120 Sentences With "scagliola" | Random Sentence Generator

In a nook that resembled a messy kitchen, an Argentinean employee, a trained sculptor named Sebas Beyro, was preparing to make a cast by kneading a "dough" of scagliola —plaster tinted to imitate stone.

It is typically used without the addition of animal glues. Marezzo scagliola is often called American scagliola because of its widespread use in the United States in the late nineteenth and early twentieth century. Slabs of Marezzo scagliola may be used as table tops. When set, scagliola is hard enough to be turned on a lathe to form vases, balusters and finials.

Scagliola columns are not generally built of the solid material. Instead scagliola is trowelled onto a canvas which is wrapped around the column's core, and the canvas peeled away when semi-hardened. The scagliola is then surfaced in place. The verd antique columns and pilasters in the Anteroom at Syon House are made out of marble not scagliola as it is widely perceived (a beautiful and rare, predominantly green marble that was quarried in Larissa of Greece since antiquity).

Scagliola work at the Certosa di Padula, Italy While there is evidence of scagliola decoration in ancient Roman architecture, scagliola decoration became popular in Italian Baroque buildings in the 17th century, and was imitated throughout Europe until the 19th century. Superb altar frontals using this technique are to be found at the Certosa di Padula in the Campania, Southern Italy. An early use of scagliola in England is in a fireplace at Ham House, Surrey, which was brought from Italy along with the window sill in the reign of Charles II. This employs the use of a scagliola background which was then cut into to lay in the design. In 1761, a scagliolisto, Domenico Bartoli, from Livorno arrived in London and was employed by William Constable of Burton Constable in Yorkshire.

Plasterers were tasked with restoring scagliola, a composite of selenite, glue, and natural pigments, imitating marble and other hard stones. Making scagliola is a laborious 15-step process, which has to be restarted if a single mistake is made. During its construction, the Idaho state capitol’s architects used a combination of white marble and matching scagliola to create a "Capitol of Light," so called because the materials would glow in natural light in the rotunda.

In modern times—Tusmore House, Oxfordshire: > The great triumph of the saloon, however, is the use of scagliola, including > the richly coloured and figured Sienna shafts of the eight fluted Corinthian > columns...and the urns, entablature and balustrade to the second-floor > landing which gives access to four plaster-vaulted ante rooms serving the > main bedrooms. All this scagliola was produced by Richard Feroze, England's > leading contemporary scagliola-maker.John Martin Robinson in Country Life, > December 8, 2005. Italian plasterworkers produced scagliola columns and pilasters for Robert Adam at Syon House (notably the columns in the Anteroom) and at Kedleston Hall (notably the pilasters in the Saloon).

Fane impaling Stanhope Scagliola (from the Italian scaglia, meaning "chips") is a type of fine plaster used in architecture and sculpture. The same term identifies the technique for producing columns, sculptures, and other architectural elements that resemble inlays in marble.Scagliola. In: The scagliola technique came into fashion in 17th-century Tuscany as an effective substitute for costly marble inlays, the pietra dura works created for the Medici family in Florence. The use of scagliola declined in the 20th century.

In 1816 the Coade Ornamental Stone Manufactory extended their practice to include scagliola; their scagliola was used by Benjamin Dean Wyatt at Apsley House, London.John E. Ruch, "Regency Coade: A Study of the Coade Record Books, 1813–21" Architectural History 11 (1968, pp. 34–56, 106–107) pp. 35, 39.

Scagliola is a composite substance made from selenite, glue and natural pigments, imitating marble and other hard stones. The material may be veined with colors and applied to a core, or desired pattern may be carved into a previously prepared scagliola matrix. The pattern's indentations are then filled with the colored, plaster-like scagliola composite, and then polished with flax oil for brightness, and wax for protection. The combination of materials and technique provides a complex texture, and richness of color not available in natural veined marbles.

The three original courtrooms are decorated with frescoes, marble dadoes and scagliola. The original fresco remains in the Stevenson-Ives library. Other notable architectural features include many beveled and leaded glass panels, scagliola door surrounds, solid bronze wall partitions, a number of original bronze, combination gas and electrical light fixtures and marble counters.

A comparable material is terrazzo. Marmorino is a synonym, but scagliola and terrazzo should not be confused with plaster of Paris, which is one ingredient.

Inside there more restrained grandeur with the entrance hall boasting four massive scagliola columns. A double-return cantilever staircase leads to an unusual double-height saloon at first floor that rises up a further floor with a bedroom gallery over-looking. Both spaces are decorated amply with Doric columns in scagliola of diminishing scale from lower to higher. Wyatt also designed some of the most important furniture in the mansion.

He contributed to the scagliola decoration of a chapel (1724) in the Duomo of Carpi.Treccani Encyclopedia, Dizionario Biografico degli Italiani - Volume 46 (1996), entry by Anna Coccioli Mastroviti.

He produced a number of chimneypieces in Dublin of very good quality. Scagliola inlay proved to be desirable in Ireland and there appears to be a continuation long after it became unfashionable in England. In 1911, Herbert Cescinsky, in English Furniture remarked that scagliola had been popular in Dublin fifty years before. This would explain one at 86, Stephen's Green, clearly an 18th. Century chimneypiece, which has been later embellished in the mid 19th.

Among his pupils were the stucco artist Giovanni Matteo Barzelli,Tiraboschi, page 103. Pietro Deboli,Tiraboschi, page 196. and Simone Setti;Tiraboschi, page 328. all active in stucco-work and scagliola.

Because the colours are integral to the plaster, the pattern is more resistant to scratching than with other techniques, such as painting on wood. There are two scagliola techniques: in traditional 'Bavarian scagliola' coloured batches of plaster of Paris are worked to a stiff, dough- like consistency. The plaster is modified with the addition of animal glues such as isinglass or hide glue. 'Marezzo scagliola' is worked with the pigmented batches of plaster in a liquid state and relies mainly on the use of Keene's cement, a unique gypsum plaster product in which plaster of Paris was steeped in alum or borate, then burned in a kiln and ground to a fine powder; invented around 1840, it sets to an exceptionally hard state.

There are 219 pillars in the original building – Doric, Corinthian, or Ionic – and each pillar is made up of marble dust, plaster and scagliola. Scagliola is a mixture of granite, marble dust, gypsum and glue dyed to look like marble. This artificial marble was created by a family of artisans in Italy. On the first floor of the capitol building, when looking upward to the dome, 13 large stars and 43 smaller stars can be seen.

