on the bull capital from Rampurva, and the style of the horse of the Sarnath capital, now the emblem of the Republic of India." "The Diffusion of Classical Art in Antiquity" by John Boardman, Princeton University Press, 1993, p.110 The animal on top of a lotiform capital reminds of Achaemenid column shapes.

Chinese or Imperial guardian lions are a traditional Chinese architectural ornament. Typically made of stone, they are also known as stonelions or shishi (石獅、shíshī). They are known in colloquial English as liondogs or foodogs. The concept, which originated and became popular in Chinese Buddhism, features a pair of highly stylized lions—often one male with a ball and one female with a cub—which were thought to protect the building from harmful spiritual influences and harmful people that might be a threat.

First National Bank Building (also known as the Old First and Merchants National Bank Building and BB&T; Bank Building) is a historic bank and high- rise office building located at 823 East Main Street in Richmond, Virginia. It was designed by architect Alfred Bossom and built in 1912–1913. It is a 19-story, four bay by five bay, Classical Revival style steel frame building clad in brick, limestone, and granite. The building features rich architectural ornament that follows the Corinthian order both within and without.

Cathedral of Santiago de Compostela in Spain. Churrigueresque Obradoiro façade Basilica and Convent of Nuestra Señora de la Merced, Lima Churrigueresque (; Spanish: Churrigueresco), in a lesser extent it was also called "Ultra Baroque", refers to a Spanish Baroque style of elaborate sculptural architectural ornament which emerged as a manner of stucco decoration in Spain in the late 17th century and was used up to about 1750, marked by extreme, expressive and florid decorative detailing, normally found above the entrance on the main facade of a building.

A festival marketplace is a European-style shopping market in the United States. It is an effort to revitalize downtown areas in major US cities begun in the late 20th century. Festival marketplaces were a leading downtown revitalization strategy in American cities during the 1970s and 1980s. The guiding principles are a mix of local tenants instead of regional or national chain stores, design of shop stalls and common areas to energize the space, and uncomplicated architectural ornament in order to highlight the goods.

It is also decorated in the jamb ornaments and capitals of Romanesque structures and in friezes and panels of buildings in the various Renaissance styles, where tiny animals or human heads also appear.Cf. J. Ward, Historic Ornament: Treatise on Decorative Art and Architectural Ornament, BiblioBazaar (2009), s.v. Rinceau. The rinceau experienced a return to the simpler Classic style in the 17th century, and in the subsequent century it was applied more freely, without a strict repetition of identical forms.Cf. A. Speltz, The History of Ornament: Design in the Decorative Arts, Portland (1989), s.v.

Retrieved on November 15, 2014. Whitby Hall was an 18th- century Pennsylvania country house, the farm acquired in 1741 and the house enlarged in 1754 by James Coultas (merchant, shipowner, and high sheriff of Philadelphia from 1755 to 1758). The original house featured a steep pedimented gable with cove cornices, and a three-story, pedimented stone entrance and stair tower. Much of the architectural ornament of Whitby Hall is originally attributed to Samuel Harding (who designed the interior of Independence Hall in 1753, the inspiration for Whitby's stair tower).

As with many cultural movements, some of Postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of the modernist style are replaced by diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Perhaps most obviously, architects rediscovered past architectural ornament and forms which had been abstracted by the Modernist architects. Postmodern architecture has also been described as neo-eclectic, where reference and ornament have returned to the façade, replacing the aggressively unornamented modern styles.

Alexander of Abingdon is assumed to have been from Abingdon, Berkshire, which was something of a centre of stonecutting and masonry. By 1291 he was active in London, where he probably lived for most of his life. In the accounts of the executors of the estate of Queen Eleanor of Castile, Alexander is described as a maker of images ("le ymagour"). It seems that this term indicated a maker of statues of human figures carved in the round, rather than a mason working on the general architectural ornament.

Worms Cathedral Branchwork tracery at Ulm Minster, c. 1475 Branchwork portal of the former monastery church of Chemnitz (1525) Branchwork or branch tracery () (Dutch: Lofwerk of Loofwerk) is a type of architectural ornament often used in late Gothic architecture and the Northern Renaissance, consisting of knobbly, intertwined and leafless branches. Branchwork was particularly widespread in Central European art between 1480 and 1520 and can be found in all media. The intellectual origin of branchwork lies in theories in Renaissance humanism about the origins of architecture in natural forms and barely-treated natural materials.

Ridge turret on Korntal-Münchingen town hall, Baden-Württemberg, Germany A ridge turret is a turret or small tower constructed over the ridge or apex between two or more sloping roofs of a building. It is usually built either as an architectural ornament for purely decorative purposes or else for the practical housing of a clock, a bell or an observation platform. Its function is thus different from that of a roof lantern, despite a frequent similarity of external appearance. It can have a flat roof but usually has a pointed roof or other kind of apex over.

