Dha 4161 - Interior Design History Test 2

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Baluster (bal'əs ter)

An upright form arranged in a series to support a handrail. It is also a type of leg on Louis XIV furniture. They were first used in the English Renaissance and were used in the French Renaissance in relation to furniture. A baluster is also referred to as a banister.

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Balustrade (bal'əs trād')

A railing supported by a series of balusters. Balustrades became important architectural features as stairways were used as processional routes during the English Renaissance. At first they were molded, but became flatter later in the time period.

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Caquetoire (kækɪˈtwɑr)

A small, light, four legged conversation chair of the mid French Renissance. The back of the seat is narrower than the front, and the arms are curved inward from the front to the chair back. The caquetoire is built with a splayed seat base and U-shaped arms to allow women with full skirts to sit comfortably.

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Credenza (kri den'zə)

The credenza became very fashionable as a piece of furniture during the second half of the 19th century. Often made of a burnished and polished wood decorated with marquetry a central cupboard would be flanked by symmetrical quadrant glass display cabinets. The top would often be made of marble or other decorative stone or inlaid wood. It is much like the Gothic Buffet.

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Enfilade (en'fə lād)

In an English Baroque apartment, the term is used to describe the ordering of the rooms. The rooms were considered enfilade if they were aligned one after another with doorways, that were close to the exterior walls, connecting the spaces. The arrangement of Enfilade reflected the social order of the time. Through the architectural arrangement, each progressive room was seen as more important that the previous room, for example moving from the great chamber, to the bedchamber and lastly the closet of the lord.

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Gadroon (gə drōōn)

Ornamental notched or carved oval fluting, or reeding used in decoration, most commonly found in molding. The use of the gadroon decoration is most often seen within the furniture pieces of the time. The molding was used to line the edge where two planes of wood met.

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Cromwellian Chair (kräm' we lē ən, ‘krəm cher)

A severe unadorned chair of the English Commonwealth period (1649-1660). It usually had knob or bobbin turning, a low back, leather seat and back, and nailhead trim. Named for Oliver Cromwell, these chairs were popular during the Puritan period. During this period luxury and almost any kind of ornament were shunned. Thus, the decoration consisted only of the nail heads and series of small bulbs/ bobbins, referred to as bobbin turning, on the legs and stretchers.

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Court Cupboard (’kȯrt ’kə-bərd)

This cupboard consisted of three shelves, either all open or with one or two levels enclosed, and was fashionable in the 16th and part of the 17th centuries; they were more commonly seen in northern Europe than in southern Europe. Owners turned their money into gold or silver vessels, known as “plate”, and displayed them in the court cupboards since there were no banks.

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Bifora Window (bē fōrə)

A double window typically with either a rounded or lancet arch style top divided by a colonnete. Usually the windows were mullioned. Typically there was some sort of stone ornamentation surrounding the two windows.

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Cabachon (kab'ə shän)

A concave or convex shape used as a carved enrichment on furniture, sometimes surrounded by ornamental leaf carvings. Cabochon was typical of the French renaissance and found commonly on Rococo furniture and decoration. Common during the 18th century. Many times the oval shaped carving was accompanied by some other ornate design to compliment it at the head furniture pieces such as seating and headboards.

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Nonesuch Chest (nun' such')

A paneled chest decorated in trompe l’oeil architectural concepts. The perspective decorations were executed on flat surfaces using the inlay technique. The term nonsuch refers specifically to the perspective views of Nonsuch Palace. Nonsuch Palace was built for Henry VIII. Nonsuch furniture was produced in the 16th and 17th century in England.

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Panchetto (pän kātō)

A relatively small wooden chair with three splayed legs and a fan shaped back. The chair originated in the 15th century.The panchetto is similar to the sgabello, which is another armless back stool originating during the Italian renaissance. The sgabello differs in that it has two trestle supports instead of legs.

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Leon Battista Alberti (le ôn bät tēs'tä äl ber'tē)
(1404-1472)

Influential author, artist, architect, poet, linguist, philosopher, cryptographer and humanist of the Italian Renaissance. He wrote the first treatise of the Renaissance which was published in 1485. The treatise was significantly influenced by Vitruvius and proceeded to influence many future treaties written by prominent architects.