Scagliola, which dates back to the 17th century or earlier, is a form of plastering which imitates marble, or other fine stone. Scagliola columns are traditionally made by forming a substrate of thin strips of metal or wood which are lathed and covered with a coating of lime and hair. The columns are then coated with a mix of gypsum plaster and glue, tinted accordingly. The dense and highly polished finish is achieved by rubbing with pumice, charcoal, linen cloth and, finally, felt impregnated with oil.

The oratory houses a polychrome scagliola altar frame with a 17th-century canvas depicting the Madonna and Child, with Saints Roch and Anthony Abbot by a painter of the Bolognese school.Comune of Fiorano Modenese, tourism entry.

In the United States scagliola was popular in the 19th and 20th centuries. Important US buildings featuring scagliola include the Mississippi State Capitol in Jackson, Mississippi (1903), Allen County Courthouse in Fort Wayne, Indiana, Belcourt Castle in Newport, Rhode Island, in the old El Paso County Courthouse (Colorado) in Colorado Springs, in the Kansas State Capitol in Topeka, Kansas, in Shea's Performing Arts Center in Buffalo, New York, and in the Navarro County Courthouse in Corsicana, TX. St. Louis Union Station in St. Louis, Missouri, prominently features scagliola in its magnificent Grand Hall, the Rialto Square Theatre, Joliet, IL, Cathedral of St. Helena in Helena, MT, Congregation Shearith Israel in New York City, Milwaukee Public Library Central Library in Milwaukee, WI and the French Lick Resort Casino, French Lick, IN which recently underwent a major restoration. Scagliola has historically been considered an Ersatz material and an inexpensive alternative to natural stone. However, it has eventually come to be recognised as an exceptional example of the plasterer's craft and is now prized for its historic value as well as being used in new construction because of its benefits as a plastic material suited to molding in ornate shapes.

Inside the church are arcades of nine bays with round arches supported by scagliola columns. The capitals alternately have oak and acanthus decoration. The ceilings are richly ornamented and coffered. The altar is free-standing in the apse.

Under the dome was a large public space surrounded by the floors containing office space. The interior details were accented with terra cotta and scagliola. Doors were oak with brass hardware and "US" molded into doorknobs. Mahogany was used in courtrooms and other offices.

The other levels have had the wall and/or floor lining materials replaced or concealed. The original detailing - scagliola wall panels, timber joinery, highlight fixed glazed windows with expanded metal mesh ventilation slots, timber doors (some with original black outlined gold lettering) - where retained is in good condition and has been well maintained. On most of the ground floor level walls the scagliola has been retained but is cracking severely and is drummy in many places. Original timber veneer panelling to boardroom on second floor level, doctor's surgery on first floor level and some executive offices has been retained and is in good condition.

Turismo Comune of Modena. The main altar is a work of scagliola by Giovanni Massa.Biblioteca Modenese, Notizie Della Vita E Delle Opere, Volume 6, Issue 2; By Girolamo Tiraboschi, page 464. The structure was damaged by the 2012 Northern Italy earthquakes, and reopened later that year.

Scagliola developed in Italy to imitate pietra dura inlays on plaster; less elaborate forms are called marbleizing. Medieval illuminated manuscripts often imitated both inlaid stone and engraved gems, and after printing took over paper marbling continued as a manual craft for decorating end-papers and covers.

The interior is rich in scagliola and frescoes. The balcony beside the organ and has some stuccoes depicting musical instruments. The lateral altars have 19th- century canvases depicting St Augustine, St Michael Archangel, and an Adoration of the Magi. The fourth altar has a 15th-century crucifix.

He would have been off for beginning again on > account of his eyes etc., but I have begged he will do it and he is about it and on 15 July 1742: > Your scagliola table is almost finished (you remember the first he [Hugford] > undertook broke when near done) and is very handsome, but even in this > commission my success is not complete, for I cannot persuade the padre > [Hugford] to make its companion and on 30 October 1742: > Your scagliola table is finished, though I have not got it home. The nasty > priest [Hugford] will have 25 zecchins [£12 10s] besides many thanks, for > the preference given to me, for some simple English have been tampering with > him and offered 30 to get it, though it is by no means such a fine > performance. The priest wishes I would not take it, as he would make a > present of it to the Pope. He leaves Florence for good and on 11 July 1747: > You bid me get you two scagliola tables, but don't mention the size or any > other particulars.

The guardroom leads into the Marble Hall (Marmorsaal), the palatial dining hall once used to receive Francis II of Austria and Alexander I of Russia. Thouret began work here in 1813–14 by installing a new, curved ceiling and finished two years later with the Marble Hall's scagliola walls.

The church was erected under the patronage of Marquis Carlo Filiberto of the House of Este San Martino. The original vault is concealed above the Baroque panelled ceiling. On the left of the nave are three chapels. This church acquired works from suppressed monasteries including polychrome scagliola altars.

For the Government Savings Bank in Martin Place, Tony Melocco decided to use scagliola, a technique by then fallen into disuse. Finding no one in either Italy or America able to teach him, Galli Melocco moved to Brisbane in 1929 to set up a branch of the company, though he returned to Sydney a year later as the Depression reduced the demand for such decorative work. It is not known if any major scagliola project other than that at St Ignatius Church was carried out in Queensland. The church was blessed and opened by Archbishop Duhig on the 18 May 1930 and dedicated to St Ignatius Loyola, the founder of the Society of Jesus.

Marbleized plaster, scagliola, panels complete the walls. The building's ceilings are decorated with plaster cornices and molded leaf and rosette complements. The Honduras mahogany doors have a rail and panel design and beveled glass is used for decorative side lights and panels.This postcard from the early 20th century shows the McLean County Courthouse.

Inside there is an altarpiece in scagliola from the mid-eighteenth century signed by Giuseppe Maria Pancaldi. Camedo has also hosted the Centovalli Festival Camedo in 2016 and 2018 and hosts the artist community of theatre, music and food "Atelier Teatro di Camedo" who among other activities offers a monthly film showing.

The interiors were built still maintaining a screened separation of the cloistered nuns from the lay public. The columns are colored in scagliola. The main altar houses the incorrupt body of the Blessed Mattia in a glass case.Tourism office of Macerata, by Fondazione Cassa di Risparmio Provincia di Macerata, entry on the church.

The single story gallery has a large central hall, with scagliola columns and marble floors. It is constructed of brick and concrete, and faced with Oamaru stone. Armstrong was inspired by the Sarjeant Gallery in Whanganui. Both the Sarjeant Gallery and the Robert McDougall Gallery use Samuel Hurst Seager's idea of 'topside lighting'.

