Classical Architectural Design Styles

The Egyptians led a life of order and regularity, which explains in part, the precision, clarity and dignity found in many of their works of art, as well as a somewhat cold and stiff spirit.

Aside from a purely geometric composition, Egyptian ornament also consists of a strictly methodical arrangement of native flora, including the lotus flower, lily, papyrus flower, date palm, reeds and the leaves of Indian corn. The lotus and papyrus flowers were the most popular ornamentation used and were applied to a variety of items and structures—from colossal columns to minuscule objects.

According to author, Alexander Speltz in his book, The Styles of Ornament, there were several principal features that Egyptian artists used to represent the lotus flower, including:

• The elliptical form of the buds with stalks

• The calyx of the flowers rounded off above

• The intermediate petals rounded off in a similar manner

• The lotus flowers do not have foot-leaves (unlike papyrus-shaped columns)

For the ancient Egyptians, the temple symbolized the world: the ceiling represented the heavens, supported by columns carved to resemble plants rising from the earth. An abacus was placed between the top of the column and the ceiling, hidden by the protrusion of the capital to further create the illusion of flowers under an open sky.

Egyptian carvers used the acacia and sycamore trees, which were so scarce they were considered sacred. Wood was used to create statues of royalty, courtiers, officials of the realm, priests, scribes and architects. Wood or limestone was also used to create large relief panels, thrones, coffins and furniture. Often, many of these wood-carved items were entombed with the Pharaohs and their various government officials in the belief that they would need them in the afterlife.

In fact, an excavation in Saqqara in 1860 unearthed 11 raised-relief panels in the tomb of Hesy-Ra, a government official serving under the Pharaoh Djoser. The panels, measuring approximately two feet by one foot six inches are believed to be the oldest in the world, dating from 2500 B.C. The six most well-preserved panels are exquisitely carved with hieroglyphics above the figure of Hesy-Ra, who is either seated or standing the the typical Egyptian portrait pose.

Learn more about the carved panels of Hesy-Ra's tomb.

At Agrell, we expect the carving we create for you to be admired in 5,000 years' time, too.

Unlike Egyptian art, which was somewhat cold and rigid, ancient Greek art is reflective of the more warm and gracious national character of the Greeks. As Alexander Speltz points out in his book, The Styles of Ornament, "Style is...but the truthful expression of the character and perceptions of a people or of an historical epoch."

Greek art and architecture can be divided into three basic periods:

• The Archaic Period (c.600-500 BCE)

• The Classical Period (c.500-323 BCE)

• The Hellenistic Period (c.323-27 BCE)

The Ancient Greeks developed a highly structured system of orders, or rules for building based on proportions that relate individual architectural components to the entire structure. They first built their orders with wood, later switching to stone using the same forms. The orders resulted in a visually balanced building regardless of its size of the materials used.

Each order includes a column that extends from a base at the bottom to a shaft in the middle to a capital at the top. The capital was often enriched with stylized elements such as animals or foliage. The capital supports the horizontal entablature, which is divided into three parts:

• The architrave (lowest part)

• The frieze (middle)

• The cornice (top)

These components were further enriched with decorative mouldings and ornamentation. Each part was sized and arranged according to an overall system of proportion based on the height and diameter of the columns.

Early Greek architecture consisted of three orders:

The Doric, more popular during the Classical age, is the oldest order and is characterised by its excessively austere, formal style. Sculpted with flutes, the columns often lack bases and are placed close together. The capitals are plain and simplistic with a rounded section at the bottom (echinus) and a square at the top (abacus). While largely unsuitable for elaborate ornamentation, the entablature nonetheless has a frieze enriched with vertical channels (triglyphs), between which are spaces (metopes) carved with figures and other decorative elements. A narrow band (regular) separates the frieze from the architrave. The Parthenon in Athens, Greece is the epitome of the Doric order.

