Mascaron (architecture)
In
Types
Green Man
In the 11th century, European stonemasons began adding carved foliate mascarons, known as Green Men, to the decoration of churches, an image that early 20th-century scholars suggested had secretly represented a surviving pre-Christian god. Today, few scholars believe this idea. The Green Man is primarily interpreted as a symbol of rebirth, representing the cycle of new growth that occurs every spring.[4]
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EarlyByzantine emperor Justinian I (r. 527–565), Great Palace Mosaic Museum, Constantinople (present-day Istanbul, Turkey)[5]
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Hector Lefuel and decorated with paintings by Charles Raphaël Maréchal, 1859-1860[7]
Bucranium
A bucranium (plural bucrania) is basically an ox skull mascaron, usually used in Antiquity, for decorating funerary and commemorative monuments. The motif originated in a ceremony wherein an ox's head was hung from the wooden beams supporting the temple roof; this scene was later represented, in stone, on the frieze, or stone lintels, above the columns in Doric temples. The ox skull is usually decorated with ribbons and festoons. The motif is reused during the Renaissance, losing its Ancient symbolism, being reduced only to a simple ornament. Later it is no longer used until the 18th century, when the excavations at Pompeii and Herculaneum lead to Neoclassicism, a movement that tried to revive the aesthetic of Classical Greece and Rome.[8][9]
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bell krater from Rudiae with an offering scene, by the Bucranium Painter, c.375-350 BC, ceramic, Museo archeologico Sigismondo Castromediano, Lecce, Italy
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Rococo bucrania on the foot of a potpurri vase, by Jean-Pierre Ador, 1768, multicoloured gold, en plein and basse-taille enamel, Walters Art Museum, Baltimore, US[10]
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madame Récamier, c.1790, mahogany, gilt bronze and marble, Louvre[11]
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, 1897-1900
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Art Deco styled bucranium on the Lincoln Bank Tower (East Berry Street no. 116), Fort Wayne, Indiana, USA, 1930, designed by Alvin M. Strauss
History
In Antiquity, the Middle Ages and the Renaissance, mascarons were used mainly for decoration, but sometimes for threatening evil spirits. Since the Baroque, they were only used as an ornament, usually presented at the tops of various things (window or door keystones, handles, cartouches etc.).
Antiquity
Ancient Near East and Egypt
Mascarons were rarely present in the Ancient Near East. The ones used usually take the form of bull or lion heads. Good examples can be seen at the Lyres of Ur.
In ancient Egypt,
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Sumerian bull mascaron for a lyre, c.2600–2350 BC, bronze, inlaid with shell and lapis lazuli, Metropolitan Museum of Art, NYC
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Sumerian bull mascaron of the Queen's lyre from Puabi's grave, c.2500 BC, lapis lazuli, shell and gold, British Museum, London
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Ancient Egyptian mirror with a Hathor mascaron, c.1479–1425, disk: silver, handle: wood sheathed in gold with restored inlay, Metropolitan Museum of Art
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Ancient Egyptian canopic jars, 744-656 BC, painted sycomore fig wood, British Museum[15]
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Ancient Egyptian sistrum with a Hathor mascaron, c.305–282 BC, faience, Metropolitan Museum of Art
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Ancient Egyptian mascarons of Hathoric column capitals from the Dendera Temple complex, Dendera, Egypt, unknown architect, 1st century AD
Greco-Roman world
In ancient Greece, Rome, and in the architecture of the Etruscan civilization, lion mascarons were often used to decorate temple cornices. The tile-ends at the edges of a roof were concealed by ornamental blocks known as antefixae, which were sometimes decorated with human mascarons.[16]
Sometimes, mascarons were used for threatening. Medusa decorates the architrave of the temple of Didyma, and is intended to frighten the enemies of Apollo, stylized so as to be seen from a distance and allow play of light and shadow.
Besides faces, mascarons sometimes took the form of theatre masks. Theatrical manifestations are initially a sacred ceremony linked to the cult of
Later, the Roman Empire took all these decorative elements, as they incorporated many cultural elements of Ancient Greece.