The Cloisters, also known as Cloisters Castle, is a historic home in Lutherville, Baltimore County, Maryland, United States. It was built about 1930 and is a -story house, irregular in elevation and plan with much architectural ornament. It is built of large, random-sized blocks of a native gray and gold colored rock known as Butler stone, with details principally of sandstone, wood from the site, plaster, and wrought iron. The main façade is dominated by two asymmetrically placed, projecting sections topped by massive half-timbered gables which were originally part of a Medieval house in Domrémy, France.

The Star of David in the oldest surviving complete copy of the Masoretic text, the Leningrad Codex, dated 1008. The hexagram does appear occasionally in Jewish contexts since antiquity, apparently as a decorative motif. For example, in Israel, there is a stone bearing a hexagram from the arch of a 3rd–4th century synagogue in the Galilee."King Solomon-s Seal" Israeli Ministry of Foreign Affairs Originally, the hexagram may have been employed as an architectural ornament on synagogues, as it is, for example, on the cathedrals of Brandenburg and Stendal, and on the Marktkirche at Hanover.

Anna Magee believed that the City's hospital wards were overcrowded because needy patients, although they could not resume their normal occupations or duties, remained there too long after passing the initial stage of acute illness or injury. She also did not want patients' families to be burdened with their support. She envisioned a hospital for convalescents—one, she stated that should ensure "the highest degree of reasonable comfort and healthfulness," in a "stately and dignified" building in which "no money should be misused for architectural ornament." Under Chairman C. Stevenson Newhall, M.D., the first board meeting took place on June 2, 1925.

The mines generated wealth in the region and funded the building and repair of many local churches, and thus the symbol may have been used as a sign of the miners' patronage. The architectural ornament of the three hares also occurs in churches that are unrelated to the miners of South West England. Other occurrences in England include floor tiles at Chester Cathedral, stained glass at Long Melford, SuffolkAt the Holy Trinity Church, Long Melford, above the northern door, is a small stained glass roundel, only a few inches in diameter. and a ceiling in Scarborough, Yorkshire.

In architecture and decorative art, ornament is a decoration used to embellish parts of a building or object. Large figurative elements such as monumental sculpture and their equivalents in decorative art are excluded from the term; most ornament does not include human figures, and if present they are small compared to the overall scale. Architectural ornament can be carved from stone, wood or precious metals, formed with plaster or clay, or painted or impressed onto a surface as applied ornament; in other applied arts the main material of the object, or a different one such as paint or vitreous enamel may be used. 18th-century Rococo balcony, Bavaria.

In 1876, the Technical Fine Arts School (Kobu Bijutsu Gakko, later part of the University of Technology and later the Tokyo Institute of Technology), an art school of painting and sculpture, was founded in Tokyo under the supervision of the Ministry of Industry. This was the first governmental art school founded in Japan. Special emphasis was placed on sculptural art, as the number of applicants was far less than that for painting. With the waning popularity of Buddhism in the early Meiji period, traditional sculptural art had fallen into disfavor, and was surviving in minor arts such as architectural ornament, noh-masks, dolls, netsuke, and ivory-work.

Sophia Hayden Bertha Honoré Palmer served as the president of the 117-woman strong Board of Lady Managers, the organization which dealt with women's business at the World's Columbian Exposition. The Board built The Woman's Building, designed by 21-year-old Sophia Hayden, as the showplace for women's art. The building itself was decorated by women artists, featuring architectural ornament sculpted by Enid Yandell and Alice Rideout, both 19, and a large painting by Mary Cassatt, Modern Woman, one of two extensive murals in the Woman's Building, the other one, Primitive Woman being by Mary MacMonnies.Weinmann, Jeanne Madeline, ‘’The Fair Women’’’, Academy Chicago, Chicago, Illinois, 1981 pp.

The Konark Sun Temple has attracted conflicting reviews. According to Coomaraswamy, the Konark Sun Temple marks the high point of the Odisha style of Nagara architecture. The colonial-era reception of the temple ranged from derision to praise. Andrew Sterling, the early colonial-era administrator and Commissioner of Cuttack questioned the skill of the 13th-century architects, but also wrote that the temple had "an air of elegance, combined with massiveness in the whole structure, which entitles it to no small share of admiration", adding that the sculpture had "a degree of taste, propriety, and freedom which would stand a comparison with some of our best specimens of Gothic architectural ornament".