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Filippo Brunelleschi (fē lēp'pô brōō'nel les'kē)
(1377-1446)

Engineer and architect of the Italian Renaissance. Well known for his design of the octagonal ribbed dome (il duomo) of the Florence cathedral Santa Maria del Fiore. The building of the dome occupied the majority of his career and life.

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Dante Chair - Also known as Dantesca Chair (dan'tā, dan'tās'kä)

A chair having two sets of curule forms (X-shaped legs) crossing beneath the seat and rising to support the arms and back. Stretchers connected the front and back legs. 15th century Italian Renaissance; based on the curule form of Roman prototype. The material of the seat and back was either leather or velvet slung from the side rails while the primary construction was walnut.

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Dressoir (dres'war)

A storage or display piece in which an enclosed rectangular upper section rests on an open base with a paneled back. It is often mounted on a plinth base and has shallow shelves for displaying dishes. From the French Renaissance: 16th century; a continuation of Gothic forms

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Certosina (chārto'zēnä)

An inlay technique of marble, ivory, bone or lighter wood used on a darker background. The designs created are often referred to as having oriental character because of their small geometric patterns. Certosina was derived from the Carthusian monks who excelled in this type of inlay. This term was used first during the Italian Renaissance in reference to the construction techniques of furniture in the 15th century.

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Chamber (chām'bər)

When referring to the English manor home, a chamber is a room in the home, and these rooms have many different functions. The photo pictured is of a great chamber, which was the ceremonial center of the home.

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Withdrawing Room (with'drô'ing room)

This term originated during the English Renaissance. A space for members of the family and visitors to retire to while the chamber was being set up for another function, as a banquet.

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Wainscot (wān'skät')

A term with multiple meanings. In 17th century, the English applied the term to wooden furniture. The Term also defines wood paneling on the lower part of the wall (dado) that is treated in a manner different from the wall above. Details of the wainscot provided the opportunity to display decorative objects when the cornice was deep enough to serve as a shelf.

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Luca Della Robbia (lōō'kä del'lä rôb'byä)
(1400-82)

Italian sculptor from Florence, noted for terracotta roundels. He developed a pottery glaze that made his creations more durable in the outdoors and suitable for use on the exterior of buildings. There are no details of Robbia’s training, but his first documented commission, the Cantoria (“Singing Gallery” 1431-1438) for the Cathedral of Florence proves that he was an accomplished artist before he joined the Sculptors’ Guild in 1432. Robbia eventually experimented with marble, bronze and colored glaze.

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Sebastiano Serlio (sā"bästyä'nō ser'lēō)
(1475-1554)

Italian architect who took part in the building of the Palace de Fontainbleu. He also helped canonize the classical orders of architecture. Serlio’s major contribution remains his practical treatise on architecture; the first volume was called the “General Rules of Architecture." He pioneered the use of high quality images, such as the façade of the church in his writings.

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Majolica (mə jäl'i kə)

1. Italian earthenware developed during the Renaissance covered with an opaque glaze of tin oxide and usually highly decorated.
2. any earthenware having an opaque glaze of tin oxide.
These tiles were used as flooring and were decorated with multiple colors. Impressions were pressed into damp earthenware tiles and then the voids were filled with the different colors with the ridges used to separate the different colors.

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Lacuna (lɘ kyōōna)
pl. Lacunae

A Lacuna was formed in ceilings from the crossing of main and subordinate beams, the sunken void was called the Lacuna. Because main beams were spread farther from each other than subordinate beams the Lacuna was typically rectangular in shape. It forms a design similar to a coffer ceiling.They originated during the Italian renaissance.

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Vestibule (ves'tə byül)

A passage, hall, or room between the outer door and the interior of a building.The vestibule is the room that the main entrance opens onto. In an Italian Palazzo, it is located on the ground floor, usually square or rectangular and adjacent to the colonnaded courtyard.