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Ancient Greek mascaron of a gorgon from the sanctuary of Apollo, Didyma, present-day Turkey, unknown architect, 6th and 3rd centuries BC
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Etruscan vessel with a single handle, in the shape of a satyr's head, c.340 BC, ceramic, Petit Palais, Paris
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Roman mascarons on an entablature fragment from the Temple of Zeus Philios in Pergamon, 115-130 BC, unknown type of stone, Pergamon Museum, Berlin
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Polychrome Roman mask mascarons on the border of a mosaic with doves drinking from a golden basin, after Sosus of Pergamon, 1st century BC, mosaic, National Archaeological Museum, Naples, Italy[19]
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Roman head of Medusa, 37-41 AD, bronze, Museo Nazionale Romano, Palazzo Massimo alle Terme, Rome[20]
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Roman mascaron with rinceaux in a segmental pediment of the Library of Celsus, Ephesus, Turkey, unknown architect, c.112–120
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Medusa mascaron on a mosaic floor, National Archaeological Museum, Athens, Greece, unknown architect or craftsman, 2nd century[21]
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Roman mascarons on a sarcophagus, 2nd century, stone, Antalya Museum, Konyaaltı, Turkey
Ancient China
In the Neolithic period in China, small jade objects were created. The hardness of jade gives it durability, which helped at its conservation over millennia. Some of these objects, like the cong, a straight tube with a circular interior and square outer section, were decorated with highly stylized mascarons.
During the
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Highly stylized mascarons on a cong, produced by the Liangzhu culture, c.2500 BC, jade, British Museum, London
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Taotie on a hu (ritual altar vessel), c.1100 BC,cast bronze, British Museum
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Taotie of a handle, 475-221 BC, bronze, Fitchburg Art Museum, Fitchburg, US
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Mascaron on an ornamental handle of a bi disc, c.100 BC, jade, Museum of the Mausoleum of the Nanyue King, Guangzhou, Guangdong, China
Pre-Columbian Mesoamerica
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Temple of the Feathered Serpent (detail reconstruction), Teotihuacan, Mexico, c.225[23]
Middle Ages
The use of mascarons continued during the Middle Ages. They are found in Gothic architecture, especially in the 14th century [24] Mascarons were also used in medieval Russian architecture.
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Russian mascarons of the Church of the Intercession on the Nerl, Bogolyubovo, Russia, unknown architect or sculptor, 1165[25]
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Romanesque mascaron of the Église de la Trinité d'Angers, Angers, France, c.1150-1175, unknown architect or sculptor[26]
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Romanesque mascaron of the Église de la Trinité d'Angers, Angers, France, c.1150-1175, unknown architect or sculptor[27]
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Russian mascarons on the Saint George Cathedral, Yuryev-Polsky, Russia, unknown architect or sculptor, 1230-1234, collapsed and was rebuilt in 1471[28]
Renaissance
Renaissance artists reread the myths of Greco-Roman Antiquity which gave them new subjects and ornaments. Archaeological discoveries like the excavations of the Baths of Caracalla by the farneses, or Laocoön and His Sons, inspired sculptors and architects of the 15th and 16th centuries. The Villa of Emperor Hadrian and the Pantheon in Rome offer construction models radically different from the Gothic style. The forms of Antiquity are coming back into fashion: columns, pilasters, pediments, domes, and statues decorate the buildings of this era.
In the Quattrocento, the last Gothic influences tended to disappear; It was not until the beginning of the 16th century that the decorative faces of Antiquity took their place again in the form of mascarons.
The Renaissance fashion spread into the rest of Western Europe. It arrived in France with the
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Mascaron adorning the front door of the campanile of the Church of Santa Maria Formosa, Venice, Italy, designed by Mauro Codussi, 1492
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Mascarons on a column of the Gouverneto Monastery, Greece, unknown architect or sculptor, 1537[29] (although other sources say 1548)[30]
Baroque and Rococo
Succeeding Mannerism, and developing as a result of religious tensions between Catholics and Protestants across Europe, Baroque art emerged in the late 16th century. The name may derive from 'barocco', the Portuguese word for misshaped pearl, and it describes art that combined emotion, dynamism and drama with powerful color, realism and strong tonal contrasts. Between 1545 and 1563 at the Council of Trent, it was decided that religious art must encourage piety, realism and accuracy, and, by attracting viewers' attention and empathy, glorify the Catholic Church and strengthen the image of Catholicism. Since Baroque architecture and design extended the classical vocabulary of the Renaissance, mascarons continued to be used. During the 17th and 18th centuries, they were most often decorated keystones above arched doors or windows, inside a cartouche. They were present especially at the first floor of many palaces, which often have continuous arched windows and doors. Another frequent use was at the top of cartouches.
