# Polychrome

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Art terminology and color method

For other uses, see [Polychrome (disambiguation)](/source/Polychrome_(disambiguation)).

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1883 reconstruction of color scheme of the [entablature](/source/Entablature) on a [Doric temple](/source/Doric_temple)

**Polychrome** is the "practice of decorating architectural elements, sculpture, etc., in a variety of colors."[1] The term is used to refer to certain [styles of architecture](/source/Styles_of_architecture), [pottery](/source/Pottery), or sculpture in multiple colors.

When looking at artworks and architecture from [antiquity](/source/Ancient_history) and the [European Middle Ages](/source/European_Middle_Ages), people tend to believe that they were monochrome. In reality, the pre-Renaissance past was full of colour, and [Greco-Roman](/source/Greco-Roman_world) sculptures and [Gothic](/source/Gothic_architecture) cathedrals, that are now white, beige, or grey, were initially painted in a variety of colours. As [André Malraux](/source/Andr%C3%A9_Malraux) stated: "Athens was never white but her statues, bereft of color, have conditioned the artistic sensibilities of Europe [...] the whole past has reached us colorless."[2] Polychrome was and is a practice not limited only to the [Western world](/source/Western_world). Non-Western artworks, like [Chinese](/source/Chinese_architecture) temples, [Oceanian](/source/Oceanian_art) [Uli figures](/source/Uli_figure), or [Maya ceramic vases](/source/Maya_ceramics), were also decorated with colours.

## Ancient Near East

Similarly to the ancient art of other regions, Ancient Near Eastern art was polychrome, bright colours being often present. Many sculptures no longer have their original colouring today, but there are still examples that keep it. One of the best is the [Ishtar Gate](/source/Ishtar_Gate), the eighth gate to the inner city of [Babylon](/source/Babylon) (in the area of present-day [Hillah](/source/Hillah), [Babil Governorate](/source/Babil_Governorate), Iraq). It was constructed in c. 575 BC by the order of King [Nebuchadnezzar II](/source/Nebuchadnezzar_II) on the north side of the city. It was part of a grand walled processional way leading into the city. Its colours are as rich as they were back in the day because the walls were made of glazed brick.

Many Ancient Near Eastern sculptures were painted too. Although they are grey today, all the [Assyrian reliefs](/source/Assyrian_sculpture) that decorated royal palaces were painted in highly saturated colours.

		- [Assyrian](/source/Assyria) tile with a guilloche border from the North-West Palace at [Nimrud](/source/Nimrud) (now in modern Iraq), 883–859 BC, glazed earthenware, [British Museum](/source/British_Museum), London[3]

		- [Reconstruction](/source/Reconstruction_(architecture)) of the [Ishtar Gate](/source/Ishtar_Gate), c. 605 – c. 539 BC, glazed bricks, [Pergamon Museum](/source/Pergamon_Museum)[4]

		- Reconstruction of a hall from an [Assyrian](/source/Assyria) palace, by Sir [Austen Henry Layard](/source/Austen_Henry_Layard), 1849

		- [Assyrian](/source/Assyrian_art) patterns and motifs from [L'Ornement Polychrome](https://en.wikipedia.org/w/index.php?title=L%27Ornement_Polychrome&action=edit&redlink=1), by [Albert Racinet](https://en.wikipedia.org/w/index.php?title=Albert_Racinet&action=edit&redlink=1) [[fr](https://fr.wikipedia.org/wiki/Albert_Racinet)], 1888

		- Assyrian panel with color projected on it, showing how it looked initially, in the Pergamon Museum. The color disappeared in many millennia and was damaged by the excessive cleaning of artifacts that took place in the 19th century