Seating capacity can be estimated at about 1,750. The available evidence indicates a construction date in the Antonine or early Severan period (late 2nd or early 3rd century AD). The scaenae frons (stage front) was certainly put up at this time, as the style of both sculpture and architectural ornament suggest. Statue bases terminating the retaining walls of the auditorium bore the names of two brothers, senators in the early Severan period, and two inscribed bases placed symmetrically against the exterior facade held statues of Aphrodisian benefactors, Claudia Antonia Tatiana and her uncle Lucius Antonius Dometinus, who were active at the end of the 2nd century.

Types of ivories included small, devotional polyptychs, single figures, especially of the Virgin, mirror-cases, combs, and elaborate caskets with scenes from Romances, used as engagement presents.Calkins, 193–198 The very wealthy collected extravagantly elaborate, jewelled and enamelled metalwork, both secular and religious, like the Duc de Berry's Holy Thorn Reliquary, until they ran short of money, when they were melted down again for cash.Cherry, 25–48; Henderson, 134–141 Gothic sculptures independent of architectural ornament were primarily created as devotional objects for the home or intended as donations for local churches,Stokstad (2005), 537. although small reliefs in ivory, bone and wood cover both religious and secular subjects, and were for church and domestic use.

The U.S. Post Office and Courthouse artfully embodies the Art Modern style that was becoming increasingly influential by the late 1930s - a time when many federal architects experimented with abstracted classical motifs combined with a reduction in architectural ornament. The building's flat planes of Indiana limestone are nearly devoid of classical ornamentation, which is limited to the punctuated regular rhythm of elongated bays. Encompassing a full city block along Grand Avenue, each of the four sides of the immense ten- story edifice is similar in design, divided into three horizontal sections. The facade's (west elevation's) three-story base rises with smooth walls pierced by elongated bays enclosing the first- and second-story windows, which are divided by decorative spandrels.

Ball-flower ornamentation at Gloucester Cathedral capital in St Mary's Church, Bloxham in Oxfordshire The ball-flower (also written ballflower) is an architectural ornament in the form of a ball inserted in the cup of a flower. It came into use in the latter part of the 13th century in England and became one of the chief ornaments of the 14th century, in the period known as Decorated Gothic. Ball-flowers were generally placed in rows at equal distances in the hollow of a moulding, frequently by the sides of mullions. Examples are found in many churches of the period including Gloucester Cathedral, St Mary's Church, Bloxham, St. Michael's Church, Swaton ( 1300),Gardner 1922, p.

Ceracchi modelled architectural ornament and bas-relief panels for Robert Adam,Models by Ceracchi, including a sacrifice scene designed by Antonio Zucchi, were in Adam's posthumous sale, 1818 (Gunnis 1968). most notably a grand bas-relief of a Sacrifice to Bacchus, fourteen feet long and six feet high, in Adam's patent mastic composition, for the rear façade of Mr. Desenfans' house in Portland Place.At Desenfans' death it was auctioned to the proprietors of the Coade stone manufactory (Smith 1828) and has disappeared. Wedgwood jasperware relief portrait plaque of Joseph Priestley In 1778, Ceracchi sculpted the statues of Temperance and Fortitude cast in Portland stone for the Strand façade of Sir William Chambers' Somerset House, London;Public Record Office, A.O.1/2495, noted in Gunnis 1968.

Dreihasenfenster (Window of Three Hares) in Paderborn Cathedral The three hares (or three rabbits) is a circular motif or meme appearing in sacred sites from the Middle and Far East to the churches of Devon, England (as the "Tinners' Rabbits"), and historical synagogues in Europe. It is used as an architectural ornament, a religious symbol, and in other modern works of art or a logo for adornment (including tattoos),Celtic knot Tattoo: border encircling Triple knotwork Hares by "WildSpiritWolf". jewelry, and a coat of arms on an escutcheon.The "three hares motif from a window of the Paderborn cathedral cloister (Unity and Trinity as a symbol of the Trinity, the central mystery of faith of the Catholic Church and the whole of Christendom)".

Examples of acroteria Greek akroterion, 350-325 BC, marble, in the Metropolitan Museum of Art (New York City) Akroterion of the grave monument of Timotheos and Nikon, 350-325 BC, marble, in the Metropolitan Museum of Art An acroterion or acroterium or akroteria is an architectural ornament placed on a flat pedestal called the acroter or plinth, and mounted at the apex or corner of the pediment of a building in the classical style. An acroterion placed at the outer angles of the pediment is an acroterion angularium (' means ‘at the corners’). The acroterion may take a wide variety of forms, such as a statue, tripod, disc, urn, palmette or some other sculpted feature. Acroteria are also found in Gothic architecture.