The Ionic order, developed in the Ionian islands during the 6th century BCE, captured the free-spirited nature of the more relaxed Hellenistic period. Less restrained and more decorative than the Doric order, it was typically used for smaller buildings and interiors. The capital has two distinctive scrolls (volutes), thought to symbolise either nautilus shells or animal horns. Egg and dart ornamentation is often carved between the volutes. The entablature above the capital is narrower than that of the Doric and the frieze is enriched with a continuous band of ornamentation. Built from about 448-421 BCE, the Temple to Athena Nike, located at the entrance to the Acropolis is an excellent example of the Ionic order.

The Corinithian order was named after the city of Corinth and thought to have been invented by the sculptor, Callimachus, in the 5th century BCE. While the order is the most elablorate of the three styles, the Greeks did not often use it. The base, column and entablature are similar to those of the Ionic order, but the capital is ornately carved with two rows of spiky acanthus leaves. Built in the 5th century, the oldest known Corinithian column stands inside the 5th-century temple of Apollo Epicurius at Bassae.

Roman art is defined as the Roman civilization from Romulus to the Emperor Constantine, spanning a period of over 1,000 years. To better understand the origins of Roman art, it helps to look at the character of the Romans who lived at the beginning of Roman history (c. 753 BCE). Preoccupied with amassing wealth and increasing their lands by conquering neighboring countries, the Romans failed initially to develop a unique art of their own. Instead, they absorbed the archaic Etruscan style, following their conquest of Etruria (present-day Tuscany) in 280 BCE.

The Greek Influence

The transformation from the primitive Etruscan style to the grandeur of the imperial age was due in part to the conquest of the Greek states, which enriched Rome with a wealth of artistic spoils. It also brought a host of Greek artists to Rome to design buildings, repair old sculptures and create new ones. It was under the tutelage and guidance of these Greeks, with their free-spirited Hellenistic art, that the more austere Romans gradually developed a national style of their own.

However, the Romans didn't merely imitate Grecian art, they added to it. For example, in architecture, they were much more utilitarian than the Greeks, inventing the Roman arch, which enabled them to build a massive system of roads and aqueducts. In fact, it is in their architecture that the Romans created their most magnificent works—monumental temples, basilicas and theatres. The Coliseum and Pantheon in Rome and the Hagia Sophia in Constantinople (present-day Istanbul) are excellent examples of their ingenuity.

The invention of the triumphal arch was yet another important addition to Roman civic and monumental architecture. It was typically decorated with carvings and inscriptions designed to glorify the exploits of Roman leaders. The Arch of Constantine is one example. Monumental pillars covered with low relief carving were also used to pay tribute to the accomplishments of Roman emperors. This narrative technique was used in 113 AD to decorate the entire surface of Trajan's Column, Rome's most famous carved pillar. A carved spiral frieze extends from the base to the top and depicts the story of Trajan's adventures against the Dacians. The dedication at the base of the column is a perfect example of the calligraphy we now refer to as "Roman" lettering. First painted on the surface of the marble and then cut in, the work exemplifies the beauty that can be achieved at the hands of skilled artisans.

The Roman Order

In sculpture, the Romans created portrait busts of senators and rulers that were much more realistic than those of the Greeks. However, as Alexander Speltz duly notes in his book, The Styles of Ornamentation, "The manner in which the Romans enriched their ornament was detrimental to the characteristic Greek outlines, and the insatiable luxury predominant during the time of the Caesars finally destroyed completely the exquisite harmony of Greek art."

Roman Influence Continues to Thrive Even Today

As the Roman Empire expanded, it brought along its arts and architecture. Ancient Roman mosaics, theatres, temples, sculpture and statuary can be found as far north as Hadrian's Wall in England, south at Leptis Magna in Libya, east at Hagia Sophia in Istanbul and west at Emerita Augusta in Spain.

When the Western Roman Empire fell, finally overrun by barbarian tribes, Christianity became the state religion. Classic art declined and new art arose; the Byzantine style. However, it was in the 15th century, during the Italian Renaissance that Roman art experienced a massive revival. Today, we see its influence and legacy in all branches of the arts.

The name Byzantine derives from Byzantium, the capital of the East Roman Empire. Byzantine woodcarving originated when the eastern Christian Church broke away from Rome in 330 AD. At that time, the city of Byzantium (later known as Constantinople) became the royal residence of Constantine. Simultaneously, Christianity was established as the state religion, and this undoubtedly played a large role in the development of art in general. Unlike the art of Roman and Greece, which at the time was almost entirely aesthetic, Byzantine art evolved to be highly symbolic.