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Veneer (və nir')

Slices of wood between usually 1/16” and 1/32” in thickness sliced through the cross or vertical section. These thin continuous slices are fairly identical as to grain and figure and can be matched in various ways to create interesting surface patterns. Veneers are applied over a sturdy backing of a coarser, less decorative wood. During the 16th century in southern Europe, veneers were cut by hand to 1/10” in thickness. Veneer used on furniture, walls, and floors enables complex designs such as marquetry and parquetry that would not be feasible with solid wood.

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Pargework (paarg wǒrk)

Decorative plasterwork usually for walls and ceilings, an ornamental facing. Usually applied to a flat surface in order to create a bas-relief design. This term formed during the reign of Elizabeth I. This type of décor was applied after construction, the use of the plaster created the designs through a relief. For the most part used decoratively rather than structurally.

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Niche (nĭch, nēsh)

A recessed or hollowed out portion of a wall which usually holds/displays art, statures or vases. This technique is common in both public and residential settings. Often surrounded by a tabernacle and by classic architecture terms is a smaller exedra or apse. It was usually elaborately decorated and held important items.

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Strapwork (strāp'wûrk')

A decorative relief carving that appears as small bands intricately laced to create patterns, often geometric. Early Elizabethan and Jacobean furniture used this technique as decoration and embellishment. Also, it was used on ceilings and walls at the time, creating a highly detailed aesthetic on the interior of Elizabethan and Jacobean interiors.

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Terrazzo (tə-rāz'ō)

A flooring technique that mixes broken marble pieces with cement. After the mixture dries, it is then polished. It originated in Italian between the late 15th and early 16th centuries. Using chips of marble made it more affordable to more people and allowed them to have “marble” flooring for their ceremonial practices.

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Saletta (säl'āt'tə)

A smaller dining space for the inhabitants of the primary bedchamber. The saletta sometimes was incorporated into the plan of the piano nobile level of the renaissance palazzo. It was located adjacent to the sala.

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Split-Spindle

An ornamental spindle that was first turned and then was split longitudinally and attached to cabinets, chairs, etc. It was particularly significant in the 17th century English and American furniture. Spindles were often stained black to look like ebony.

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Galleria (gal'ə rē'ə)

During the Italian Renaissance, an area used for the display of sculptures, paintings, etc. It was often located in the loggia. This same space may have been used as a passageway to gain access to other rooms within the house. It may also have been used for dining.

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Gallery (gal'ər ē)

A wide corridor usually walled in on one side and usually located on the upper story.The English Renaissance gallery is very similar to the galleria of the Italian Renaissance. This space provided covered passage and it was used as a space for exercise and a portrait gallery.

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Pattern Books

From the 15th to the 19th century, "pattern books" were published in Europe which gave access to decorative elements recorded from cultures all over the world.

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Patera (pätār ə)

An ornamental feature, either circular or oval which could be wood, ivory, metal, etc. It was normally carved, incised, inlaid or even painted. It is similar to a rosette. Patera are found in classical Roman architecture and almost all later western styles of architecture. It was used by the ancient Romans for drinking and libations (a pouring out of wine or other liquid in honor of a deity) at sacrifices.

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Farthingale Chair (fär'thiŋ gāl')

An armless chair with a wide seat covered in high-quality fabric and fitted with a cushion; the backrest is an upholstered panel, and the legs are straight and rectangular in section. It was introduced as a chair for ladies in the late 16th century and was named in England, probably in the 19th century, for its ability to accommodate the exceptionally wide-hooped skirts known as farthingales.

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Gate-leg Table (gāt'lěg')

A drop-leaf table with paired legs that swing out to support the leaves allowing for a larger tabletop surface. They originated in the middle 16th century.

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Turning

An ornamental or structural element of furniture produced by shaping wood, metal or another material by spinning it against cutting or abrading tools on a lathe creating nodules, swellings, disks, etc. (It is also know as Turnery). Turning was evident in the period of the Tudors (Late 15th century to the beginning of the 17th century in England.)

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Tudor Arch (tōō'dər ärch)

A low, wide elliptical arch pointed in the center, representative of the English Tudor style. The Gothic period's pointed arch was blunted into the flattened Tudor arch. The Tudor arch was placed over oriel windows and bay windows supported on a bracket or corbel. The style of the Tudor period was heavy and richly carved.