Century for Crofton Vanderleur, formerly at 4, Parnell Square. A later firm, Sharpe & Emery, Pearce St., Dublin produce a number of examples in the neo-classical Bossi style, sometimes using original chimneypieces. The correspondence between British Resident in Florence Sir Horace Mann and Horace Walpole describes the process of obtaining a prized scagliola table top.

The sober facade has three doors, each flanked by Doric pilasters. The roof is richly carved with cassetoni by Alessandro Della Nave and Antonio Villa. The main altar (1867) is decorated with scagliola. In the rear of the choir is a 16th-century, polychrome terracotta statuary group depicting a Crucifixion Scene by Alfonso Lombardi.

The History of Painting in Italy from the period of the Revival of the Fine Arts to the End of the Eighteenth Century: Luigi Lanzi, translation by Thomas Roscoe. Volume 1, page 346. Googlebooks Hugford joined the Accademia del Disegno of Florence, and published a biography on his mentor. He was also involved in designs for works in scagliola.

Some spout heads bear the initials of Sir Thomas Dalrymple Hesketh and the date 1811 and one is dated 1822. The entrance hall has a cantilevered or flying stone staircase and landing on three sides with wrought iron balusters and is lighted by a domed oval skylight. The main hall has columns and pilasters made from Scagliola marble.

Accompanying drawings show extent of original wall and floor lining still existing in building. Most lift lobbies have retained original scagliola panels in good condition as well as floor numbers, lift indicators and terrazzo skirtings. Stairwells also are, in most cases, in original condition. Only on three levels do the corridors retain all of their original detailing.

The intriguing fact with these columns is that they are not solid. Round sections of marble were painstakingly cut as a veneer of an approximate thickness of 5–6 mm and then glued onto a column core that is hollow and was made out of, probably, plaster. On closer inspection the viewer can see the joints of the various sections and the discerning eye will soon realise that what he/she is looking at is in fact verd antique veneered marble and not verd antique scagliola. The 3.6 metre high verd antique scagliola columns that can be seen at Dropmore House, Buckinghamshire, are based on the colours and design of this historical work at Syon House and both research and execution of these new columns were undertaken recently by the contemporary scagliolist Michael Koumbouzis.

The layout is that of a Post-Tridentine late-Renaissance- style, with a long nave with five chapels on the right and four chapels on the left, a short transept and a deep apse. The altar of the left transept is dedicated to the Madonna del Rosario. Other altars are decorated with stucco and scagliola. The bell tower was erected in 1613.

In contrast with the plain exterior, the grand and decorous interior uses much more colour. The marble-lined halls and official rooms are in the building's central part stretching between the towers while council departmental office spaces and committee rooms occupy the wings. Bespoke Wilton carpets cover the floors throughout. The entrance hall is lined with grey gritstone and green scagliola columns.

A possible inspiration for Castle Howard was also Vaux-le-Vicomte in France. The interiors are extremely dramatic, the Great Hall rising 80 feet (24 m) into the cupola. Scagliola, and Corinthian columns abound, and galleries linked by soaring arches give the impression of an opera stage-set – doubtless the intention of the architect. Castle Howard was acclaimed a success.

The building had art gallery, museum, and meeting rooms to promote education through different media as well as books. While the building received some renovations, the exterior remained intact and the interior was only slightly altered. The three-story, 9,000-square-foot structure features a marble, granite, terra cotta exterior, terrazzo floors, Scagliola-finished columns, and marble and iron staircases.

The interior has yellow scagliola pilasters. The pendentives of the cupola are frescoed with the Cardinal Virtues (1627–30) by Domenichino who designed the stucco decoration in the dome and probably the other main vaults.Blunt, Anthony 1982, Granada Giovanni Giacomo Semenza had originally been given the commission and threatened to sue. Shortly after finishing the work Domenichino left for Naples.

The roof is clad in Roman terracotta tiles. The upper level is accessed by steps to a large terrace at the eastern end. It is cruciform in plan with a long nave and short transepts terminating in small chapels, on the northern side accessing an elaborate scagliola pulpit. Doors on the southern side are accessed by bridges that extend from a raised walkway.

Internally, the extensive use of Australian marbles and scagliola provide rich appeal. The building reflects the materials and wealth of natural resources available within NSW and Australia at the time of its construction. 48 Martin Place displays high quality craftsmanship and high quality materials throughout. The building displays tremendous civic presence through its monumentality and consistent use of classical motifs.

The church site was formerly that of a Benedictine abbey. Between 1776 and 1784 the church was completely rebuilt in Neoclassical style, with the exception of the 15th-century campanile, by the architect Cosimo Morelli. It has a tall central façade with monumental columns supporting a triangular tympanum. The interior contains three naves with polychrome altars, made of marble and scagliola, designed by Nicola Vici.

The three remaining skylights contain the Bergen County seal. The glass utilized for these skylights was made by M.J. Lamb. The interior of the rotunda and its courtrooms were treated with marble, scagliola, bronze and cast iron. The exterior walls of the courthouse rotunda building were made from Vermont marble. On top of the dome is a copper figure entitled “Enlightenment Giving Power” by Johannes Gelert.

The rug covered of the lobby floor and weighed . Above the entrance doors are faux organ pipes fashioned from plaster and in a balcony to the upper left is a 3-manual, 13-rank Moller organ with the real pipes in the chamber above the console. The Fox's Moller is the only one still in situ. On each side of the lobby are eight vermillion scagliola columns.

The interior features columns that support the nave which are made from red Scagliola marble. The cathedra is situated at the centre of the sanctuary, surrounded by an oak altar-piece and two towers of reredos. In total, the dimensions of the church building are long, wide and tall, with the taller steeple rising to . Over the years, the cathedral has undergone a series of renovations.

Scagliola wall and column surfacing, bronze window frames and detailed plasterwork emphasise the overall ambiance of the space. Other major interior spaces that reinforce the total building design include the secondary lift foyers on the ground, first and second floors, and the second floor Board Room. The City Mutual Life Assurance Building was listed on the New South Wales State Heritage Register on 2 April 1999.

The walls are elaborately stuccoed (1793) by Agrippino Maggiore and the Cultrera di Licodia Eubea. The altars (19th century) have elaborate scagliola, and have altarpieces by Tommaso Pollace and Giuseppe Crestadoro, depicting the Trinity, St Mauro, St Benedict, and Ste Gertrude. The pavement has white stone and maiolica tiles. The Vestibule has statues depicting St Benedict (17th century) and a silver-coated St Joseph (1785).