The Baroque was followed by the Rococo, which kept some of characteristics of the Baroque, like monumentality and curving shapes, but came with new features, like pastel colours, foliate ornamentation, asymmetry and an emphasis on secular architecture. The Rococo is also mainly associated with palace and domestic architecture, compared to how the Baroque is often seen as a mainly ecclesiastical style. One of the most noticeable characteristic is its delicacy. Besides the use of curving lines and flowers, the fanciness of the style is also visible in the many artworks that show scenes of aristocratic life. People in Rococo painting by artists like Antoine Watteau, Jean-Baptiste van Loo, François Boucher, or Jean Siméon Chardin have cupid-like faces. Of course, this feature is present in sculpture too, including mascarons. Like in the case of Baroque architecture, most Rococo mascarons are placed on keystones of arched doors or windows. Good examples of them are present at most hôtel particuliers from the reign of Louis XV (1715-1774).
The interactions between Western European nations and the rest of the world brought on by colonialist exploration have had an impact on aesthetics. Rarely, for making a building of an object more over the top, mascarons of Native Americans were added, showing them with stereotypical feather headdresses. Similarly, mascarons of Sub-Saharian Africans were added on buildings from the Place de la Bourse in Bordeaux, France. They are the result of the fact that colonization and slavery contributed to the wealth of the city of Bordeaux, both through the slave trade, the trade in goods produced by slaves and the possession of plantations. Out of all these forms of exoticism, the most popular one was Chinoiserie, a style in fine art, architecture and design, popular during the 18th century, that was heavily inspired by Chinese art, but also by Rococo at the same time. Because traveling to China or other Far Eastern countries was something hard at that time and so remained mysterious to most Westerners, European imagination were fuelled by perceptions of Asia as a place of wealth and luxury, and consequently patrons from emperors to merchants vied with each other in adorning their living quarters with Asian goods and decorating them in Asian styles. Where Asian objects were hard to obtain, European craftsmen and painters stepped up to fill the demand, creating a blend of Rococo forms and Asian figures, motifs and techniques. As a result, some European aristocrats built garden pavilion inspired by what architects imaged Chinese architecture as looking like. Of course, many of their elements are much closer to the Rococo than to Qing dynasty palaces. Some of these structures feature mascarons of people from the Far East, like in the case of the Chinese House from the Sanssouci Park in Potsdam, Germany, or the Chinese Pavilion from the gardens of the Drottningholm Palace in Sweden.[31]
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Versailles, France, designed by Louis Le Vau and Jules Hardouin-Mansart, c. 1660-1715
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Baroque mascarons of various ages above doors of the garden facade of the Palace of Versailles, sculpted by Gaspard and Balthazard Marsy, Pierre Ier Le Gros, Benoît Massou and others, mostly from 1673-1674[32]
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Baroque Hercules mascaron of the Dôme des Invalides, Paris, by Jules Hardouin-Mansart, 1677–1706[33]
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Baroque mascaron in the Hall of Mirrors, Palace of Versailles, designed by Jules Hardouin-Mansart, 1678-1684[34]
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Baroque mascaron on the pedestal of a clock, designed and made byAndré Charles Boulle, c.1690, gilt wood, Metropolitan Museum of Art, NYC
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Rococo mascaron above the door of the Hôtel de Chenizot (Rue Saint-Louis-en-l'Île no. 51–53), Paris, designed by Pierre Vigné de Vigny, 1719