Some of the decoration relates to contemporary architectural ornament, with egg- and-tongue (ovolo) mouldings, acanthus and vine scrolls and the like. While the decoration of Arretine ware is often highly naturalistic in style, and is closely comparable with silver tableware of the same period, the designs on the Gaulish products, made by provincial artisans adopting Classical subjects, are intriguing for their expression of 'romanisation', the fusion of Classical and native cultural and artistic traditions. Many of the Gaulish manufacturing sites have been extensively excavated and studied. At La Graufesenque in southern Gaul, documentary evidence in the form of lists or tallies apparently fired with single kiln-loads, giving potters' names and numbers of pots have long been known, and they suggest very large loads of 25,000–30,000 vessels.

Page in which appear various illustrations of palmettes, from A handbook of Ornament by Franz Meyer (1898) Etruscan architectural plaque with palmettes, from late 4th century BC, painted terracotta, in the Metropolitan Museum of Art (New York City) The palmette is a motif in decorative art which, in its most characteristic expression, resembles the fan-shaped leaves of a palm tree. It has a far-reaching history, originating in ancient Egypt with a subsequent development through the art of most of Eurasia, often in forms that bear relatively little resemblance to the original. In ancient Greek and Roman uses it is also known as the anthemion (from the Greek ανθέμιον, a flower). It is found in most artistic media, but especially as an architectural ornament, whether carved or painted, and painted on ceramics.

The pointed arches and flying buttresses of Gothic architecture are ornamental but structurally necessary; the colorful rhythmic bands of a Pietro Belluschi International Style skyscraper are integral, not applied, but certainly have ornamental effect. Furthermore, architectural ornament can serve the practical purpose of establishing scale, signaling entries, and aiding wayfinding, and these useful design tactics had been outlawed. And by the mid-1950s, modernist figureheads Le Corbusier and Marcel Breuer had been breaking their own rules by producing highly expressive, sculptural concrete work. The argument against ornament peaked in 1959 over discussions of the Seagram Building, where Mies van der Rohe installed a series of structurally unnecessary vertical I-beams on the outside of the building, and by 1984, when Philip Johnson produced his AT&T; Building in Manhattan with an ornamental pink granite neo-Georgian pediment, the argument was effectively over.

161–166 and in South and Central Gaul, it was not long before local potters also began to emulate the mould-made decoration and the glossy red slip itself. The most recognisable decorated Arretine form is Dragendorff 11, a large, deep goblet on a high pedestal base, closely resembling some silver table vessels of the same period, such as the Warren Cup. The iconography, too, tended to match the subjects and styles seen on silver plate, namely mythological and genre scenes, including erotic subjects, and small decorative details of swags, leafy wreaths and ovolo (egg-and- tongue) borders that may be compared with elements of Augustan architectural ornament. The deep form of the Dr.11 allowed the poinçons (stamps) used making the moulds of human and animal figures to be fairly large, often about 5–6 cm high, and the modelling is frequently very accomplished indeed, attracting the interest of modern art-historians as well as archaeologists.

A series of major projects and events in French urban planning and design provided the inspiration for Second Empire architecture. Haussmann's renovation of Paris under Napoleon III in the 1850s and the creation of baroque architectural ensembles employing mansard roofs and elaborate ornament provided the impetus for the development and emulation of the style in the US. Haussmann's work was targeted to renovating the decaying Medieval neighborhoods of Paris by wholesale demolition and new construction of streetscapes with uniform cornice lines and stylistic consistency, an urban ensemble that impressed 19th century architects and designers. Additionally, the reconstruction of the Louvre Palace between 1852–1857 by architects Louis Visconti and Hector Lefuel was widely publicized and served to provide a vocabulary of elaborate baroque architectural ornament for the new style. Finally, the Exposition Universelle of 1855 drew tourists and visitors to Paris and displayed the new architecture and urbanism of the city, an event that brought the style to international attention.

His passion for horticulture would later be visible in his repeated use of floral motifs and leaf patterns. In 1939 he met the woman who would become his future wife and muse – Evelyn Kalka. She was 19, he was 29. In 1943 they married and Evelyn came to be known as “Marie,” a name she took on in honor of one of Eugene’s favorite aunts. While Von Bruenchenhein worked at a bakery, he and Marie moved into his father’s former storefront at 514 South 94th Place. It was here that Eugene and Marie established an “all-encompassing” world of their own – a world where stages of exotic theaters were mounted, where everyday items fueled his creativity. For the next forty years, Von Bruenchenhein not only made his home the site of his artistic production, but also an integral part of his creative process. After his death, it stood as “a patchwork of pastel colors and applied architectural ornament,” which was “guarded by mask-like concrete monuments within lilac bushes on the periphery.”Lisa Stone,“Eugene Von Bruenchenhein,” Raw Vision, Winter 1994/5: 33.