This magnificent temple was built by Siromani Chudamoni Devi, the queen of Raja Bir Singha Dev and mother of Durjan Singha Dev in 1665. This latente ekratna temple is dedicated to Murali Mohan Jiu. A few decorations of floral designs is noticed. Stuccowork is found in this temple.
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All tombs have been beautifully carved and are magnificent pieces of art. The detail of the stuccowork on these structures is intricate. They have become extremely popular because of the geometrical features carved on them. Apart from the geometrical designs, the floral designs, trellis marble fencing, and canopies are also very intricate and beautiful.
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The Baroque stuccowork of the dome in the Audience Chamber is mirrored in the Mythological corridor. The mythological corridor also has murals depicting planet motifs and legends such as Mercury & Argus, Diana and Acteon, Perseus killing Medusa, Callisto metamorphosed into a bear, and the Rape of Europa. Ovid's Metamorphoses inspired Baccio del Bianco's frescoes in this corridor.
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The church ceiling is decorated with Baroque and Rococo stuccowork, with frescoes by Johann Georg Bergmüller. The Goldsmith's Chapel (Goldschmiedkapelle) was donated in 1420 by Conrad and Afra Hirn. The Fugger chapel, which is the burial chapel of the Fuggers, is the earliest example of Renaissance architecture in Germany. It was endowed in 1509 by Ulrich and Jakob Fugger.
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The free adaptation by Cacialli allowed him to supplement the original piano nobile with luminous peristyle including stuccowork and wall paintings. With the return of the House of Lorraine in 1814, the previously designed chapel and guard house were at last built, and a number of rooms were embellished by the painters Domenico Nani and Giorgio Angiolini.Cresti, p.378.
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The Chevalier Frédenheim also undertook excavations between November, 1788 and March, 1789; Frédenheim dismantled much of the remaining colored marble pavement and removed many architectural fragments. The site was excavated by Pietro Rosa in 1850 who reconstructed a single marble column and travertine supports. In 1852 segments of concrete vaulting with stuccowork coffering was unearthed but later destroyed in 1872.
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The Audience Chamber is a small circular room adjoining the Antechamber and the Mythological Corridor. A door leading from the Audience Chamber to a staircase was preserved from the Trèkovský dùm, one of the original properties on the site. Several other salvaged architectural pieces were incorporated into the palace. Stuccowork and paintings depict Ovid's Four ages and portraits of the Four Periods of the Day.
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The exterior changes were accompanied by work on the interiors, most of which were given a classicist-style appearance. A completely new interior, in the western segment added in 1788, was the two- tiered Ballroom with decorations designed by Jan Chrystian Kamsetzer. Completed in 1793, it constituted an outstanding example of the classicist style in Poland. The stuccowork and mural decorations were subordinated to architectural divisions.
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The dining room on the south front was especially designed to display works by Canaletto and Giovanni Paolo Panini. The original works are long gone, being replaced by copies. The drawing room has panels of elaborate stuccowork featuring scrolls, shells, fruit and flowers; these serve as a framework for more Italian works of art. A stucco garland of fruit and flowers encircles the skylight above the staircase hall.
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The Rotunda in 2016 Described as a "garden room", the Rotunda was designed by Brown and built between 1754 and 1757. The door and windows are pedimented and inside is a coffered ceiling and stuccowork by Francesco Vassalli in 1761. The joinery was by John Hobcroft. The Portland-stone panels above the windows and door are Robert Adam's design and were carved by Sefferin Alker and added in 1763.
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In keeping with the neo-Baroque design, nearly photo-realistic allegorical paintings were commissioned to decorate the theatre's foyers, and in spite of budgetary constraints, the decorators "managed to produce an interior of overbearing opulence, especially in the lavishly histrionic, gilt-dripping stuccowork of the auditorium." The critical reception was quite varied, with the rationalists attacking the "delirious frivolity" of the design, and the traditionalists defending it as appropriate for the operettas to be performed inside.
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At the riverside are six pavilions (sala) in Chinese style. The pavilions are made of green granite and contain landing bridges. Front entrance of the "Ordination Hall" Next to the prang is the Ordination Hall with a Niramitr Buddha image supposedly designed by King Rama II. The front entrance of the Ordination Hall has a roof with a central spire, decorated in coloured ceramic and stuccowork sheathed in coloured china. There are two demons, or temple guardian figures, in front.
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Echteler was the son of the economist and baker Leonhard Echteler und Marianna von Sandholz. After tending to sheep and cattle up to age twelve, he learned the craft of stone masonry, carving, stuccowork and sculpting at a chiseler in Leutkirch im Allgäu. On his journeyman years he came to Stuttgart, where he visited the fine arts school. From November 1872 he continued his artistic education at the Academy of Fine Arts in Munich under Max von Widnmann and Joseph Knabl.