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Rococo Native American mascaron on a corbel of a balcony of the Hôtel de Salm-Dyck (Rue du Bac no. 97), Paris, designed by François Debias-Aubry, 1722
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Baroqueputti mascarons on a column of the El Transparente altarpiece, Toledo Cathedral, Toledo, Spain, designed and made by Narciso Tomé, 1729-1732[35]
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Rococo cartouche with two horse mascarons and a Green Man at the bottom, on the facade of the Palais Rohan, Strasbourg, France, 1732-1742
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Rococo mascaron in the courtyard of the Hôtel Le Lièvre de la Grange (Rue de Braque no. 4–6), Paris, designed by Victor-Thierry Dailly, 1734-1735
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Rococo mascaron on a building in Place Stanislas, Nancy, France, designed by Emmanuel Héré de Corny, 1752-1756
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Rococo candelabrum vase with elephant mascarons, 1757–1758, by theJean-Claude Duplessis, soft-paste porcelain with enamel and gilding, Art Institute of Chicago, US
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Rococo mascaron of an African woman in a cartouche on a building in the Place de la Bourse, Bordeaux, France, unknown architect and sculptor, 18th century
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Chinoiserie mascaron above a window of the Chinese Pavilion, Ekerö Municipality, Sweden, designed by Carl Fredrik Adelcrantz, 1763–1769[36]
Neoclassicism and historicism
Excavations during the 18th century at Pompeii and Herculaneum, which had both been buried under volcanic ash during the 79 AD eruption of Mount Vesuvius, inspired a return to order and rationality.[37] In the mid-18th century, antiquity was upheld as a standard for architecture as never before. Neoclassical architecture focused on Ancient Greek and Roman details, plain, white walls and grandeur of scale. Compared to the previous styles, Baroque and Rococo, Neoclassical exteriors tended to be more minimalist, featuring straight and angular lines, but being still ornamented.
Neoclassicism was the status quo from the mid to late 18th century, until the middle of the 19th. The transition from Rococo to Neoclassicism was not dramatic. The Louis XVI style in France shows clearly the strong interest of architects and designers for the volumes, proportions and motifs of ancient Greece and Rome, but their creations still have the aristocratic and cozy vibe of the Rococo. Similarly, some of the creations of Robert Adam, one of the most well known British architects who designed in the Neoclassical style, still have the delicacy of Rococo, like in the case of the Eating Room from the Osterley Park in London.
After the French Revolution, Neoclassical architecture and design advocated a return to austerity after the "excesses" of the Rococo and thus limited the use of mascarons. The Empire style of the First French Empire (1800-1815) didn't feature many mascarons, since they are rare in Ancient Greek and Roman architecture and design. The keystone often decorated in the past centuries was left empty at the beginning of the 19th century. The interest for Ancient Greece and Rome also led to an appetite for the Ancient Egypt. After the French campaign in Egypt and Syria, Egyptian art was brought to European collections, and the history, nature and life in Egypt were documented by scientists. Sometimes, Neoclassical buildings and designs mix Greco-Roman elements with Egyptian motifs.
In parallel with Neoclassicism,
Besides the Middle Ages, thanks to Romanticism, interest appeared for other periods too, like the Renaissance, Baroque, and Rococo. Without a single overreaching authority in style, pluralism became widespread. The Gothic Revival coexisted with a revival of the Rococo and revivals of other historic styles, some being non-Western.