Constantinople's proximity to Italy, Greece and Persia combined with the influence of Christian religion, created a unique form of art and architecture that assimilated Grecian, Persian and Roman ideals. In general, the actual craftsmanship was somewhat rudimentary, however; the conception, symbolism and imagery were remarkable.

For instance, the traditional Greek acanthus was often combined with religious symbols including the cross-circle, vine and dove. Byzantine woodworking is one of the richest, characterised by a profusion of objects, animals, flora and human faces that cover the entire surface, leaving little if any empty spaces between them.

Very few Byzantine woodcarvings exist, however; the main doors of the Basilica of Saint Sabina at the Aventine in Rome, Italy are fine examples. Believed to date from 430-432 AD, the doors consist of a series of 18 wooden panels. All save one are carved with scenes from the Bible, the details of which are of an unsophisticated classical style.

The Byzantine style flourished for hundreds of years, spreading from the Roman empire of the East to Asia, Italy, Russia and the Balkans. But it was the prohibition of image worship by the emperor Leo III in 726 AD and the subsequent civil wars that eventually drove many of the artisans who specialised in iconic carving to migrate to Italy and to settle in Venice. It was here that the development and culture of woodcarving really escalated, culminating two or three hundred years later in some of the most exquisite woodcarving ever produced.

In ancient times, art was the expression of the religious feelings of a people. Therefore, when a new religious faith was proclaimed, the development of a new art commenced. The proclamation of the peace of the church by Constantine in 323 A.D. led not only to new requirements to meet the demands of the new religion, but to great changes in design, and eventually to a style which differed materially from that which had gone before.

The early Christian style in Rome and the West, and the Byzantine style in the East gradually transformed the ancient classic art. A similar change took place shortly after Mohammed carried the Islamic faith through Egypt, Syria and Persia. At first the conquerors and their new converts contented themselves with the existing structures found in the various subdued and converted countries, or, having no preconceived styles of their own, employed the native workmen to build for them. They made ample use of the materials at hand such as existed in profusion in the Pagan temples and the Coptic and Byzantine churches.

Over time, these resources were depleted, prompting the gradual development of the Mohammedan style. This style varied by country as it was influenced by local traditions, and also by the periods in which it commenced and in which it reached it fullest developments. Thus in Syria, North Africa and Persia, the chief elements of the Mohammedan style are found towards the close of the 8th century. In Egypt, it was nearly a century later, as also in Spain where it was introduced from Kerouan in Tunis. In Asia Minor, under the rule of the Seljuk Turks of Rum, it began to flourish toward the close of the 11th century; in India at about the same time, but only in a small portion of the country, and in Constantinople toward the close of the 15th century.

In all of these countries there was one universal rule: The absolute prohibition of naturalistic representations of men, animals or plants. From the first, this led to a purely conventional type of leaf design, which often served as backgrounds for the magnificent inscription in Arabic characters, and to geometrical designs of immense variety, the followers of Mohammed being the greatest geometricians of the world.

At a later period, it led to the decorative treatment of constructional features, such as are shown in the elaboration of the voussoirs of an arch and in particular, in the so-called stalactitic vaulting, which, except in India, prevails throughout the Mohammedan style. Originally evolving from the constructive features of small materials such as brick, it was imitated in stone throughout Syria, Egypt, Asia Minor and Constantinople, in plaster in Spain and in hand carved wood in all countries.

From: Styles of Ornament by Alexander Speltz

In broad terms, "Romanesque" may be used to describe all sources of Roman architecture in the West from the year 800 until the arrival of the Gothic style sometime around 1150. However, Romanesque typically refers to a specific type of architecture—the assimilation of the Roman style of arches with the barrel style of building—as well as sculpture and other arts.

Originally coined by the Normans, the style emerged in Germany and spread to France, Italy and Spain during the 11th century. Each country altered the style to suit the character of its inhabitants and to accommodate the materials on hand. For example, German Romanesque architecture boasted tall spires and a more streamlined appearance, while Italian Romanesque used an abundance of marble and more brightly colored hues. In France and Normandy, the cathedrals were beautiful yet severe-looking.

