Gothic Interior Decorating. Ski House Decor. Decorative Metal Mirror.
Gothic Interior Decorating
- Interior design is a multi-faceted profession in which creative and technical solutions are applied within a structure to achieve a built interior environment.
- (interior decoration) decoration consisting of the layout and furnishings of a livable interior
- Belonging to or redolent of the Dark Ages; portentously gloomy or horrifying
- of or relating to the language of the ancient Goths; "the Gothic Bible translation"
- extinct East Germanic language of the ancient Goths; the only surviving record being fragments of a 4th-century translation of the Bible by Bishop Ulfilas
- Of or relating to the Goths or their extinct East Germanic language, which provides the earliest manuscript evidence of any Germanic language (4th–6th centuries ad)
- Of or in the style of architecture prevalent in western Europe in the 12th–16th centuries, characterized by pointed arches, rib vaults, and flying buttresses, together with large windows and elaborate tracery
- characteristic of the style of type commonly used for printing German
gothic interior decorating - Victorian Gothic
Victorian Gothic House Style: An Architectural and Interior Design Source Book
With its admirable purity of design and skillful crafting, Victorian Gothic took its cue from medieval ecclesiastical buildings in northern Europe. Through this highly illustrated source--with over 500 photographs, some from original catalogues and others specially commissioned--anyone can recreate the feel of a 19th century Gothic revival style home. From steeply pitched roofs topped by turrets, towers, and chimney-stacks to beautiful natural materials to intricate carvings, every detail will fascinate and inspire.
Gothic Revival Library, 1859.
Gothic Revival Library, 1859. American. Gift of Mrs. Hamilton Fish, 1977 (Inst. 1977.7.1). More about the Gothic Revival Library Morningside, the house from which the Gothic Revival library was removed, is a strongly massed yet graceful two-and-one-half story red-brick structure. Its peaked roofline is decorated with boldly carved verge boards (a wide board projecting over the gable of a roof, pierced with ornamental patterns) and Ruskinian stone-and-brick voussoirs (tapering or wedge-shaped elements that form an arch) topping the pointed-arch windows. The library, parlor, dining room, and kitchen area were on the main floor; the bedrooms were on the upper floors. The Gothic Revival style was considered particularly appropriate for libraries, and even houses that did not have Gothic exteriors had libraries decorated in the style. The style had been fashionable in England for decades before the first truly Gothic Revival house was built in the United States. Some of the objects in this room hail from England; others were made in New York in the 1850s and 1860s. The English pieces, such as the mantel clock of about 1845 by H. Smith of York and the bread plate designed by A. W. N. Pugin and manufactured by Minton and Company in Stoke-on-Trent, serve as reminders of Withers's roots as well as the profound influence English Gothic Revival exerted on American design. The English poets Robert and Elizabeth Barrett Browning are memorialized in the delicately modeled sculpture of their clasped hands created by the American sculptor Harriet Hosmer. Although the furniture is not original to the room, it is appropriate as far as date and place of manufacture and has been selected and arranged following design manuals by A. J. Downing and others. The tracery-back armchair and octagonal table, both made by New York cabinetmakers between the early 1850s and the mid-1860s, illustrate various interpretations of the style. The majority of the pieces are oak or walnut, the two woods most commonly used for Gothic Revival furniture and interiors. In addition to detailing taken from Gothic architecture, such as trefoils and clustered columns, Gothic Revival furniture is frequently embellished with oak-leaf motifs, such as those carved into the cornices of the library's two bookcases. The Gothic-style cast-iron grate in the fireplace was probably made in the Albany, New York, area. The solar lamp from Philadelphia also reflects Gothic architectural features in the intricate design of the gilt base and the pointed-arch motif in the glass globe. The plaster ceiling, decorated in imitation of medieval wood beams, is a replica of the original. The paint scheme has been replicated from paint samples taken from the house; the rich earth tones are of the type that architectural pattern books of the period recommended for libraries. The handmade needlepoint rug may be English or American. The entrance vestibule to the house has been reproduced in an expanded form, complete with trompe-l'oeil panels; the floor of colorful Minton tiles now installed in the vestibule came from the central hall of the Deming house.
Pershore Abbey interior
The nave of Pershore Abbey, Worcestershire, England. An early monastery is known to have existed on this site, probably founded in the late 7th century, but this was devastated by the Danish invasions during AD958. A Benedictine abbey was refounded on the same site towards the end of the 10th century. In about 1100 a large, new church was built in the Romanesque style replacing the simple Anglo-Saxon structure that was destroyed by fire in 1002. It is largely part of this abbey church that survives today. Although the Presbytery was rebuilt in the first half of the 13th century, and extensively repaired some 50 years later following a fire, Pershore Abbey is essentially an imposing Norman structure internally. After the Dissolution of the monasteries, the Lady Chapel and nave were demolished, leaving the area from the crossing to the eastern end of the church for use by the parish. Subsequently, the north transept collapsed but was replaced, on a smaller scale, in the 19th century. Substantial restoration works were carried out in the mid 19th century by Sir George Gilbert Scott, and further works were completed by Sir Harold Brakspear in 1914. Fortunately, these restorations served only to accentuate the glory of the medieval church rather than to mask the skilled craftsmanship that had been employed in its original construction. The massive Norman pillars of the crossing provide a solid foundation for the lavishly embellished 14th century lantern tower that sits above and this, in turn, contrasts with the simplicity of the south transept which has changed little over the centuries. What serves now as the main body of the church, the former choir is a glorious array of 13th century clustered columns with foliated capitals and deeply moulded arches, rising to the lierne vaulted ceiling studded with rich leafy bosses. This is a beautiful example of the quality of architecture from the Decorated period.
gothic interior decorating
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