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Louis XVI style mascaron-shaped handle of a vase, by Pierre-Philippe Thomire, c.1780, gilt-bronze, Metropolitan Museum of Art, New York
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Louis XVI style Hercules mascaron on the entrance door keystone of the Hôtel du Commandant militaire, Dijon, France, designed by Charles Saint-Père, 1784-1787
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Neoclassical mascaron, most probably from a piece of furniture, late 18th–early 19th century, gilt bronze, Metropolitan Museum of Art
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Egyptian Revival mascaron with the face of goddess Hathor on the facade of the Foire du Caire building (Place du Caire no. 2), Paris, by Philippe-Laurent Prétrel, 1798[40]
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Neoclassical secretary decorated with many mascarons, c.1804-1809, amboyna wood veneered on pine; gilt-bronze mounts, Metropolitan Museum of Art
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Neoclassical lion mascarons on the ceiling of the Salon Bleu, Château de Compiègne, Compiègne, France, unknown architect of painter, c.1810
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Egyptian Revival signet with a pharaoh mascaron and Egyptian Revival motifs, c.1810, bronze, Neues Museum, Berlin
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Gothic Revival knight mascarons on a candle holder, c.1830-1850, patinated and gilt bronze, Museum of Decorative Arts, Paris
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Neoclassical lion mascarons on Danaida fountain, Peterhof Palace, Saint Petersburg, designed by Andrei Stackenschneider and sculpted by Ivan Vitali, 1853-1854
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Rococo Revival mascaron on a vessel, unknown designer, probably produced by the Sèvres Porcelain Manufactory, c.1860, porcelain, Salon des aides de camp, Château de Compiègne
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Neoclassical mascaron in a mosaic on a ceiling of the Palais Garnier, Paris, designed by Charles Garnier, 1860–1875[41]
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Neoclassical mascarons in a round ceiling ornament that depicts the four cardinal points, designed by Charles Garnier, c.1860–1875
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Rococo Revival mascaron on a fireplace in the Musée Jacquemart-André, Paris, probably designed by Édouard André, c.1869-1875
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Neoclassical ox mascaron on the Halles centrales de Dijon, designed by Louis-Clément Weinberger, 1873-1875
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Neoclassical skull mascaron on the tomb of the Dobre Nicolau Family, Bellu Cemetery, Bucharest, Romania, designed by Thoma Dobrescu, c.1900
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Romanian Revival windows with seraph mascarons at the top, on the facade of Strada Polonă no. 13, Bucharest, unknown architect, c.1900
Beaux Arts and Art Nouveau
The revivalism of the 19th century led in time to Eclecticism (mix of elements of different styles). Because architects usually revived Classical styles, most Eclectic buildings and designs have a distinctive look. In France, they were usually mixes of elements taken from the Renaissance until Napoleon (including Neoclassicism and its forms). The most famous building of this type is the Opéra Garnier in Paris, which combines for example double columns taken from Baroque with rooflines of mascarons and festoons taken from Neoclassicism, on the main facade. Alone, these elements are reminiscent of a specific period, but they are put together in a coherent and harmonious way. Many of the mascarons from Eclectic architecture and designs of the 19th and very early 20th centuries are inspired by those found in Baroque and Rococo, and just like in the 17th and 18th centuries, they are often on a keystone and in a cartouche.
The
Besides Beaux Arts, another movement that was popular during the Belle Époque was
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Beaux Arts polychrome mosaics with mascarons on the Opéra de Monte-Carlo, Monaco, designed by Charles Garnier, 1879
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Beaux Arts mascaron of Avenue de l'Opéra no. 8, Paris, unknown architect or sculptor, c.1880
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Beaux Arts mascaron of the Grande Fontaine (Avenue Léopold-Robert), La Chaux-de-Fonds, Switzerland, by Louis Maximilien Bourgeois, 1888
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Two Beaux Arts mascarons of Avenue Henri-Martin no. 87, Paris, designed by Albert Walwein, 1892
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Beaux Arts mascaron on the Pont Alexandre III, Paris, designed by Joseph Cassien-Bernard and Gaston Cousin, 1896-1900
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The three Secessionist gorgons on the Secession Building, Vienna, Austria, designed by Joseph Maria Olbrich, 1897-1898[44]
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Art Nouveau mascaron-shaped breast ornament, by René Lalique, 1898–1900, silver, email and alabaster, Kunstgewerbemuseum Berlin, Germany
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Stylized Art Nouveau mascaron of Casa Calvet (Carrer de Casp no. 48), Barcelona, Spain, designed by Antoni Gaudí, 1898-1900
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Beaux Arts mascaron under a balcony of the Cantacuzino Palace (Calea Victoriei no. 141), Bucharest, designed by Ion D. Berindey, 1898-1906[45]
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Beaux Arts mascaron in a small arabesque on the facade of Strada Clopotarii Vechi no. 4, Bucharest, Romania, unknown architect, 1899-1900
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Giant Art Nouveau mascaron on a pavilion erected in the court of the Cotroceni Palace, Bucharest, unknown architect, 1901
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Art Nouveau mascaron-shaped breast ornament, designed by Wilhelm Lucas von Cranach, engraved by Max Haseroth, 1902, gold, opal, nephrite, jasper, emeralds, and pearl, Kunstgewerbemuseum Berlin
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Art Nouveau mascaron on a fireplace in the house of Yvette Guilbert (Boulevard Berthier no. 23 bis), Paris, designed by Xavier Schoellkopf, c.1905[46]
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Beaux Arts mascaron on Rue de la Paix no. 23, Paris, unknown architect, 1908
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Art Nouveau capital with mascarons of the Printemps Haussmann (Boulevard Haussmann no. 64), Paris, designed by René Binet, 1911[47]
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Beaux Arts mascaron with a multitude of flowers around it, above a window of the parfumery ofAvenue des Champs-Élysées no. 68), Paris, designed by architect Charles-Frédéric Méwès and decorated by Bérard Christian, 1912[48]
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Beaux Arts mascaron with lavander in its hair, above a window of the parfumery of Jacques and Pierre Guerlain
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Beaux Arts mascaron with flowers in its hair, above the door of the perfumery of Jacques and Pierre Guerlain
Interwar period
Although Modernism was mainstream under the form of Art Deco during the interwar period, revivals of historic or local styles continued. In Romania for example, Mediterranean Revival architecture was one of the main styles of the 1930s, together with Art Deco and Romanian Revival (the national style). Of course, some of these styles used mascarons for ornamentation.