A Short History of Romanesque Art and Architecture

Romanesque art and architecture developed slowly, beginning in the city of Aix-la-Chapelle in Germany. It was here that the Frankish King Charlemagne (Charles the Great) settled after consolidating his empire and conquering Italy. In the year 800, Pope Leo III crowned King Charlemagne Holy Roman Emperor. This appointment, however, put a strain on the king's relationship with the Byzantine Emperor in Constantinople, where the Islamic influence opposed the worship of images.

As a result, many Byzantine artists and craftspeople migrated to Italy, which had by then severed its political bonds with Constantinople. Charlemagne gathered together these artisans as well as those from the former Western Roman Empire to decorate and adorn his palaces in what became known as the Romanesque style. The style was based on upon Classic architecture yet was greatly influenced by Byzantium art.

The earliest architects of the Romanesque style were by and large monks and priests. Distinguished primarily by its immensity of scale, the Romanesque style is epitomized in the massive churches, cathedrals and monasteries built across Europe to accommodate the Holy Relics acquired during the Crusades and to allow hundreds of thousands of pilgrims to view them. The success of the Crusaders prompted further construction of new churches throughout Europe in the full-blown Romanesque style of architecture, referred to as Norman architecture in Britain and Ireland. Many of the original abbeys were also commissioned in this style, including the Abbey at Westminster.

However, it was not just churches, cathedrals, monasteries and abbeys that were built in this style, but castles as well. Used as foundations of power for the Norman leaders, the castles were designed to survive the ravages of war. In other words, they were sturdy, utilitarian, durable, defensive and strong but not necessarily aesthetically pleasing. Characterised by heavy materials, a solid design and square towers, they were often built of stone. However, ornamentation existed in the form of carvings on the pillars and elaborate arches and windows inside the castle. While beautiful to behold, they were used to support the weight of the stone roof, making them practical as well.

Romanesque Ornamentation

The frenzy of church and cathedral construction—an estimated seven thousand churches were built in the Romanesque style over the next century—prompted an enormous demand for decorative religious art, including sculpture and low-relief woodcarving.

One need only look at the exquisite low-relief woodcarving found in the framework surrounding the doors in Norwegian churches, as at Glass and Aal, and the finely detailed scroll-work borders on the choir-stall and wooden reliquary of the former monastery of Lokkum (1224) in Hanover to appreciate the nuanced beauty of the Romanesque style.

Woodcarvings in higher relief made their appearance toward the end of the Romanesque period. The doors of the cathedral of Spoleto in Italy are considered to be one of the finest achievements of Romanesque high-relief carving. Completed by native artist, Andrea Guvina in 1214, they are decorated with 28 scenes from the life of Christ.

All manner of animal forms decorated Romanesque buildings. Yet, despite their fantastical character, a move toward greater realism is also apparent. Nordic fantasies are intertwined with the dragons, lions, vipers and basilisks derived from the Bible and ancient fables. Found on windows, pedestals, friezes, tables of arches, capitals and corbels, these animal carvings also accompanied the sculpture of the human figure with which Romanesque art purposefully enriched the Christian world.

The Romanesque style eventually gave way to the Gothic style, first in England, France, and Spain, and finally in the middle of the 13th century, in Germany.

A lost art, not entirely lost. The beauty of Romanesque carving can be replicated in all its glorious detail by our talented team of carvers at Agrell.

Originating in Northern France during the 12th century, the Gothic style quickly spread to England, Germany, Spain, Italy and other European countries. It evolved in response to a collective desire for a more liberal, more intellectual lifestyle, one which balanced abstract thinking and reasoning with impetuous emotionalism and religious mysticism.

The Gothic visual aesthetic is characterized by immense exuberance, at once pointedly linear and restlessly active. Leaf moulding is the primary ornamentation, always chosen from local flora. The design varies slightly depending upon the period in which it was produced.

