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His first design was jasmine trail or jasmine trellis (1868–70), based on a similar wallpaper design he had made in 1862. [4] In the 1870s, he expanded his activity in woven furnishing textiles. In 1877, he brought a skilled French silk weaver, Jacques Bazin, from Lyon to London, rented a studio at Great Esmond Yard, and established Bazin and ...
The period between 1876 and 1882 was the most productive for Morris; he created sixteen different wallpaper designs. In his wallpapers of this period, he reverted to more naturalistic themes, somewhat less three-dimensional than his earlier work, but with an exceptional harmony and rhythm, as in his designs Poppy (1885) and Acorn .
Various designs of looms can be used, including upright or "high-warp" looms, where the tapestry is stretched vertically in front of the weaver, or horizontal "low-warp" looms, which were usual in large medieval and Renaissance workshops, but later mostly used for smaller pieces.
In interiors, the frieze of a room is the section of wall above the picture rail and under the crown moldings or cornice. By extension, a frieze is a long stretch of painted, sculpted or even calligraphic decoration in such a position, normally above eye-level. Frieze decorations may depict scenes in a sequence of discrete panels.
Geometric interlacing patterns are common in Islamic ornament. They can be considered a particular type of arabesque. Umayyad architectural elements such as floor mosaics, window grilles, carvings and wall paintings, and decorative metal work of the 8th to 10th centuries are followed by the intricate interlacings common in later medieval Islamic art.
A type of dwelling used throughout England, Scotland and Wales during the medieval period. The frame of the structure uses "siles" or "couples" (a type of fork) for the end walls. The walls do not support the roof, which is instead carried on the cruck frame. [8] This style of structure developed as a solution to shortages of long-span timber.
The practicalities of building window tracery in this way severely limited the complexity of designs that could be produced and although plate tracery designs evolved over the course of the 12th and early 13th centuries, in practice, the only real variation was in the number and size of lancets and in the trefoils, quatrefoils and oculi used to ...
The French sense of arabesque: a Savonnerie carpet in the Louis XIV style, c.1685–1697, wool, Metropolitan Museum of Art, New York City Design of a Louis XVI style arabesque, by Étienne de La Vallée Poussin, c.1780–1793, pen and gray and brown ink, brush and colored wash, Metropolitan Museum of Art The "Arabesque Room" in the Catherine ...
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