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Refectory Table (ri ‘fek tə rē ‘tā-bəl)

A long, narrow table made of a slab of wood with bulbous legs and heavy stretchers. Used for dining, this table was inspired by the trestle table and was often elaborately carved.

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Press Cupboard (press ‘kə-bərd)

A storage unit consisting of three sections with the topmost layer further divided into three sections. Two tiers were enclosed by doors or drawers. The unit was supported by bulbous frontal support that were later replaced with pendant drops. A storage unit used to store books in the early 17th century England, then later used to store linens and clothes. It was divided into three sections and often ornately carved.

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Garland (gär'lənd)

A wreath or circlet of leaves, flowers, and/or fruit with ribbon ties, used as a carved or painted decoration on furniture. A garland can be found carved into large wood pieces such as bed frames, dressers and buffets and may be represented as a wreath or a festoon. It may also be painted into furnishings, but during the renaissance period, carving was more dominant.

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Guardaroba (gwärdə rōbä)

A storage area for such items as furnishings, clothes, armor and jewelry; it was often supervised by a guard. Architects suggest that this space be located near a wide stair for ease in transporting goods from one floor to another.

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Cartouche (kär tōōsh')

A sculptured ornamental panel or scroll with curled edges and bearing an inscription. Also described as an oval frame with decorative detail centering it as well as surrounding it. Cartouches originated in ancient Egypt, where it contained hieroglyphics of names. During the Italian Renaissance, the cartouche was used as a display for the family crest.

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Casement Window (kās´mənt)

A window in which the sash was hinged on the jamb, allowing the window to swing in and out (typically out). The casement window first came about in the 16th century, once glass became more available. They were used especially during the English Renaissance.

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Antechamber (ān'tē-chām'bər)

1: a chamber or room that serves as a waiting room and entrance to a larger room or an apartment; anteroom. 2: a smaller room or vestibule serving as an entryway into a larger one. When used preceding a bedchamber, the bedchamber would become more private. Many activities took place here, including dining, reception of friends and private audiences, and it served as a place for servants to sleep.

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Arcade (är-kād')

A series of arches supported by columns, piers, or pillars, either freestanding or attached to a wall to form a gallery. Most often used to provide graceful support for long open vistas on the side of a covered walkway.

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Intarsia (in tär'sē ə)

An art or technique of decorating a surface with inlaid patterns, esp. of wood mosaic. The intarsia technique originated during the Italian Renaissance. It is a form of wood laying that is similar to marquetry. It is the craft of using varied shapes, sizes and species of wood fitted together to create an almost 3-D inlaid, mosaic-like picture.

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Hacket (hak'ət)

Hackets are roughly triangular forms used to fill the space when the cresting of the back of wainscot chairs extends beyond the stiles. Usually in the form of S-scrolls which were wider under the crest and narrower at or near arm level. They originated during the English Renaissance.

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Inigo Jones (in'i gō' jōnz)
(1573-1652)

Jones is regarded as the first significant British architect and the first to bring Renaissance architecture to England. Jones was one of the first Englishmen to study architecture in Italy. Jones’ work was particularly influenced by Palladio. In his design work, Jones adapted the classical proportions and use of architectural elements he had learned in Italy. As well as his architectural work, Jones did a great deal of work in the field of stage design. He is credited with introducing movable scenery and the proscenium arch to English theatre. Jones designed costumes, sets, and stage effects for a number of masques by Ben Jonson.

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Andrea Palladio (än drā'ä pə lā'dyô)
(1508-1580)

Palladio was an Italian architect, widely considered the most influential person in the history of Western architecture. He spent two years studying Roman Architecture and brought those ideals into the design of Italian Renaissance. Palladio’s main focus was on order, symmetry, and proportion as the principles of design. Palladio developed Pattern Books containing typical patterns for floor plans, walls, ceilings, and flooring patterns. These typical patterns were are in the Italian Renaissance style and were sent all over Europe. He designed more than twenty villas on the Venetian mainland. His most famous was the Villa Rotunda

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Sala (sä'lə)

A large hall, living room or reception room. The most important room in the residence on the piano nobile. It is the largest most public room with the highest ceiling. The sala was situated between the bedchamber and the entry.