For example, in the Early Gothic style of the 13th century, the leaves were less imaginative and more natural. As time passed, the flora took on a more forceful, energetic appearance, until finally, during the Late Gothic period, the leaves became exact and faithful reproductions of those found in nature. They appeared heavy and were often purposefully undercut, resulting in a feeling of solidity. At the same time, the hollowed leaves produced sharp contrasts of light and shadow. The overall effect was one of continual and varied movement.

In addition to plant life, human figures and animals were also employed as ornamentation, but in an exaggerated and often entertaining manner.

Toward the end of the 15th century, Gothic style woodcarving reached its zenith. One has only to look at the choir stalls, rood-screens, roofs and retables of English, French and other European churches and cathedrals to fully appreciate the level of execution, balance and proportion that was achieved during this period.

It should be noted that colour, as well as architectural conception and decorative treatment, played an important role in Gothic style. Red, green, blue, white and gilded tints were added to the carved woodwork based on the rules of heraldry. The colours perfectly complemented the priests in their sumptuous vestments, the soft candlelight, the golden crucifix, the multi-coloured stained glass windows and the dramatic frescoed walls and ceilings.

The inherent beauty of the Gothic style lies in its exquisite detail and owes much of its appeal to the ancient custom of directly employing the craftsman and his men, as opposed to awarding the work to a contractor. While one master carver was responsible for the general plan, the execution of each part and its accompanying details was left to the creative discretion of the individual carvers. As a result, the Gothic carver seldom repeated a single detail, giving Gothic style an endless diversity that imbues it with charm and interest.

Renaissance architecture is divided into three periods; Early, High and Later Renaissance, spanning the early 15th and the early 17th centuries.

The early Renaissance started in the first quarter of the 15th century in Florence and spread to Milan, Venice and other cities in Italy, and finally to Rome. It was during this time that Classical detail and ornamentation developed fully in variety and richness of design and in beauty of execution, not just in Italy, where it began, but France and Spain as well. However, the movement was much slower to reach Germany, England, Russia and the rest of Europe.

The Italian architect, Filippo Brunelleschi (1377-1446) is recognised as the founder of the Renaissance movement. In his study of the ruins that remained of ancient Rome, he noted that each building had set rules of proportion and order.

As a result, symmetry, proportion, geometry and regularity of architectural elements are fundamental to the Renaissance style. It is characterised by a methodical placement of columns, pilasters, lintels and the use of semicircular arches and domes, niches and small shrine-like spaces.

Further exploration of classical antiquity led to the incorporation of Classical detail and ornamentation. All of the decorative details are carved with extraordinary precision, including mouldings, which protrude around doors and windows as opposed to being recessed. Long, narrow paneling often features a carved central medallion surrounded by a vase, dolphins, dragons, or birds and foliage. Renaissance-style carving is an excellent example of ornamental design that is as decorative as it is simple.

During the period known as the High Renaissance, ornamentation based on elements of classical antiquity was used more often and with greater confidence, giving way eventually the the freer, more playful forms of the Later Renaissance.

While the Renaissance style differs from period to period and from country to country, each has its own intrinsic beauty. Whether your client is looking to replicate a relief on panels, pilasters or capitals; whether the scene is a combination of scrolls, meandering foliage, exaggerated animal life or simplistic human forms, our woodcarving experts can capture the elegance, delicacy and subtlety of line of this period, down to the very minutest of details.

Louis Quatorze who succeeded the throne in 1643 and died in 1715 has a profound influence on style and ornamentation to this day. When clients ask for a French styled room they generally mean the style of panelling to be found in The Palace of Versailles. The ornamentation of this extraordinary palace and other buildings of that period have a unique quality of balance and articulation that makes us return again and again to study and replicate this fine work. The style of L’Architecture Louis Quatorze didn’t really develop until about 20 years after he came to the throne. Powerful ministers and members of the aristocracy were building many fine buildings but after 1670 the king imposed upon the architects whom he employed the grand style that he especially liked. The development of which, went on to influence the constructions at Marly, the gallery of Apollo in the Louvre and Versailles.

