One. Back to Classical Design
Two. Students Studying in Rome
Three. Discovery of Ancient Cities
Four. Influence of Powerful People
Five. Important Designers
Eight. Greek versus Roman Influence
INTERIOR ARCHITECTURE and DECORATION
One. More Controlled and Classical Design
Three. Wall Panels (Panel Fields)
INTERIOR ARCHITECTURE (seventeen fifty-five to seventeen seventy-five) - TRANSITION PERIOD
A. MARQUETRY and PARQUETRY
Eight. TYPES OF SEATING Common furniture pieces:
Three two. TYPES OF TABLES
B. Small Tripod Table (Athénienne)
C. Serving Table (Table Servante)
E. Writing Table (Bonheur-du-jour)
A. Four-Poster Bed (Lit à colonnes)
Has four posts and canopy.
One. TRANSITION FROM ROCOCO
Two. SHIFT TO NEOCLASSICAL STYLE
Three. Architectural Ornament
Four. Style of Decoration
Six. Key Design Principles
Seven. A key spatial shift from Baroque to Neoclassical interiors is:
Eighteen. Circular and oval interior spaces are MOST directly derived from:
Ten. Which planning strategy BEST reflects Neoclassical ideals? A. Hidden circulation and layered spaces
Eleven. In wall articulation, the use of pilasters and entablatures primarily serves to: A. Add ornament
Twelve. The use of false doors in interiors primarily addresses: A. Ventilation
Nineteen. The pierced gallery on tables is BEST described as: A. Purely decorative
Twenty. Which table type reflects increasing privacy in domestic life? A. Guéridon
Twenty-one. The bureau plat differs from the secrétaire à abattant in that it: A. Is vertical
Twenty-eight. The use of medallions and urns reflects:
Twenty-nine. The replacement of pictorial decoration with sculptural relief indicates:
Thirty. The overall transformation from Rococo to Neoclassical design is BEST summarized as:
Part Two: Identification (twenty items)
Part Three: Critical Analysis