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Scottish renaissance painted ceilings are decorated ceilings in Scottish houses and castles built between 1540 and 1640. This is a distinctive national style, though there is common ground with similar work elsewhere, especially in France , Spain and Scandinavia . [ 1 ]
A painted ceiling is a ceiling covered with an artistic mural or painting. They are usually decorated with fresco painting, mosaic tiles and other surface treatments. While hard to execute (at least in situ) a decorated ceiling has the advantage that it is largely protected from damage by fingers and dust.
Ceilings can be decorated to taste, and there are many examples of frescoes and artwork on ceilings, especially within religious buildings. A ceiling can also be the upper limit of a tunnel . The most common type of ceiling is the dropped ceiling , [ citation needed ] which is suspended from structural elements above.
Illusionistic ceiling painting, which includes the techniques of perspective di sotto in sù and quadratura, is the tradition in Renaissance, Baroque and Rococo art in which trompe-l'œil, perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two ...
Grand Neoclassical interior by Robert Adam, Syon House, London Details for Derby House in Grosvenor Square, an example of the Adam brothers' decorative designs. The Adam style (also called Adamesque or the Style of the Brothers Adam) is an 18th-century neoclassical style of interior design and architecture, as practised by Scottish architect William Adam and his sons, of whom Robert (1728 ...
The word fresco is commonly and inaccurately used in English to refer to any wall painting regardless of the plaster technology or binding medium. This, in part, contributes to a misconception that the most geographically and temporally common wall painting technology was the painting into wet lime plaster.
The first snap (as seen below) shows the queen, 76, admiring the painting of the young princess, which was apparently inspired by the birthday portrait taken on her second birthday. Arthur Edwards ...
The mark of the scaffolding used for painting the ceiling is evident on the lower right of this lunette. The majority theory is that the ceiling's main frescoes were applied and painted in phases, with the scaffolding each time dismantled and moved to another part of the room, beginning at the chapel's west end. [40]