## Ancient Egypt

Thanks to the dry climate of Egypt, the original colours of many ancient sculptures in round, reliefs, paintings, and various objects were well preserved. Some of the best preserved examples of ancient Egyptian architecture were the tombs, covered inside with sculpted reliefs painted in bright colours or just [frescos](/source/Fresco). Egyptian artists primarily worked in black, red, yellow, brown, blue, and green pigments. These colours were derived from ground minerals, synthetic materials ([Egyptian blue](/source/Egyptian_blue), Egyptian green, and frits used to make glass and ceramic glazes), and carbon-based blacks (soot and [charcoal](/source/Charcoal)). Most of the minerals were available from local supplies, like iron-oxide pigments (red ochre, yellow ochre, and umber); white derived from the calcium carbonate found in Egypt's extensive limestone hills; and blue and green from [azurite](/source/Azurite) and [malachite](/source/Malachite).

Besides their decorative effect, colours were also used for their symbolic associations. Colours on sculptures, coffins, and architecture had both aesthetic and symbolic qualities. Ancient Egyptians saw black as the colour of the fertile alluvial soil, and so associated it with fertility and regeneration. Black was also associated with the afterlife, and was the colour of funerary deities like [Anubis](/source/Anubis). White was the colour of purity, while green and blue were associated with vegetation and rejuvenation. Because of this, [Osiris](/source/Osiris) was often shown with green skin, and the faces of coffins from the [26th Dynasty](/source/Twenty-sixth_Dynasty_of_Egypt) were often green. Red, orange, and yellow were associated with the sun. Red was also the colour of the deserts, and hence associated with [Set](/source/Set_(deity)) and the forces of destruction.[5][6]

Later, during the 19th century, expeditions took place that had the purpose of cataloging the art and culture of ancient Egypt. *[Description de l'Égypte](/source/Description_de_l'%C3%89gypte)* is a series of early 19th century publications full of illustrations of monuments and artifacts of Ancient Egypt. Most are black-and-white, but some are colourful, so they can show the polychromy from the past. In some cases, only a few traces of paint remained on the walls, pillars and sculptures, but the illustrators attempted successfully at showing the buildings' original state in their pictures.[7]

		- Fragment of a temple [relief](/source/Relief), 2150–1991 BC, painted limestone, [British Museum](/source/British_Museum), London[8]

		- Model paddling boat, c. 1981 – c. 1975 BC, wood, paint, plaster, linen twine and linen fabric, [Metropolitan Museum of Art](/source/Metropolitan_Museum_of_Art), New York City

		- Colossal statue of [Tutankhamun](/source/Tutankhamun), c. 1355 – c. 1315 BC, painted quartzite, [Grand Egyptian Museum](/source/Grand_Egyptian_Museum), [Giza](/source/Giza), Egypt

		- *[Bust of Nefertiti](/source/Nefertiti_Bust)*, c. 1352 – c. 1336 BC, polychrome limestone and plaster, [Neues Museum](/source/Neues_Museum), [Berlin](/source/Berlin), Germany

		- Relief of [Sethi I](/source/Sethi_I) and [Hathor](/source/Hathor), 13th century BC, limestone, [Louvre](/source/Louvre)

		- Composite papyrus capital, c. 380 – c. 343 BC, polychrome sandstone, Metropolitan Museum of Art

		- Fragment of the sarcophagus of Djedthothiuefankh, 332–305 BC, wood and colourful glass, [Museo Egizio](/source/Museo_Egizio), [Turin](/source/Turin), Italy

		- Statuette of [Anubis](/source/Anubis), 332–30 BC, plastered and painted wood, Metropolitan Museum of Art

		- Winged sun on a [cavetto](/source/Cavetto) at the [Medinet Habu](/source/Medinet_Habu) temple complex, Egypt, unknown architect, unknown date

		- Menna and Family Hunting in the Marshes, [Tomb of Menna](/source/TT69), 14th century BC

		- Intact interior of the [Ramesseum](/source/Ramesseum), Egypt, illustration from *[Description de l'Égypte](/source/Description_de_l'%C3%89gypte)*, unknown illustrator, 1809