Inside Rialto Square Theatre, which opened in 1926 and underwent a restoration in the 1980s, shining scagliola columns rise into a celestial dome full of intricate sculptures. A Duchess chandelier dominates the rotunda. Cream-colored marble walls line the lobby and cherubim flutter into the auditorium. The lobby's marble walls were polished by Conrad Schmitt Studios, the same company that did major restoration work at the Rialto in 1980.

The tessera in the entrance floor are smaller than normal, allowing for a more detailed design. Over the years, the building has settled, cracking and damaging the floor and columns. In 2008, a restoration of the mosaic tile floors was begun. Some of the materials used in the interior are yellow Sienna marble, brass and stained glass (lighting fixtures), hardwoods such as oak and mahogany, and scagliola (used for the pillars).

Ignazio Hugford was born in Pisa, the son of a resident English watchmaker who worked for the House of Medici. Hugford was at the age of 9 an apprentice with Anton Domenico Gabbiani. In 1745, he painted over a dozen canvases for the refectory of the Benedictine Abbey of Vallombrosa, where his brother, Ferdinando Enrico, became abbot. Hugford was also instrumental in the development of techniques for scagliola.

On the other side of the church, the Chapel of the Holy Sacrament was designed and completed in marble and scagliola by Eugenio Buffoni in the 19th century. The main altarpiece depicts the Holy Trinity by an unknown 18th-century painter. Beneath the altar, an urn contains the relics of St Aldebrandus, patron of the city. The sacristy has a sculpted altarpiece (1480) made from sandstone by the sculptor Domenico Rosselli.

In the 19th century, when Vilnius was part of the Russian Empire, several Byzantine Revival architectural elements were added to the church, but it nevertheless retained its essentially Baroque form. Indeed, the added Orthodox frescoes, Iconostasis and dome enhanced its magnificence, as did the addition of deep blue and green interior decor. Unusual in an Orthodox church are the Scagliola (simulated marble) sculptures. A new reliquary was added in 1853.

With its ornate coffered ceiling and 26 crystal chandeliers, which once held 1,300 candles, the Hall of Ceremonies was grand. The 24 Corinthian columns are done in scagliola technique, in which painted gypsum resembles marble. In this hall Napoleon I asked for the hand of Archduchess Marie Louise, the daughter of Emperor Francis II/I. This was also where court balls were held and later also speeches from the throne.

The altarpiece painted by Franz Linder in 1783 is a copy of van Dyck's painting Christ on the Cross, which is kept in the Kunsthistorisches Museum just a short walk away. The carved choir stalls next to the altar were installed in 1876. The baptismal font on a scagliola column was transferred to the church in 1822. The hearts of Empress Anna, Emperor Matthias and Emperor Ferdinand II were originally buried in the building.

Here he produced two chimneypieces in white marble inlaid with the scagliola embellishments directly into cut matrices in the marble. Apart from the protective edges of altars at Padula this seems to be the first use of this technique. In 1766, he went into partnership with Johannes Richter, possibly from Dresden, who may have brought a young Pietro Bossi with him. The name Bossi, however, is associated with a family of Northern Italian scagliolisti.

The sanctuary and chapels are separated from the nave and transept by a white marble altar rail, installed in 1927, which is pierced by repetitive quatrefoils. The sanctuary and each of the chapels are accessed via separate openings with ornate brass gates. The canted walls of the sanctuary and chapels have clusters of columns and half columns at their intersections. Some marble inlay is of Pyrenian (Spanish) rose marble; other columns are scagliola.

The entrance doors as a windbreak in the main entrance foyer are late 20th Century. The memorial board wall which has mosaic tiles is likely to be an infill from the 1960s. On the ground floor, a number of original surface finishes remain behind superficial fitout including highly significant scagliola clad columns. The building has an interior courtyard where internal offices gain light surrounded by white glazed ceramic tiles to maximise light reflection.

Windows on the ground floor were filled with concrete during the 1950s as well. City governments, believing they were making improvements to the building, actually harmed it or diminished its historical value. Terracotta tiles were painted over, which trapped moisture inside the tiles and caused parts of the building to rot. Scagliola columns were painted blue, wood and marble floors were covered with linoleum, and the grand staircase was replaced with an elevator.

The building features dentil molding where the roof meets the walls, and the fourth floor has a balcony with paired Tuscan columns on the west side. Additionally, the exterior features keystones over the windows on the first and second floors, plus a balustrade along the roof line. Inside the High Renaissance building, the columns of the lobby are covered with a fake marble coating called Scagliola. The lobby has marble flooring and oak woodwork.

The majority of the original interior decoration of these spaces has long since been removed. The State Theatre Building is significant as one of only two surviving theatre buildings in Sydney to have been designed by the well known theatre architect Henry E. White. The other is the Capital Theatre. The interiors of the main public areas contain one of the largest applications of scagliola or reproduction of marble finishes in Australia.

A church was erected here in 1636 and dedicated to the newly canonized founder of the Oratorian order, and patronized by the Schininà family. It was able to remain standing after the earthquake of 1693, and was enlarged between 1738 and 1740, and again remodeled in 1761. The interiors were refurbished in the 19th century. The lateral chapel has a canvas depicting Mary at the Temple from the 17th century in an altar with scagliola.

The original brick ceiling collapsed during an earthquake in 1799, and was replaced by trussed roof. The interior is decorated with faux polychrome marble (scagliola)and completed only in 1896 by dall'Adami of Rome and the Ferranti of Tolentino. The church was damaged again by the 1997 earthquake and reopened for worship in September 2006. The nave ceiling was frescoed by Giuseppe Rinaldi, known as lo Spazza, and depicts the Life and Mysteries of Mary.

Date accessed: 9 March 2009 Further decoration marked the 1984 centenary. The reredos of Doric columns in yellow scagliola (2006) of the St Joseph chapel and a new altar and reredos of the Blessed Cardinal Newman (2010) are by Russell Taylor. The statue of Newman in cardinal's robes (1896) is by L. J. Chavalliaud in architectural setting by Thomas Garner. The church boasts magnificent vestments and altar plate, and houses an important library.

The artist, who himself had a lifelong affinity with nature, created here an artistic realm which was intended to evoke and glorify nature. At the same time the scenery of the actual palace park was brought into the room with the help of mirrors. The gallery is 42 meters long; the walls are covered with chrysoprase green scagliola; ornaments, benches and corbels are gilded. The walls and ceiling are covered with ornaments based in most cases on plant motifs.

The main entry foyer walls are of cream Botticcino marble with a skirting and architraves of dark green Verte Des Alpes marble. An imposing pair of green scagliola columns with original bronze-framed glass doors and top glazing flank each side of the foyer. The ceiling is of plaster with a heavily corbelled cornice and a domed recess for the central light. The original bronze lift doors, set into the south wall of the foyer, have been painted over.