Although the Hall of Mirrors at Versailles is spectacular and has inspired many other ballrooms and reception areas, some of the most delicate and beautiful rooms in the palace are not of glittering gold but exquisitely executed panels of hand carved detail showing acanthus leaves and an array of flowers following the general format of the period.

Agrell has been fortunate to have the opportunity to recreate this extraordinary work in private residences in England and the USA – from Dudley House, 100 Park Lane, London to Park Avenue, New York.

The flamboyant Baroque style originated in Italy from the early 17th to the mid-18th century, spreading through all of Europe and part of Latin America. In Portuguese, the terms refers to an irregularly-shaped pearl, however; the word was originally used derogatorily, describing a multitude of qualities, from theatrical to odd to ostentatious.

Distinguished by a sense of drama and a passion for the ornate, the style's elaborate, complicated figures, profusion of plant life, scrolling foliage and garlands of flowers can be seen in abundance in the painting, sculpture and architecture of the time. "Putti," the Italian word meaning chubby infants, were popular decorative elements on many Baroque objects. Heraldic crests and decorative monograms were also integrated into designs to symbolize status and ownership.

Interiors were sumptuously decorated. Often a massive staircase followed a state apartment—a succession of progressively rich interiors culminating in a presence chamber, throne room or state bedroom. This decidedly Baroque innovation can be found in many of the grand palaces throughout Europe. The Chateau de Maisons and the Palace of Versaille, both built near Paris in the mid 17th century are superb examples.

Baroque architecture

In contrast to the 16th century Mannerist style of art and architecture, which was clever and intellectually sophisticated, the Baroque style was much more visceral and direct. The architecture boasts audacious massing and elaborate domes and colonnades.

Reaching its highest standard in France during the reign of Kin Louis XV, the style flourishes even today as a lavish alternative to the more modern, minimalist aesthetic. No one understands this better than the expert artisans at Agrell, where the bold, curing forms, bulbous figures and elaborate ornamentation of this exuberant style are beautifully brought to life.

The word Rococo is derived from a combination of the French rocaille, meaning stone, and coquilles, meaning shell, which was a common motif of Rococo decoration.

First developed in France in the early 18th century, Rococo is a light yet elaborate style of art, identified by its highly-wrought, florid, often flamboyant designs and curved, asymmetrical forms. It was most often used for interiors and in the decorative and industrial arts. Entire rooms were often fashioned in the Rococo style, with ceilings, walls, furniture, sculptures, ornamental mirrors, tapestries and paintings designed to flow together seamlessly.

Wood carved Rococo is one of the more difficult styles to replicate. Horizontal lines are almost completely non-existant, replaced instead by delicate curves, sweeps and flourishes. Knot-like designs interrupt vertical lines; leaf and shell-like ornamentation appears almost everywhere. Individually asymmetrical panels are balanced by creating corresponding features on the opposite side of a central panel or mirror frame for example. The effect is whimsical, fantastical, enchanting. It is a style that appeals more to the senses, less to the intellect, emphasizing beauty over substance.

At Agrell, we understand the complexities inherent in Rococo design. Our wood carvers are adept at capturing the nuance, graceful movement and detailed ornamentation of this free-spirited, decorative style.

The eighteenth century was (for some) of comfortable elegance with the accent was on interiors. There was an intimate sense of scale, which stems from refined ornament. Whilst there were large areas designed for entertaining there were also smaller rooms, which were also given attention to detail in terms of ornamental paneling. Furniture makers were recognised and honoured. It was the century of chandeliers girandoles mirrors and frames and fire surrounds.

The Revolutionary and Napoleonic periods in France, from about 1790 to shortly after Napoleon’s final defeat, saw the peak of French Neoclassical design. Interiors still survive to this day, often with their original furnishings, representing expensive patronage of fashionable taste by Napoleon and members of his family, as well as other French leaders, both in France and in the countries they conquered.

There are magnificent interiors, for example, at Malmaison and in parts of Fontainebleau in France, and at Aranjuez in Spain. The Empire Style (equivalent to the Federal in the United States and the Regency in Britain) spread rapidly from court circles through other strata of society. The motifs of the style were ideally adaptable both to courtly pomp and boudoir prettiness.