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Roundel (roun'dəl)

Something round or circular. Roundels were used in carvings, glass, painting, armor, furniture.

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Piano Nobile (pē ä'nō nō'bēl'ā)

The Piano Nobile was the main story above ground level, usually containing the main apartments. A grand stair case typically led to the Piano Nobile.

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Putto (pōō'tō)
plural: Putti

A figure of a pudgy human baby, almost always male, often naked and having wings. In early modern Italian, the word simply meant "child." Today it's used only in this specific meaning. Typically, putti symbolize love, whether Divine or of a more earthly nature.

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Palladian Window (pə lā'dē ən)

A window commonly divided into three sections by pilasters or columns. The two outer windows have a straight cornice over each and the wider, central window is topped with an arched semi-circular cornice. The term comes from the 16th Century Italian architect, Andrea Palladio, whose work inspired some of the greatest buildings in Europe and the United States. These windows are commonly grand in scale and have opportunities for fine detail because of the moulding and pilasters/columns used in its structure.

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Parlor (pär'lər)

A room for the reception and entertainment of visitors into one’s home. The origin is unknown, but they are seen first in the Middle Ages. Documentary evidence points to the secular use of the parlor by the latter part of the 14th century. Within the English Renaissance the parlor was used primarily for family dining and an informal sitting room. The Parlor were more commonly seen within the English Renaissance than with the medieval period, and larger homes may have incorporated more than one. These spaces were often located on the ground floor, under the great chamber.

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Lorenzo Ghiberti (lô ren'tsô gē ber'tē)
(1378-1455)

Lorenzo was known as the Painter of Florence. He was a prominent Italian designer, sculptor, goldsmith, architect, and writer, with excellent craft and great relief. Ghiberti’s father taught him the art of being a goldsmith, which led him to be first recognized as winner of the 1401 competition where he designed a set of bronze doors to the Florence Baptistry. He was later commissioned to design another set of bronze doors for the Baptistry which are referred to as the Gates of Paradise (pictured). Ghiberti was commissioned to create numerous monumental gilded bronze statues for several Guilds in the early 1400s.

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Hans Holbein (häns hōl'bīn)
(1460 – 1524)

Hans Holbein was born in Augsburg, Germany where he spent most of his life painting. He also traveled to other German cities to fulfill commissions at churches and monasteries. He was a painter, a woodcut artist, church window designer and illustrator of books. He was one of the first German painters to avoid angles, lines, and sharp folds in his paintings. He was also one of the first to paint a Renaissance type background and architectural decoration in his paintings. Hans Holbein possessed great imagination and power in depicting character. Prominent work of Hans Holbein includes “Madonna and Child," and “Death of the Virgin”.

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Cassone (käs-sô`nā)

A cassone is a bridal chest, typically from the Renaissance period. It is an Italian word for chest or coffer. The chest is uniquely carved on three sides; therefore the chest was typically placed up against a wall. Chest is typically made of wood and often times holds the dowry of the woman. Florentine artists such as Sandro Botticelli and Paolo Uccello were asked to decorate these pieces of art. Cassone is a richly furniture, showing of status. Typically had guilt moldings and was painted on both the front and back.

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Cassapanca (käs'ə päŋ kə)
Plural: Casapanche (käs'ə päŋ kā)

A carved chest from the Italian Renaissance period, the seat of which is used as a bench. A long wooden, hinged-top chest with wooden arms and a back. Cassapanche are typically used in the entrance hall area.

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Camera (cäm'ər ə)

In Italian, a bed chamber or bedroom. Part of the spatial organization of an Italian Palazzo.

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Candelabrum (kan'də lä'brəm)
Pl. Candelabra

The candelabrum is a decorative motif organized symmetrically along a central stem and generally vertically disposed. It’s primary use is as a border decoration and is used freely in architectural ornament, tapestry borders, stained-glass windows and furniture. A decorative treatment using antique classical ornament reinterpreted during the Renaissance.