At the end of the interwar period, with the rise in popularity of the International Style, characterized by the complete lack of any ornamentation, led to the complete abandonment of any ornaments, including mascarons.
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Neo-shedu mascarons on capitals of the Pythian Temple, New York City, part of the architecture that resulted from the interest some Art Deco architects and designers had for non-Western cultures, designed by Thomas W. Lamb, 1927
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Art Deco mascaron of Avenue de Versailles no. 70-72, Paris, designed by Paul Delaplace and sculpted by Jean Boucher, 1928
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Art Deco mascaron on an unidentified building in Bordeaux, France, unknown architect or sculptor, c.1930
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Mediterranean Revival(late revivalism) lion mascarons above a series of window of Strada George Enescu no. 14, Bucharest, unknown architect, c.1930
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Art Deco mascarons of the Palais de Chaillot, Paris, designed by Louis-Hippolyte Boileau, Jacques Carlu and Léon Azéma, 1937[51]
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Art Deco mascaron for a fountain, by Henri Navarre, 1937, glass, Musée d'Art Moderne de Paris
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Art Deco mascarons on theJoseph Jacinto Mora, 1939
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Mediterranean Revival window of the Prof. C.A. Teodorescu House (Bulevardul Eroii Sanitari no. 89), Bucharest, designed by Ion Giurgea, 1941[52]
Postmodernism
Postmodernism, a movement that questioned Modernism (the status quo after WW2), promoted the inclusion of elements of historic styles in new designs. An early text questioning Modernism was by architect Robert Venturi, Complexity and Contradiction in Architecture (1966), in which he recommended a revival of the 'presence of the past' in architectural design. He tried to include in his own buildings qualities that he described as 'inclusion, inconsistency, compromise, accommodation, adaptation, superadjacency, equivalence, multiple focus, juxtaposition, or good and bad space.'[53] Venturi encouraged 'quotation', which means reusing elements of the past in new designs. Part manifesto, part architectural scrapbook accumulated over the previous decade, the book represented the vision for a new generation of architects and designers who had grown up with Modernism but who felt increasingly constrained by its perceived rigidities. Multiple Postmodern architects and designers put simplified reinterpretations of the elements found in Classical decoration on their creations. However, they were in most cases highly simplified, and more reinterpretations than true reuses of the elements intended. Because of their complexity, mascarons were very rarely used in Postmodern architecture and design.[54]
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Mascarons in cartouches spilling water in Piazza d'Italia, New Orleans, USA, by Charles Moore, 1978[56]
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Mascaron with an Art Nouveau-inspired print on a Vans t-shirt, unknown fashion designer and illustrator, c.2021, print on textile
See also
Notes
- Oxford Reference. Retrieved 6 September 2016.
- ^ "BUCHAREST 1870S MASCARON". casedeepoca.com. Retrieved 6 September 2016.
- ^ "Art Nouveau in faces: fantasy world of 'New art'". essenziale-hd.com. May 29, 2013. Retrieved 6 September 2016.
- ISBN 978-0-500-02574-1.