The term "Art Nouveau" derives from the Maison de l'Art Nouveau, a shop and art gallery that opened in Paris in 1895. Developed in Europe and North America in the late 19th and early 20th centuries, the style was influenced by Baroque, Gothic and Moorish conventions. However, it was unrestrained by rules and purposely lacked historical traits.

A much more carefree type of architecture, Art Nouveau integrated arts and crafts with architectural forms. Designs were often curving and filled with organic, vibrant forms, leaves and flowers, all flowing in elegant sinuous lines.

It was during the World's Fair in Paris in 1900 that Art Nouveau was hailed as the first new decorative style of the 29th century. Fashioned by a generation of vibrant, energetic artists and designers, it was a concentrated effort to create an art form reflective of the modern age. In fact, in numerous ways, Art Nouveau grew out of the Industrial Revolution.

Many artists, designers and architects embraced the new technologies that emerged during this remarkable era, while others shunned the poor quality of mass-produced, machine-made items. They sought instead, to transform everyday objects into fine art by applying the highest levels of craftsmanship and individual creativity. Designer William Morris, who instigated the Arts and Crafts Movement in England in the 1860's was instrumental in the development of this philosophy. In fact, today Art Nouveau is often considered a sub-style of Arts and Crafts.

Many artists drew their inspiration for this new style from the indigenous art of their own country. In Norway, for example, designers adapted and transformed the intricate, linear patterns of Celtic and Viking designs into more modern interpretations. In France, the delicate, curvilinear rococo style of the 18th century was modified to produce a more contemporary aesthetic.

Non-European cultures such as Japan, China and the Islamic countries were sources for inspiration as well. Japanese woodblock prints, for instance, played a role in the dynamic lines, stylized organic forms and intricate patterns found in Art Nouveau. The technical genius and intricate patterns of the Islamic world inspired many artists, such as the well-known Italian designer, Carlo Bugatti.

Short-lived yet never forgotten, Art Nouveau is a wonderfully free-spirited style. At Agrell, we have recreated its sinuous, organic elegance in many superb pieces, including hand carved fire surrounds and overmantels, furniture, panels and other architectural elements.

An essentially eclectic design style, Art Deco burst onto the scene in Paris during the glamorous and decadent 1920's and 1930's and quickly spread to other major cities around the world. The term "Art Deco" itself was derived from the legendary design exhibit, "Exposition Internationale des Arts Decoratifs Industriels et Modernes," which was held in 1925 in Paris.

Representing the rapid modernization of the world at that time, Art Deco personified luxury, glamour, functionality and modernity. It was a purely decorative design movement used predominantly in art, jewelry, fashion, furniture, textiles, interior design and architecture.

Although considered a highly modern style, Art Deco is based on classical forms. In fact, it was greatly influenced by many early 20th century styles and movements, including Neoclassical, Constructivism, Cubism, Modernism and Futurism.

Armand-Albert Rateau (1882-1938) was a French decorator and architect; however, it was through his furniture design that he became one of the most influential contributors to the art deco movement of the early 20th century.

The wit and delicacy of Rateau's work is astounding, together with the skill level required to execute it. A subtle hybrid of styles, his work is at once ancient and yet has an entirely modern aesthetic. He was greatly influenced by disparate styles, including the geometric-absract design principals of his time and the ruins of ancient Pompeii and Herculaneum in Italy.

Rateau often juxtaposed a striking mix of materials, such as oak and black marble or alabaster and cast bronze to create luxurious furnishings and fixtures. His quintessential art deco style is abundantly evident in his design of a master bedroom and bath suite for the influential Parisian couturiere Jeanne Lanvin. In her bathroom, for instance, he created geometric mosaic tiled floors in cream and black marble. A delicate carving of a tranquil forest scene sits above an enormous, hand-carved bathtub, reminiscent of the ancient Roman baths. The overall effect is one of opulence, tempered by simplicity.

If this type of aesthetic is what your client is looking for, look no further. At Agrell, we have had great success replicating Rateau-inspired piece. Armand-Albert Rateaues for several of our prestigious international clients. The style is a favorite of Ian Agrell himself, and he has created many pieces for his own enjoyment.