		- Egyptian patterns, motifs and capitals, unknown illustrator, published by L. Prang & Co., 1874

		- Egyptian motifs from L'Ornement Polychrome, by Albert Racinet, 1888

		- Various examples of Ancient Egyptian polychrome capitals, unknown illustrator, 19th century

		- Various examples of Ancient Egyptian corniches, unknown illustrator, 19th century

## Classical world

Further information: [Ancient Greek art § Polychromy](/source/Ancient_Greek_art#Polychromy)

Relics of polychrome on an Ancient Greek [Ionic capital](/source/Ionic_order), from an unidentified 5th century BC building, Ancient Agora Museum, Athens, [Stoa of Attalus](/source/Stoa_of_Attalus)

Some very early polychrome pottery has been excavated on [Minoan](/source/Minoan_civilization) [Crete](/source/Crete) such as at the [Bronze Age](/source/Bronze_Age) site of [Phaistos](/source/Phaistos).[9] In [ancient Greece](/source/Ancient_Greece) sculptures were painted in strong colors. The paint was frequently limited to parts depicting clothing, hair, and so on, with the skin left in the natural color of the stone. But it could cover sculptures in their totality. The painting of Greek sculpture should not merely be seen as an enhancement of their sculpted form but has the characteristics of a distinct style of art. For example, the pedimental sculptures from the [Temple of Aphaia](/source/Temple_of_Aphaia) on [Aegina](/source/Aegina) have recently[*[when?](https://en.wikipedia.org/wiki/Wikipedia:Manual_of_Style/Dates_and_numbers#Chronological_items)*] been demonstrated to have been painted with bold and elaborate patterns, depicting, amongst other details, patterned clothing. The polychrome of stone statues was paralleled by the use of materials to distinguish skin, clothing, and other details in [chryselephantine sculptures](/source/Chryselephantine_sculpture), and by the use of metals to depict lips, nipples, etc., on high-quality bronzes like the [Riace bronzes](/source/Riace_bronzes). The availability of modern digital methods and techniques have allowed the reconstruction and visualization of ancient 3D polychromy in a scientifically sound method and many projects have explored these possibilities in the last years.[10]

An early example of polychrome decoration was found in the [Parthenon](/source/Parthenon) atop the [Acropolis of Athens](/source/Acropolis_of_Athens). By the time European antiquarianism took off in the 18th century, however, the paint that had been on classical buildings had completely weathered off. Thus, the antiquarians' and architects' first impressions of these ruins were that classical beauty was expressed only through shape and composition, lacking in robust colors, and it was that impression which informed [neoclassical architecture](/source/Neoclassical_architecture). However, some classicists such as [Jacques Ignace Hittorff](/source/Jacques_Ignace_Hittorff) noticed traces of paint on classical architecture and this slowly came to be accepted. Such acceptance was later accelerated by observation of minute color traces by microscopic and other means, enabling less tentative reconstructions than Hittorff and his contemporaries had been able to produce. An example of classical Greek architectural polychrome may be seen in the full size [replica of the Parthenon](/source/Parthenon_(Nashville)) exhibited in [Nashville, Tennessee](/source/Nashville%2C_Tennessee), US.

		- Traces of paint depicting embroidered patterns on the [peplos](/source/Peplos) of an Archaic *[Kore](/source/Kore_(sculpture))*, c. 530 BC marble, [Acropolis Museum](/source/Acropolis_Museum), [Athens](/source/Athens), Greece

		- Polychrome on the *[Peplos Kore](/source/Peplos_Kore)*, c. 530 BC, [Parian marble](/source/Parian_marble), Acropolis Museum

		- *Peplos Kore* color reconstruction

		- Reconstructed color scheme on a Trojan archer from the [Temple of Aphaia](/source/Temple_of_Aphaia), [Aegina](/source/Aegina)

		- Carved and painted fragment from the roofline of the Temple of Hera at [Paestum](/source/Paestum), c. 520 BC, Museo Archeologico Nazionale, Italy[11]