In the 16th century, a new highly decorative type of decorative internal plasterwork, called scagliola, was invented by stuccoists working in Bavaria. This was composed of gypsum plaster, animal glue and pigments, used to imitate coloured marbles and pietre dure ornament. Sand or marble dust, and lime, were sometimes added. In this same century, the sgraffito technique, also known as graffito or scratchwork was introduced into Germany by Italian artists, combining it with modelled stucco decoration.

The Clallam County Courthouse is three stories high with a basement and tower and was built in the Classical Revival style. It was designed by architect Francis Grant, and built by the Sound Construction Company. The interior of the courthouse (refurbished in 1999) is arranged around an atrium, open to a second floor balcony, and lit by leaded glass skylights. The atrium is faced with marble and scagliola plaster; double curved stairs at each end lead up to the second floor.

The exterior features Corinthian columns and sculpted pediments by Frederic MacMonnies, while the interior gives the impression of a Roman temple, and is said to be one of the great spaces in New York.White & Willensky with Leadon, p.93 It features the extensive use of marble, in the teller's counters -- which are made of yellow Siena marble -- the walls, and the mosaic floors. In addition, White employed faux marble scagliola columns, coffered ceilings and stairs and skylights made of cast iron.

Designed as a sculpture gallery, this circular room was completed in 1763. The decorative theme is based on the temples of the Roman Forum with more modern inventions: in the four massive, apse-like recesses are stoves disguised as pedestals for classical urns. The four sets of double doors giving entry to the room have heavy pediments supported by scagliola columns, and at second-floor height, grisaille panels depict classical themes. A neoclassical drawing room at Kedleston photographed in 1915.

This consisted of sculptors John Bacon, Thomas Banks, Agostino Carlini, Nollekens, William Tyler and Joseph Wilton. William Locke, whom Locatelli had worked for previously, was chosen as arbiter. On Orford's side the sum was considered exorbitant and Locatelli was subsequently attacked as having cast the piece from plaster rather than carving it from marble. Locatelli countered this in the press by stating that he had in fact used scagliola, an experimental material of gypsum and glue usually confined to architectural features.

Venetian plaster is a wall and ceiling finish consisting of plaster mixed with marble dust, applied with a spatula or trowel in thin, multiple layers, which are then burnished to create a smooth surface with the illusion of depth and texture. Venetian plaster techniques include marmorino, scagliola, and sgraffito. When left un-burnished, Venetian plaster has a matte finish that is rough and stone-like to the touch. Un- burnished Venetian plaster is also very brittle and damages rather easily.

The services rendered by the order have been mostly in the field of asceticism. Among the Vallumbrosan saints may be mentioned: St. Veridiana, anchoress (1208–42); Giovanni Dalle Celle (feast, 10 March); the lay brother Melior (1 August). By the middle of the seventeenth century the order had supplied twelve cardinals and more than 30 bishops. F. E. Hugford (1696–1771, brother of the painter Ignazio Hugford), is well known as one of the chief promoters of the art of scagliola (imitation of marble in plaster).

The original early 19th-century interior designs, many of which survive, include widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle Époque cream and gold colour scheme. Many smaller reception rooms are furnished in the Chinese regency style with furniture and fittings brought from the Royal Pavilion at Brighton and from Carlton House. The palace has 775 rooms, and the garden is the largest private garden in London.

It has mirrored doors and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room in between. The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle époque cream and gold colour scheme.

It is a manifestation of the Catholic ethos of selecting imposing sites to produce prominent landmarks and is a characteristic of churches built during the time of Archbishop Duhig. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. The Church of Saint Ignatius Loyola is rare for its extensive use of scagliola for the sanctuary and pulpit which may be the only example of such use in Queensland. The place is important in demonstrating the principal characteristics of a particular class of cultural places.

The presbytery has 18th-century wooden choir stalls. The lateral altars have polychrome scagliola or faux marble, with 18th-century altarpieces depicting: Christ in Glory with Saints Anthony Abbot, Ignatius of Loyola, Clement, Francis de Sales and Francis Borgia and St Carlo Borromeo giving Communion to Saint Aloysius Gonzaga, both painted by Pasquale Ciaramponi. Niches in the walls hold statues depicting the Doctors of the Church and the Evangelists by Gioacchino Varlè.Tourism office of Macerata, by Fondazione Cassa di Risparmio Provincia di Macerata, entry on the church.

The black marble base on the walls of the esplanade, fashioned after the Hall of Mirrors in the Palace of Versailles in France, has been polished, as has the elegant red, pink and gray scagliola above the base. C.W. and George Rapp designed the Rialto Square Theatre in 1924, and the theatre opened May 24, 1926, featuring the production "The Evolution of Joliet". The first talking picture at the Rialto was shown on October 9, 1928, with Lights of New York. In 1953 stereophonic sound was installed in the theatre.

Shortly afterwards, the Danish Ministry of Finance's Palaces and Properties Agency began rebuilding the chapel in collaboration with Erik Møller's Drawing Studio A/S and Royal Inspector of Listed State Buildings Jens Fredslund. No drawings existed of the dome and roof, but a systematic exercise in building archaeology registered the charred remains of the building, and made it possible to recreate the dome and roof. Historically accurate building methods were also used throughout the rebuilding process. Danish craftsmen were unable to undertake the difficult work of restoring and recreating the interior's scagliola.

Exterior of Old Town Hall at night after expansion and renovation. Interior after restoration, Old Town Hall, Stamford, CT. Vacant for 20 years, the 1905 Old Town Hall (Stamford, Connecticut) was restored between 2008 and 2010, and a small addition added to allow for modern conveniences like elevators and air conditioning. Fuller and D’Angelo's historic preservation and restoration of the Beaux-Arts building was honored by the CT Trust for Historic Preservation. The rehabilitated interiors bring the Beaux-Arts architecture and the original scagliola finishes back to life.

Gruenke oversees studio operations, including managing and supervising, restoration and renovation projects, and coordinating all phases of the craft associated with architectural arts and decorative interior schemes. The studio's collection of stained glass artwork is on display at the Smith Museum of Stained Glass Windows at Navy Pier in Chicago. The art studio specializes in the investigation and documentation of original decorative schemes, gilding, glazing, marbleizing, scagliola PWC magazine, "Fabulous Faux, New life for an Old Art". and stenciling as well as the new design, replication or conservation of stained glass and murals.