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Poccetti also painted a main altarpiece for the church. Other sources add Giovanni Battista Brugieri as painting Ananias fresco. The engraved wooden choir in the presbytery was completed in 1591 by Domenico Atticciati. An inventory from 1840 recalls a painted crucifix in a chapel was painted by Francesco Vanni, the stuccowork was by Giovanni Battista Ciceri, frescoes by Giuseppe Nasini, and a main altarpieces depicting Carthusian saints: St Bruno, the Guardian Angel and St Romuald by a Falzaresi of Forli.
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He also constructed a fountain and a hunt pavilion, Bouchefort, in the gardens of the schloss belonging to the Elector of Bavaria, Maximilian II Emmanuel. In 1724 Boffrand worked on site at Würzburg with Balthasar Neumann, who had been consulting him in Paris, on the Prince-Bishop's Residenz (under construction 1719–1744). His designs were carried out in the main suite of rooms, where Fiske Kimball detected Boffrand's artistic control in the stuccowork by Johann Peter Castelli of Bonn.Kimball 1943, p. 149.
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In decor the ceiling has returned to its Elizabethan form, which involves either timber with exposed beams or flat patterned stucco. Beams are commonly used in a grid formation for aesthetic purposes and can be left in their natural state or painted. Free-hand stuccowork and inset stucco have also been revived as they enable a small amount of ornamentation on a generally flat surface, although both are quite costly. Ceiling papering has also become popular as it provides visual variety without being obtrusive.
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In Granada, stuccowork was introduced by Francisco Hurtado Izquierdo and used to embellish classical forms in the dome (c. 1702) and sacristy dome (c. 1713–42) of La Cartuja, in contrast to earlier vaults such as that of San Jerónimo (1523–43), which used diagonal ribs in an idiosyncratic way and had apparent Moorish influences. In Lima, the "City of Kings", capital of Spain's Viceroyalty of Peru, frequent earthquakes prompted the use of quincha construction for the vaulting of the church of San Francisco (1657-74) by Constantino de Vasconcelos and Manuel de Escobar.
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Main entrance gate – detail In the 17th and 18th centuries the appearance of the castle did not change much. Only some interior changes were preserved, and the stuccowork of the Knights' hall from the years around 1700 or Rococo paintings in the bedroom and in the Chinese parlour from the 1760s. Outbuildings were erected around the castle; a new Baroque chapel with fresco paintings by Francis Gregor Ignacus Eckstein from 1716 replaced the older castle chapel. The new owners had their coat-of- arms sculpted in the rock, and kept on spreading the original park.
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Some stone cartouches bearing statements from Charles Eugene are also found on the lower facade of the main building. Immediately to the west of the White Hall is the six rooms of the Ducal Apartment, which was used for impressing visitors. The first is an antechamber decorated with green and gold-painted stuccowork. Following this is the Marble Hall, the only room of the suite in the Neoclassical style and where Charles Eugene greeted guests, which leads into the Palm Room, so named for the golden stucco palm trees that frame its windows.
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The two ground floor rooms include white stuccowork, typical of the early and mid 16th century white-on-white-and-gold style which began to dominate Florence after the arrival of the Albertoli brothers. On the first floor is the main salon with rich white stuccowork commissioned by the Compagni family in the 18th century, gilded furniture, a large Murano ware glass vessel and two history paintings commissioned by Sloane from Giuseppe Bezzuoli - they are entitled Dino Compagni trying to make peace between the Guelphs and the Ghibellines inside the baptistery and The laying of the foundation stone for the basilica of Santa Croce in the presence of Pope Pius IX and Vittorio Emanuele II. At the four corners of the room are four coats of arms celebrating other important Florentine families linked to the Compagni family by marriage. The green room is now the office of INAIL's regional director and includes ceiling frescoes by Giuseppe Antonio Fabbrini of scenes from Orlando Furioso, signed and dated above the window to 1787. The red room includes more frescoes by Fabbrini, here assisted by Tommaso Gherardini - the main one shows Cephalus mourning the deaths of Penelope's suitors and Eos and the shepherd Cephalus.
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Additional examples of the Italianate style are the Concert Hall and the Balcony Room, whose ceilings are adorned with elaborate painted stuccowork and frescoes by F.V. Harovník. In the 18th century, Joseph František Maximilian, 7th Prince Lobkowicz commissioned the reconstruction of the exterior of the Palace in preparation for the coronation at Prague Castle of Emperor Leopold II as King of Bohemia in 1791. The alterations included the addition of the palace's panoramic balconies. Despite the various alterations made through the years, remnants of original 16th-century murals and graffito work can still be seen in both of the interior courtyards.