		- [Amathus Sarcophagus](/source/Amathus_sarcophagus), c. 475 – c. 450 BC, limestone, [Metropolitan Museum of Art](/source/Metropolitan_Museum_of_Art), New York City

		- Terracota figurine of a woman with painted blue and gilt garment, from [Tanagra](/source/Tanagra), 325–300 BC, [Antikensammlung Berlin](/source/Antikensammlung_Berlin), Germany

		- Terracota figurine of a young woman, with [kaolin](/source/Kaolin) and traces of polychromy, 3rd–2nd century BC, [Liebieghaus](/source/Liebieghaus), Germany[12]

		- Traces of red paint on *Korai* busts from the [Hellenistic period](/source/Hellenistic_period), Museo Archeologico Paolo Orsi, [Syracuse](/source/Syracuse%2C_Sicily), Sicily

		- [White-ground](/source/White_ground_technique) [lekythos](/source/Lekythos) with a scene of mourning by the [Reed Painter](/source/Reed_Painter), c. 420-410 BC, British Museum

		- [Hades](/source/Hades) and [Persephone](/source/Persephone), c. 340 BC, pigments on marble, [Museum of the Royal Tombs of Aigai](/source/Museum_of_the_Royal_Tombs_of_Aigai_(Vergina)), [Vergina](/source/Vergina), Greece[13]

		- Facade of an ancient tomb at [Agios Athanasios](/source/Agios_Athanasios%2C_Thessaloniki), c. 325–300 BC, Macedonia, Greece

		- [Tomb of the Palmettes](/source/Tomb_of_the_Palmettes) ([Mieza](/source/Mieza_(Macedonia)), Greece), first half of the third century BC[14]

		- [Stag Hunt Mosaic](/source/Stag_Hunt_Mosaic) from the *House of the Abduction of Helen* at [Pella](/source/Pella), [ancient Macedonia](/source/Ancient_Macedonia), late 4th century BC

		- Traces of paint on a Statue of [Livia](/source/Livia), 1st century BCE to 1st century CE, found at [Pompeii](/source/Pompeii)

		- Roman [scutum](/source/Scutum) shield, mid 3rd century, painted wood and hide, [Yale University Art Gallery](/source/Yale_University_Art_Gallery), [New Haven](/source/New_Haven), USA[15]

		- Roman [fresco](/source/Fresco) of the punishment of [Ixion](/source/Ixion), [House of the Vettii](/source/House_of_the_Vettii), [Pompeii](/source/Pompeii)

		- Roman mosaic of [Neptune](/source/Neptune) and [Amphitrite](/source/Amphitrite), c. 70 BC, mosaic, Casa di Nettuno e Anfitrite, [Herculaneum](/source/Herculaneum) Archaeological Park, [Ercolano](/source/Ercolano), Italy[16]

		- Reconstruction of the Temple of [Empedocles](/source/Empedocles) at [Selinunte](/source/Selinunte), [Sicily](/source/Sicily), by [Jacques Ignace Hittorff](/source/Jacques_Ignace_Hittorff), 1830 (published in 1851)[17]

		- Reconstructed elevation of the main facade of the Temple T at Selinunte, Sicily, by Jacques Ignace Hittorff, before 1859

Wikimedia Commons has media related to [Polychromy in antique art](https://commons.wikimedia.org/wiki/Category:Polychromy_in_antique_art).