Materials and detailing at lower elevations are oriented to the scale and perceptions of pedestrians. Such detailing includes the glossy granite building base at street level, bronze window sashes and sculptures (by Rayner Hoff) over the main entrances. ;Interior The lift foyer to the main entrance at the Hunter/Bligh Street corner is an intact and handsomely detailed expression of late 1930s commercial interior design. Scagliola walls, brass handrails and bronze fixtures as well as original indirect lighting fixtures demonstrate the craftsmanship and integrity of the overall building design.

The Classical Revival building was designed by Thomas P. Barber and Thomas MacLaren, the city's "premier architect" at the time. It has stone columns on a pedimented portico, domed and stained glass window rotunda, and elevated entrance. Inside the council chambers are paneled and the building includes a scagliola wainscot in the rotunda. Originally, the building held the mayor's office, city council chambers and city agencies, some of which are the police department, water department and offices for the city clerk, auditor, treasurer, attorney, health physicians, and engineer.

Thirty-two of the decorative column capitals were replaced, and a new parapet cap and flashing system was designed for the roof. The renovation was awarded the Masonry Construction Online Project of the Year Award for 2009. By March 2010, two of three fire stairs had been installed, and the elevator shaft had been moved to make way for a marble staircase. By January 2011, the building's scagliola columns had been restored, the decorative glazing on the floors had been finished, and progress was being made on the installation of the elevators.

The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. The interiors of the main public areas contain one of the largest applications of scagliola or reproduction of marble finishes in Australia. The quality of the plaster who particularly in the Auditorium and Proscenium Arch and of other items such as light fittings, is of the highest standard of 1920s design and craftsmanship. The Chandelier in the main Auditorium is one of the largest in the nation.

Example of a faux painting in antique verde marble Other techniques for producing faux marble include Scagliola, a costly process which involves the use of specially pigmented plasters, and terrazzo. For flooring, marble chips are imbedded in cement, then ground and polished to expose the marble aggregate. Some professional faux finishers are very skilled and will use a variety of techniques to reproduce the colors, veining and luster of real marble or other building materials. However, many decorators will merely suggest the appearance of marble rather than accurately imitate a particular stone.

A very fine two-storey Art Deco-influenced interwar house of red face brick with a hipped tiled roof. The exterior emphasises the streamlined and circle-based aspects of the style with circular windows, circular motifs in steel window grilles, horizontal string courses and panels of small ceramic tiles, rounded brick corners, circular chimneys and piers of unusual specially moulded curved face bricks (National Trust of Australia (NSW)). The interior contains many original fittings and finishes demonstrating a high level of 1940s craftmanship. A sweeping staircase has a curved balustrade made of scagliola.

The exterior niches are vacant. The half-dome of the apse interior was frescoed in 1939 by Donatello Stefanucci. The frescoes depict the Assumption of Mary with Saints Esuperanzio and Sperandia, patron saints of the town, with a depiction of the twelve sacraments, and the confraternity of the cathedral, wearing white and red habits. Another fresco depicts Jesus and the Sermon on the Mount. The church has canvases depicting Sant’Albertino (16th-century) by an anonymous painter and the Death of St Cajetan by Pier Simone Fanelli, besides a 19th-century cenotaph made with scagliola by Ampelio Mazzanti.

The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. The building exhibits high quality use and details of materials which are now increasingly rare. Such elements and details include: the use of scagliola on ground floor columns and internal common wall surfaces, bronze and copper facade elements, architectural terracotta, bas relief panels amongst others. Beyond the late 20th century fitouts, it is likely the building will exhibit spaces and planning, the likes of which have become increasingly rare with institutional buildings constructed at that time.

Visitors entered the house through a hexastyle portico of Corinthian columns that led to a foyer that was flanked on either side by anterooms. Carlton House was unusual in that the visitor entered the house on the main floor. (Most London mansions and palaces of the time followed the Palladian architectural concept of a low ground floor (or rustic) with the principal floor above.) From the foyer, the visitor entered the two story top lit entrance hall that was decorated with Ionic columns of yellow marble scagliola. Beyond the hall was an octagonal room that was also top lit.

The interior of the Carnegie building has coffered ceilings and barrel vaults in its main corridors, along with dark green columns and pilasters, made with an imitation marble technique known as scagliola. The building was constructed with an axial plan; the site posed no difficulties, allowing for a simple symmetrical design. The Architectural Review praised its simple plan and elegant facades, writing "we can recollect no Renaissance building of its size more charming". Its original layout included a central hall, with a main reading room and general reference room on either side, with a stack-room at the back.

The public cemetery was established in 1801 using the pre-existing structure of the Certosa di San Girolamo di Casara, founded in the middle of the 14th century that was closed by Napoleon in 1797. The passion of the local nobility and aristocracy for monumental family tombs transformed the Certosa in an "open-air museum," a stage of the Italian grand tour: it was visited by Byron, Dickens, Theodor Mommsen, and Stendhal. In particular the third cloister (or that of the Chapel) is noteworthy: a tour of neoclassicism-inspired structures with symbology from the age of enlightenment. Some tombs are painted in tempera, others are made of stucco and scagliola.

Shaz Riegler, "Inside Will Kopelman's Timeless New York City Apartment," Architectural Digest, January 15, 2019. Accessed May 10, 2019. The renovation, Greenwich Village Townhouse Apartment (2003), restored period style and craftsmanship to an 1850s residence covered over with modernist additions, while updating its layout. The Greek Revival design balanced the apartment's 13-foot ceilings and 12-foot windows with a classical frieze above the door, a nine-foot mahogany bookcase, and Ionic columns and folding shutters based on 19th-century townhouse pattern books; other details, influenced by Adler/Elkins interiors, included a custom scagliola mantelpiece, a cross- hatched terracotta wall glaze, and hand-crafted, faux-grain mahogany doors.

The Church of Saint Ignatius Loyola is a particularly good example of an inter-war church, influenced by the fashionable revival of Romanesque church architecture in Australia, with its tower, picturesque massing and polychrome brickwork, a style favoured by Archbishop Duhig. The place is important because of its aesthetic significance. The Church of Saint Ignatius Loyola has high aesthetic value as a well designed and visually pleasing building on a landmark site. The interior is notable for the quality of its fittings and finishes, including glass, altars, statuary and the use of scagliola for wall cladding and arches to the sanctuary and the ornate pulpit.

Many of the Big Houses are known today for their immense architectural value, with some acting as the only surviving work of famous Irish and European architects. Regency style became the fashionable mode of architecture for an elite home in the mid to late nineteenth century Ireland. Features of regency design include the renowned Scagliola columns of Italian influence, made of imported stone, as well as French style plaster and painted ceilings. The objects within the house were also decidedly foreign and could range from collections of valuable Flemish paintings from the Northern Renaissance all the way to the installation of Lusterweiblen, Austrian light fixtures made of antlers and carved wood.

