"Louis Comfort Tiffany (1848–1933) left a prodigious mark on American glass and decorative arts during his career that spanned nearly fifty years. Although his name is most often associated with his work in the medium of glass, he studied to be a painter before beginning a career as an interior designer during the late 1870s. He also designed furniture. Tiffany’s own residence in New York featured dining room walls covered in Japanese papers, a drawing room with Moorish columns, and a fireplace with mica panels in a spider web pattern. The unusual glass-bejeweled pedestals displayed here evoke Tiffany’s love of both exoticism and glass. “The Style of Display: Victorian Pedestals” is on display pre-security in the International Terminal. http://bit.ly/VictorianPedestals" This was posted to our Instagram account on August 14, 2019 – https://millsfield.sfomuseum.org/instagram/1729356207/

"This Renaissance Revival pedestal exhibits both veneering and marquetry. A veneer consists of a very fine sheet of wood applied to the surface of furniture. Marquetry entails cutting wood veneers, in various colors and grain patterns, into decorative designs and adhering them to a piece of furniture or decorative art object. Materials such as mother-of-pearl, ivory, tortoise shell, and fine metals might also be applied. “The Style of Display: Victorian Pedestals” is on display pre-security in the International Terminal. http://bit.ly/VictorianPedestals" This was posted to our Instagram account on July 03, 2019 – https://millsfield.sfomuseum.org/instagram/1763558817/

"Gilding, which has existed since ancient times, entails applying extremely thin sheets of gold to the surface of another material. Gilding produces the appearance of solid gold, without its expense or weight. The lavish sheen left by gilding suited Victorian tastes where it was often used to accent furniture or applied more opulently over entire extravagant pieces, such as the pedestal displayed here. Much of the furniture of the Victorian era was accented with bronze paint to imitate gilding. “The Style of Display: Victorian Pedestals” is on display pre-security in the International Terminal. http://bit.ly/VictorianPedestals" This was posted to our Instagram account on December 17, 2019 – https://millsfield.sfomuseum.org/instagram/1729355775/

"In response to the Victorians’ love of collecting and eclectic display, furniture firms also produced smaller, shorter stands to display all manner of items—from plants, vases, and candleholders to smoking paraphernalia. Such stands might grace drawing rooms, hallways, and parlors. Plant stands often have a rim encircling their tops. Kilian Brothers produced a variety of plant stands with lively decorative details. This ebonized pedestal features polychrome painted decoration and gilding. Greek fretwork adorns the bottom of the plant stand while winged cherubs grace either side; gold chains drape from their feet. “The Style of Display: Victorian Pedestals” is on display pre-security in the International Terminal. http://bit.ly/VictorianPedestals" This was posted to our Instagram account on December 02, 2019 – https://millsfield.sfomuseum.org/instagram/1729355825/

#ModernIonicEntablature with #modillions and #dentils adapted for #arcadeIntercolumnation.

This image shows modillions across the top of the entablature, including modillions visible on the side wall. The dentils are below the modillions and are a bit shorter than in the classic variant.

As with dentils, a #modillion must be centered on a column axis. In the front, there are two modillions directly above the two columns and eight other modillions equally spaced between them. The number is always 10. So the spacing is different for an #arch with no #pedestals.

This image also shows a skinnier #keystone. Its thickness is half that of the one shown in https://pixelfed.social/p/Splines/804548474524642209 but all other measurements remain the same. There is never a modillion directly above the keystone.

The #cymaReversa and #fillet above the keystone have #profileCurves identical to those in the #capital but the top is a square that is only µ x µ units. The top slab is centered front to back on the face of the arch.

In this image, the modern entablature is shown with the classic capital, but it goes really well with the #modernIonicCapital. As I mentioned in https://pixelfed.social/p/Splines/791065657488081419, the classic variant of the column capital has parallel flat #volute slabs only visible from the front and back, but not from the sides. Because of its lack of radial symmetry, the capital does not look as satisfying when viewed from the side, especially in a #colonnade, as seen in https://pixelfed.social/p/Splines/803089629244302486.

The modern variant has curved volute faces on all four sides with pointed ends at all corners and optimized for use in a corner column, but not limited to that. The modern #IonicCapital is the last remaining piece in our systematic look at the complete #IonicOrder.

This concludes our look at the entablature, both classic and modern, and both for #simpleIntercolumniation, or #Architravato, and #arcadeIntercolumniation.

Side View of a #Peripteral (#Sexastyle) #Colonnade with #IonicColumns arranged in #Eustyle #intercolumniation.

In my previous post at https://pixelfed.social/p/Splines/803076419096100108, I mentioned that the consensus sweet spot for inter-column spacing was 2.25 diameters (4.5µ) between column shafts at the bottom (6.5µ axis-to-axis), except for the two middle columns where the spacing was 3 column diameters (8µ from axis-to-axis).

This variable intercolumniation is only for #colonnades in the front and back. The spacing between columns on the sides is uniform as shown in the image here.

Something worth noting in this image is the number of columns on each side. In a peripteral (sexastyle) building, there are 6 columns in the front (and back) with 5 intercolumniations between them. On the sides, it is an error to double the number of columns on the sides. Instead, the number of intercolumniations is doubled — in this case from 5 to 10, giving us 11 columns. So, the number of columns is always even in the front, and always odd on the sides (one less than twice the number of columns in the front).

On the topic of even and odd, also note that the number of steps leading up to the base of the colonnade is always odd. #Vitruvious suggested keeping the rise between 9" - 12" and the run twice that, or between 18" - 24". Note that these measurements are in physical units — a marked departure from the abstract µ = 144 units we have been using all along.

The rules for intercolumniation presented so far are known as #simpleIntercolumniation. When the Romans introduced #arches and combined them with #halfColumns to produce #arcades, the rules were adapted for the new design. Because the arches distributed the load from the beams above, it allowed for wider intercolumniation. With the addition of #pedestals, the gap was made even wider still, and the look of the complete edifice is just majestic!

With half-columns and arches, we will see some new architectural elements.

Aluminium #boat #table #pedestals are also lightweight and if anodised they are able to handle everyday wear and tear without any signs of it any time soon. 🚤That's because they are easy to maintain. 😊 https://unchartedmind.weebly.com/blog/table-pedestals-the-foundation-of-every-boat-table

"Exposure to Ancient Egypt inspired the Egyptian Revival, a design style that permeated western decorative arts and furniture in the nineteenth century. Obelisks, hieroglyphs, sphinxes, pyramids, scarabs, and lotus blossoms were popular motifs. Imagery was construed and adapted in different ways, from literal interpretations to fanciful artistic motifs. In furniture, Egyptian Revival pieces rarely comprised a full suite; rather they served as statement pieces. “The Style of Display: Victorian Pedestals” is on display pre-security in the International Terminal. http://bit.ly/VictorianPedestals" This was posted to our Instagram account on June 05, 2019 – https://millsfield.sfomuseum.org/instagram/1729356487/

"This Renaissance Revival pedestal exhibits both veneering and marquetry. A veneer consists of a very fine sheet of wood applied to the surface of furniture. Marquetry entails cutting wood veneers, in various colors and grain patterns, into decorative designs and adhering them to a piece of furniture or decorative art object. Materials such as mother-of-pearl, ivory, tortoise shell, and fine metals might also be applied. “The Style of Display: Victorian Pedestals” is on display pre-security in the International Terminal. http://bit.ly/VictorianPedestals" This was posted to our Instagram account on July 03, 2019 – https://millsfield.sfomuseum.org/instagram/1729356353/