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The restoration project has taken nine years – significantly longer than it took to build the house in the first place. Every single aspect of the house from the roof down required remedial attention. Skilled craftsmen worked on the elaborate inlaid floors, repaired the gilding and the stuccowork or treated the stone work of the house which was disintegrating. Overseen by Jim Reynolds, the restoration project combined the conservation expertise of Purcell Miller Tritton and John J. O’Connell, Architects, who had previously been in charge of the restoration of Fota, County Cork, another house designed by the Morrisons.
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As we read engraved on an eighteenth-century plaque at the villa, it was Carlo, Marchese of Isola, who continued construction. Another plaque, also from the eighteenth century, says that in 1680, the Marchese Giacomo Gallo celebrated completion of the building, which he had enriched with fine stuccowork and elaborate frescoes, gardens and fountains. In 1787, Balbiano was acquired by the Cardinal Angelo Maria Durini, art patron and collector. His circle of friends included notable intellectuals in Milan at the time, such as the poet Giuseppe Parini, a leading figure in Italian Neoclassicism, who was often a guest at Balbiano.
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Highly sophisticated arts such as stuccowork, architecture, sculptural reliefs, mural painting, pottery, and lapidary developed and spread during the Classic era. In the Maya region, under considerable military influence by Teotihuacan after the "arrival" of Siyaj K'ak' in 378 CE, numerous city states such as Tikal, Uaxactun, Calakmul, Copán, Quirigua, Palenque, Cobá, and Caracol reached their zeniths. Each of these polities was generally independent, although they often formed alliances and sometimes became vassal states of each other. The main conflict during this period was between Tikal and Calakmul, which fought a series of wars over the course of more than half a millennium.
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A two-tract palace stood in the south, with its cellars partly dug in the rock. The large Knights' hall on the first floor was completely rebuilt and its Renaissance vault was decorated with stuccowork and fresco paintings. During the rule of John I the last medieval expansion of residential and representative rooms was achieved: the new renaissance palace was attached to the core and the residential tower in the southeast. On the ground floor there is a vaulted passage of the Black Gate, on the first floor there is a big hall with three fields of Renaissance cross vault used as a library since the 19th century.
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It was originally built in 1540 for Cardinal Girolamo Capodiferro. Bartolomeo Baronino, of Casale Monferrato, was the architect, while Giulio Mazzoni and a team provided lavish stuccowork inside and out. The palazzo was purchased by Cardinal Spada in 1632. He commissioned the Baroque architect Francesco Borromini to modify it for him, and it was Borromini who created the masterpiece of forced perspective optical illusion in the arcaded courtyard, in which diminishing rows of columns and a rising floor create the visual illusion of a gallery 37 meters long (it is 8 meters) with a lifesize sculpture at the end of the vista, in daylight beyond: the sculpture is 60 cm high.
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Abbey church interior According to the German art historian Cornelius Gurlitt, "the abbey church of Wilhering is the most brilliant achievement of the Rococo style in the German-speaking world."Cornelius Gurlitt, 1886-89: Geschichte des Barockstils, des Rokoko und des Klassizismus, Stuttgart (3 vols); cited in Guby (1920), p.14; translated It gives the impression that more decoration, colour, sculptures, paintings and stuccowork could not be found in a single place. The Baroque dream that heavenly light-heartedness and timeless happiness can be brought down to earth, a dream which in the Rococo period reached its nearly unrestrained climax, has come true at Wilhering.
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This was embellished with the notable stuccowork by Giocondo and Grato Albertolli. The principal facade, however, was not to be transformed until ownership of the villa passed to Maria Louisa of Bourbon, the Queen of Etruria, who in 1806 assigned the project to the architect Pasquale Poccianti. Poccianti extended this effort of complete neoclassical transformation (of the facade) to include a rusticated five-bay portico flanked by a theater and a chapel. The facade was completed under the eventual ownership of Napoleon's sister Elisa Baciocchi, then the Grand Duchess of Tuscany, who hired the architect Giuseppe Cacialli to freely adapt the completion of Poccianti's original plans.
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Main hall. Frescoes in the Mullet Hall Despite several alterations to its interior, it is one of the few palazzi in Florence to have retained much of its interior furniture (essentially in the Empire style) and decoration, notably frescoes, stuccowork and sculpted fireplaces. The main doorway opens into an interior courtyard by Zanobi del Rosso with several loggias, again with finestre inginocchiate \- initially open to the sky, the courtyard is now covered by a coloured glass ceiling installed in the 20th century after a project by Ulisse De Matteis allowed this space to be turned into a reception area. At the corners of the cornice are several sculpted masks.