Arlington Court; the West Front The principal reception rooms of the house are arranged as an enfilade; folding screens concealed by scagliola ionic columns permits the enfilade to be transformed into a tripartite gallery seventy feet long. Originally conceived as a drawing room (5), ante room (4) and dining room (3), the dining room was transformed into a morning room during the alterations of the 1860s. Architecturally, the most interesting of the rooms is the ante room. A cube room, it has a saucer dome, segmental arches and inset pier glasses, all in the style of Soane, whose pupil, Lee, was responsible for the house.

Above the third floor is a mansard roof that now houses Zwiefalten Abbey's original clockwork, taken by King Frederick I in 1809. The two pavilions to the west and east of the corps de logis are connected to it by arcaded galleries, completed in 1713 and 1715 respectively, that close off the northern edge of the cour d'honneur. The western gallery celebrates peace with stucco statuary, medallions, and reliefs of the Judgement of Paris, Aeneas fleeing Troy, Hercules and Omphale, and Apollo and Daphne. Its terminus, the Jagdpavillon (Hunting pavilion), contains the Marmorsaletta (Little marble hall) decorated with scagliola by Riccardo Retti and frescoes by Luca Antonio Colomba.

The interior of the church was frescoed (1779–1781) by G. A. Fabbrini. The main altar has an Assumption by the Volterrano, The altar of the left transept has a Trinity by Lorenzo Lippi; other altarpieces are by Agostino Veracini, Antonio Puglieschi, Niccolò Lapi. In the Baptistery (once chapel of the Converted) is a Conversion of Saul by Cesare Dandini and in the chapel of San Giovanni Gualberto, a fresco by Alessandro Gherardini, the scagliola altar was Ignazio Hugford, a canvas by Antonio Franchi. Offertories before this altar were made by members of the Forest Service who have San Giovanni Gualberto as their patron saint.

He commissioned architect Douglas S Agnew to design the present building (not the Abercrombie wing to its north-west) and it was completed in 1941. Designed in the Art Deco style accounts for the theatrical charm and majesty of the house, no less exemplified than in the experience of the entry and main hall with its curved, scagliola finished staircase, curved wall and pilasters. It is acknowledged as one of the finest Art Deco mansions in Sydney even though it was completed well after the Art Deco period ended. On its completion Field brought Sorensen back to extend and complement his design of the original garden.

The church was erected during 1633–1645, though much of the decoration of the ceilings and altar date to the late 18th-century. The main altarpiece depicts Saints Francis, Anthony of Padua, and Agnes, with the Madonna and Child, granting the monastic robe to St Clair (1655-1657) was completed by Benedetto Gennari, grandson of Guercino. Below the painting is a metal grating that linked to the church to a chapel inside the cloistered convent, from where the nuns could attend to the service without exiting. The altar has a panel in scagliola depicting an event in the Life of St Clair, where armed with the eucharist, she deters the Saracen looters assaulting the monastery of San Damiano, Assisi.

In its original design, detail and materials, the building is arguably the most elaborate, high quality example of Institutional Inter-War Functionalist/Art Deco building in Sydney, and probably across New South Wales. Through its use and extent of scagliola, marble, travertine, terrazzo and terracotta and ceramic tiles the building contains construction elements and finishes which collectively are unlikely to be built again to such an extent. The building is a high quality contribution to the architectural townscape of Sydney which has become increasingly rare since its construction. The use of architectural terracotta tiles on this building, whilst not rare in the Sydney area, are arguably of the highest quality detailing in Sydney, if not NSW.

The ceiling is clad in fibrous cement sheeting with lattice vents and there is a choir loft faced with silky oak panelling above the eastern entrance, which contains the organ. Below this, on either side of the entrance are altars and in the wall on each side are the doors to confessional booths, now used for storage. Panels depicting the Stations of the Cross are set into the walls of the nave and at the western end is an apsidal chancel with vestries and a sanctuary approached through arches clad in orange veined scagliola and lined with the same material. The floors are concrete and are paved with marble in the Sanctuary.

At this time, Constable also acquired the plaster figures of Demosthenes and Hercules with Cerberus, and plaster busts of the Roman emperor Marcus Aurelius Antoninus and the Greek poet Sappho, from the sculptor John Cheere. Above the fireplace is a carving of oak boughs and garlands of laurel leaves, crowned by the Garter Star, surrounding the armorial shield of the Constable family in scagliola by Domenico Bartoli. The dining room was substantially remodelled by William Constable in the 1760s, who commissioned designs from Robert Adam, Thomas Atkinson, and Timothy Lightoler (who won the commission). The ceiling draws on contemporary interest in the excavations at Pompeii and Herculaneum, with plasterwork by Giuseppe Cortese.

The house is substantially intact exhibiting a high degree of face brick, bronze and wrought iron detailing externally and is characterised by a dramatic porte-cochere on the south and an enclosed Pompeian Court on the north. Extended in 1964 by the addition of a west wing, the whole achieves a unity of style, form, texture and materials from the sensitively designed additions. Internally the house retains a series of superb public spaces and rooms of fluid design and highly crafted materials. The oval staircase executed in marble and scagliola, the well-proportioned ballroom and elliptical dining room, finely detailed joinery and original fittings all combine to achieve a very rare and dramatic domestic interior from the period.

I will endeavour > to get somebody to write to the first friar [Hugford] and to engage him to > make two tables in his convent and send them to Florence, of which I hope to > be able to give you an account by next post. and on 10 October 1749: > I am glad your scagliola tables please. You must make the greater account of > them, as it is impossible to get any more of the same man [Hugford], nor > indeed of his disciple here [Belloni], who is a priest too, and has been > four years about a pair I bespoke of him, which he tells me plainly he > cannot finish in less than two more. They work for diversion and won't be > hurried.

The interiors are intact apart from the north wing which was bombed in The Blitz. The main interior is the central Saloon, a roofed courtyard of two storeys, of three by five bays of arches on each floor, the walls are lined with scagliola, the coved ceiling is glazed and the centre has three glazed saucer domes. The decoration of the major rooms is not the work of Barry. Halifax Town Hall The last major commission of Barry's was Halifax Town HallPevsner & Radcliffe, (1967) P.231 (1859–62), in a North Italian Cinquecento style, and a grand tower with spire, the interior includes a central hall similar to that at Bridgewater House, the building was completed after Barry's death by his son Edward Middleton Barry.