- ISBN 978-0-500-02574-1.
- ISBN 978-0-500-02574-1.
- ISBN 978-2-7572-0177-0.
- ^ "Bucranium". britannica.com. Retrieved 6 August 2023.
- ISBN 973-33-0268-6.
- ISBN 978-0-500-48022-9.
- ^ "Guéridon décoré de têtes de bélier, d'une paire avec OA 5231 BIS". collections.louvre.fr. Retrieved 17 October 2023.
- ^ Wilkinson 1993, pp. 32, 83.
- ^ Pinch 1993, pp. 135–139.
- ISBN 978-0-500-20396-5.
- ^ "canopic jar; model". britishmuseum.org. Retrieved 11 September 2023.
- ISBN 978-1-78240-169-8.
- ISBN 978-0-500-51959-2.
- ISBN 978-0-500-51959-2.
- ISBN 978-1-83866-140-3.
- ISBN 978-0-500-51959-2.
- ISBN 978-967-5492-24-2.
- ^ a b Fortenberry 2017, p. 71.
- ISBN 978-0-500-02236-8.
- ISBN 973-33-0268-6.
- ^ Hubert Faensen, Vladimir Ivanov (1981). Arhitectura Rusă Veche (in Romanian). Editura Meridiane.
- ^ "Eglise de la Trinité". pop.culture.gouv.fr. Retrieved 18 September 2023.
- ^ "Eglise de la Trinité". pop.culture.gouv.fr. Retrieved 18 September 2023.
- ^ Hubert Faensen, Vladimir Ivanov (1981). Arhitectura Rusă Veche (in Romanian). Editura Meridiane.
- ^ "Gouverneto Monastery". Explore Crete. Retrieved March 22, 2010.
- ISBN 9783763342211. Retrieved May 10, 2020.
- ^ Bailey 2012, pp. 279, 281.
- ISBN 978-2-81230-351-7.
- ^ Bailey 2012, pp. 238.
- ^ Hopkins 2014, p. 86.
- ^ Hopkins 2014, p. 82.
- ^ "Kina slott, Drottningholm". www.sfv.se. National Property Board of Sweden. Archived from the original on 6 August 2014. Retrieved 2 August 2014.
- ^ Hodge 2019, p. 31.
- ISBN 978-0-2414-1503-0.
- ^ M. Jallut, C. Neuville (1966). Histoire des Styles Décoratifs (in French). Larousse. p. 37.
- ISBN 2-85088-150-3.
- ^ Jones 2014, p. 296.
- ^ "Restaurare sediu UNNPR". uar-bna.ro. Retrieved 2 May 2023.
- ^ Hopkins 2014, p. 140, 143.
- ^ Jones 2014, p. 323.
- ISBN 978-973-0-23884-6.
- ISBN 978-0-500-20273-9.
- ISBN 9781786750631.
- ^ "Immeuble". pop.culture.gouv.fr. Retrieved 18 September 2023.
- ISBN 978-973-1872-03-2.
- ^ "PSS / 41, avenue Montaigne". pss-archi.eu. Retrieved 17 September 2023.
- ISBN 978-2-7072-0915-3.
- ISBN 978-606-081-135-0.
- ISBN 978-1-52942-030-2.
- ^ Hopkins 2014, p. 200, 203.
- ISBN 978 0 7148 7812 6.
- ^ Hodge 2019, p. 47.
References
- Bailey, Gauvin Alexander (2012). Baroque & Rococo. Phaidon. ISBN 978-0-7148-5742-8.
- Fortenberry, Diane (2017). The Art Museum (Revised ed.). London: Phaidon Press. ISBN 978-0-7148-7502-6. Archivedfrom the original on 2021-04-23. Retrieved 2021-04-23.
- Hodge, Susie (2019). The Short Story of Architecture. Laurence King Publishing. ISBN 978-1-7862-7370-3.
- Hopkins, Owen (2014). Architectural Styles: A Visual Guide. Laurence King. ISBN 978-178067-163-5.
- Jones, Denna, ed. (2014). Architecture The Whole Story. Thames & Hudson. ISBN 978-0-500-29148-1.
- ISBN 978-0900416545.
- ISBN 978-0500236635.
External links