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Between 1623 - 1636, at the initiative of Sigismund III Vasa and later completed by his son Wladyslaw IV Vasa, the Baroque style Saint Casimir chapel by royal architect Constantino Tencalla was built of Swedish sandstone. Its interior was reconstructed in 1691-1692 and decorated with frescoes by Michelangelo Palloni, the altar and stuccowork by Pietro Perti. This chapel contains sculpted statutes of Jagiellon kings and an epitaph with Wladyslaw IV Vasa's heart. More than anything in the Cathedral this chapel symbolizes the glory of Polish-Lithuanian union and common history. In 1769 the southern tower, built during the reconstruction of 1666 collapsed, destroying the vaults of the neighbouring chapel and killing 6 people.
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The Cardinal Francesco Martelli (1633–1717) was a member of this family. In 1738, Giuseppe Martelli Maria, Archbishop of Florence and Niccolo Martelli, bailiff of Florence, unified the palaces under the designs of the architect Bernardino Ciurini. The piano nobile of the palace was decorated by frescoes by Vincenzo Meucci, Ferdinando Melani, Niccolò Connestabile, and Bernardo Minozzi, as well as stuccowork by Giovanni Martino Portogalli. At the end of the eighteenth century Marco, son of Niccolo, commissioned further frescoes depicting mythological and historic episodes of the family from teams led by Tommaso Gherardini, while Luigi Sabatelli decorated the vault of the staircase, where they displayed once two works attributed to Donatello, a statue of David and the coat of arms of the family.
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The church here is the best known example of Indigenous or Folk Baroque in Puebla<. Its interior has elaborate stuccowork with Catholic and indigenous imagery done in a variety of colors. Church construction spans the 16th to the 20th centuries but most of the stucco work began in the 17th century. The first phase of construction began in the 16th century, with a small sanctuary, whose vestiges are located just north of the current church. The first church on this spot was built in the middle of the 16th century with a simple nave and façade, now destroyed. The second phase began at the end of the 17th century and beginning of the 18th, when the bell tower, cupola, basic layout and a small sacristy were built.
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In the course of the 1552 rebellion against Emperor Charles V, the premises were plundered by the troops of Elector Maurice of Saxony; even the grave of Maurice' brother Severinus was destroyed. The monastery was largely rebuilt in its present-day Baroque style from the early 17th century onwards, including Wessobrunner stuccowork by Franz Xaver Feuchtmayer. Stams Abbey was temporarily dissolved in 1807 by order of King Maximilian I Joseph of Bavaria, who had received the Tyrolean lands by the 1805 Peace of Pressburg but re-established after Stams was restored to the Austrian Empire in 1816. Again disseized by the Nazi German authorities upon the Austrian Anschluss in 1938, it was resettled by Cistercian monks after the end of World War II, who established several educational institutions, including the Skigymnasium Stams (Stams ski boarding school), the Kirchliche Pädagogische Hochschule – Edith Stein school of education, and the Meinhardinum gymnasium.
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Banz, overseen by Johann Dientzenhofer, has a complex arrangement of overlapping and subdivided transverse oval vaults with wide ribs at their intersections that make it difficult to understand the structural system, like Guarini's earlier church of Santa Maria della Divina Providenza in Lisbon. Domes by the Asam brothers, such as those of Weingarten Abbey (1715–20) and Weltenburg Abbey (1716-21), blended fresco painting, stucco and, in the case of Weltenburg, indirect lighting to achieve their effects. Another set of brothers, Johann Baptist Zimmermann and Dominikus Zimmermann of Bavaria, emphasized white stuccowork under direct lighting blended with fresco painting at at Steinhausen (1728–31) and Wieskirche at Weis (1745–54). In Bohemia and Moravia, Jan Santini Aichel blended styles in what has become known as baroque Gothic, as can be seen in his crossing dome at the at Kladruby (1712–26) and the five-lobed dome of the Chapel of St. Jan Nepomuk (1719–22).
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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).
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The construction of the Castle mixes Arab-Norman features with others typical of the castles built during the Hohenstaufen rule of southern Italy: the cube shape recalls Arabic architecture; the square towers, although incorporated into those of the façade, reflect Norman architectural style, as also the battlements; and the round tower recalls aspects of Frederick II's times architecture. The structure is on three floors, the first floor for the servants, with the essential services, the second for the nobility, with the sumptuous Cappella Palatina, and the third for the court and for guests. The Cappella Palatina ("Palace Chapel") was built in 1683 by the brothers Giuseppe and Giacomo Serpotta, with a great profusion of precious marble, stuccowork, putti, and friezes that commemorate the most resplendent moments in the history of the House of Ventimiglia. Here is kept the holy relic of the skull of Saint Anne, in an urn that acts as the pedestal to the sculpted bust of Castelbuono's patron saint.
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