Having received his first top from the Irishman Friar Ferdinando Henrico Hugford (1695–1771) around 1740 Walpole had asked his friend Mann to acquire some more... (one of these tables is at The Vyne. That table has the arms of Walpole (with his post 1726 Garter Knight embellishments) impaling Shorter - for Prime Minister Sir Robert Walpole and his first wife Catherine Shorter, who died 20 August 1737. He married Maria Skerret in early 1738, thus The Vyne's table could seem have been ordered before c1736-37). In a letter dated 26 November 1741 Mann writes to Walpole: > Your scagliola table was near finished when behold the stone on which the > stuff is put, opened of itself so that all that was done, to his [Hugford's] > great mortification is spoilt.

Dorothy stayed until at least June 1737, this extract from a letter to Lady Fane suggests that the mother too was there for a year: :Sarah, Duchess of Marlborough, from Wimbledon, to Lady Fane, 23 September 1737: It is probable that during this trip Lady Fane ordered her pair of prized scagliola table tops from the Irishman Friar Ferdinando Henrico Hugford (1695–1771). These are quite similar to the one at The Vyne, Hampshire. That top has the arms of Walpole (with his post-1726 Garter Knight embellishments) impaling Shorter – for Prime Minister Sir Robert Walpole and his first wife Catherine Shorter, who died 20 August 1737. The hint of shells on the tables suggest that they may have been for her grotto at the New House, Basildon.

Scagliola (from scaglia or scales, after the natural form of the mineral used) is an artificial stone created from gypsum plaster, glues and dyes that can be made to imitate various types of stone, though usually rare types and colours of marble. The best work is visually indistinguishable from genuine marble, though it is far lighter, so that large and complex decorative features, such as the St Ignatius pulpit, can be constructed that would be difficult and costly to create in stone. The technique was developed in Germany and Italy at the end of the 15th century and was used mainly for decorating churches, such as San Miniato al Monte in Florence, Italy. Fine early examples of it also survive in secular buildings such as the Pantheon and Syon House in England.

The Hall of Festivities during a concert of the Vienna Hofburg Orchestra The walls of the Marble Hall in front of the Hall of Ceremonies date back to the 16th century and theoretically belong to the Leopoldine Wing, but the scagliola for the interior was changed around 1840 to match the appearance of the newer Hall of Ceremonies. During the imperial period it was used as a dining room and for balls for the children at court. The Hall of Ceremonies was built for Emperor Francis II/I by the Belgian architect Louis Montoyer at the beginning of the 19th century. Because of its additional nature, it formed a clearly visible protrusion at right angles to the Leopoldine Wing for almost a hundred years, and was therefore also called the "Nose".

Built directly beneath the Chamber of the House of Representatives, construction had begun sometime before 1855, with the implementation of a cast iron ceiling, forged in Baltimore by the well known local foundry Hayward, Bartlett, and Co. The walls, themselves, were made with an imitation marble known as scagliola. The floor was set with imported encaustic Minton tiles from England (the same still found in the Brumidi Corridors, designed by artist Constantino Brumidi), but were eventually replaced in the 1920s with a floor of Alabama and New York marble. By 1855, all the columns, made from marble quarried from Lee, Massachusetts, were finished and set in place. The capitals of the columns are based on "Corinthian" styled columns, but adjusted to reflect an American style with the usage of thistles and native tobacco leaves in the cast iron.

Many handsome gifts were bestowed on the church, including altars, statuary and a number of stained glass windows by John Hardman of London and William Bustard, a noted local glass artist who created the "Magnificat" and "Christ the King" windows. The Architects and Builders Journal of Queensland, in its May edition, predicted that "This building should rank as one of the handsomest churches of its size in Queensland". The Catholic Leader of 22 May 1930 thought that "The Italian Romanesque style of architecture, with the scope for elaborate interior embellishment and bold use of colour, is eminently suitable to the climate of Queensland" and the church indeed has a high quality of interior detailing. This decorative work includes ornate main and side altars, statuary, stained glass and in particular, extensive and striking scagliola work to the sanctuary and pulpit.

The church building is located at 54–57 Washington Square South. In addition to La Farge's stained-glass windows and Saint- Gaudens's marble frieze, it features Italian Renaissance influences wedded to a basic Italianate form, and has notable examples of scagliola, a very convincing handcrafted imitation of marble made of highly polished pigmented plaster. Overall, the exterior and shape of the building is said to resemble the Basilica di Santa Maria Maggiore in Rome, Italy, while the entrance is said to be inspired by the Renaissance church San Alessandro, built in Lucca, Italy, in 1480. The fourteen stained glass windows in the church's main sanctuary are the largest collection of major LaFarge windows in any one place in the U.S. The campanile tower, located at 51–54 Washington Square South to the west of the church itself, was built in 1895–96, after the sanctuary had been completed, and was designed by the firm of McKim, Mead & White.

The house as constructed by the Morrisons is austerely neo-classical on the exterior, with a thirteen-bay façade broken by a portico with giant ionic columns. The Entrance Hall, enlivened with a richly-patterned Roman mosaic brought back from Italy in 1822, leads into the Grand Saloon in the centre of the house. Notable features of the interior include the richness of the stuccowork and the variety of scagliola deployed while the decoration is enhanced by the exotic marquetry of the floors. Design sources liberally plundered by the Morrisons include Percier and Fontaine’s Palais, Maisons et autres Edificies Modernes (1798) and Iberian Moorish designs collected by James Cavanagh- Murphy. The inlaid floor of the Rotonda is based on the Lion Court of the Alhambra Palace, Granada, while the ceiling of the Stair Hall is influenced by Coleshill, Berkshire, attributed to Inigo Jones, and included in Isaac Ware’s A Complete Body of Architecture (1756).

The traditional trades focus on preservation of the knowledge of craft work specific to historic building technologies and traditional/non-traditional building materials. Traditional building materials and traditional trade technologies are commonly associated with a host of materials, but not limited to, stone, brick, terra cotta, adobe, cork, leather, timber and log, bamboo, thatch, slate and metal roofing, fine and vernacular carpentry, ornamental plaster (scagliola), stained glass, window and door restoration, wood refinishing, painting, cast iron and wrought iron. In what may at times be considered non- traditional materials are found trades such as chandelier and lighting restoration where you have to be somewhat of a jack-of-all-trades with an understanding of electricity, and knowledgeable with properties and finishes of metals, glass, and optics. As an example of the mix of new and old materials, the art of restoration of mobile residential trailers requires a number of traditional trade skills associated with traditional and contemporary materials in a manner not dissimilar to those hand-work skills and preservation approaches required to restore an historic automobile, a biplane, rocket ship or steam locomotive.