## East Asia

See also: [Caihua](/source/Caihua)

Chinese art is known for the use of vibrant colours. Neolithic Chinese ceramic vessels, like those produced by the [Yangshao culture](/source/Yangshao_culture), show the use of black and red pigments. Later, tomb and religious sculptures appear as a consequence of the spread of [Buddhism](/source/Buddhism). The deities most common in Chinese Buddhist sculpture are forms of the [Buddha](/source/Buddha) and the [bodhisattva](/source/Bodhisattva) [Guanyin](/source/Guanyin). Traces of gold and bright colours in which sculptures were painted still give an idea of their effect. During the [Han](/source/Han_dynasty) and [Tang](/source/Tang_dynasty) dynasties, polychrome ceramic figurines of servants, entertainers, tenants, and soldiers were placed in the tombs of people from upper-class. These figurines were mass-produced in moulds. Although [Chinese porcelain](/source/Chinese_porcelain) is best known as being blue-and-white, many colorful ceramic vases and figures were produced during the [Ming](/source/Ming_dynasty) and [Qing](/source/Qing_dynasty) dynasties. During the same two dynasties, [cloisonné](/source/Cloisonn%C3%A9) vessels that use copper wires (*cloisons*) and bright enamel were also manufactured.

Similarly to what was happening in China, the introduction of Buddhism in Japan in 538 (or perhaps 552 AD) lead to the production of polychrome Japanese Buddhist sculptures. Japanese religious imagery had until then consisted of disposable clay figures used to convey prayers to the spirit world.[18]

		- [Tang dynasty](/source/Tang_dynasty) mural of architecture from [Mogao Grottoes](/source/Mogao_Grottoes)

		- [Guanyin](/source/Guanyin) of the southern seas (Chinese), 11th–12th centuries, painted and gilded wood, [Nelson-Atkins Museum of Art](/source/Nelson-Atkins_Museum_of_Art), [Kansas City](/source/Kansas_City%2C_Missouri), USA[19]

		- Scholar oficial (Chinese), 618–907 AD, painted and glazed ceramic, [Shaanxi History Museum](/source/Shaanxi_History_Museum), [Xi'an](/source/Xi'an), China[20]

		- The Guanyian Pavilion of the [Dule Monastery](/source/Dule_Temple), [Jixian](/source/Ji_County%2C_Tianjin), China, unknown architect, 984

		- Ming dynasty *[caihua](/source/Caihua)* decorations on Hall of Amitābha at [Longxing Temple](/source/Longxing_Temple)

		- Figure of a [Daoist](/source/Daoism) deity (Chinese), c. 1488 – c. 1644, porcelain, [British Museum](/source/British_Museum), London[21]

		- Hall of Prayer for Good Harvests, the main building of the [Temple of Heaven](/source/Temple_of_Heaven), Beijing, unknown architect, 1703–1790

		- *[You](/source/You_(vessel))* (Chinese), 19th century, [cloisonné](/source/Cloisonn%C3%A9), [Tokyo National Museum](/source/Tokyo_National_Museum), [Tokyo](/source/Tokyo), Japan

		- Song dynasty *"Wucai Caihua"* (Five Coloured Painting)-*[dougong](/source/Dougong)* decorations guide as detailed on the [Yingzao Fashi](/source/Yingzao_Fashi)

		- Chinese motifs from L'Ornement Polychrome, by Albert Racinet, 1888

		- Chinese and Japanese cloisonné motifs from L'Ornement Polychrome

		- Japanese cloisonné motifs from L'Ornement Polychrome

## Medieval

Throughout medieval Europe religious sculptures in wood and other media were often brightly painted or colored, as were the interiors of church buildings. These were often destroyed or whitewashed during [iconoclast](/source/Iconoclasm) phases of the [Protestant Reformation](/source/Protestant_Reformation) or in other unrest such as the [French Revolution](/source/French_Revolution), though some have survived in museums such as the [V&A](/source/Victoria_and_Albert_Museum), [Musée de Cluny](/source/Mus%C3%A9e_de_Cluny), and [Louvre](/source/Louvre). The exteriors of churches were painted as well, but little has survived. Exposure to the elements and changing tastes and religious approval over time acted against their preservation. The "Majesty Portal" of the [Collegiate church of Toro](/source/Collegiate_church_of_Toro) is the most extensive remaining example, due to the construction of a chapel which enclosed and protected it from the elements just a century after it was completed.[22]

		- [Romanesque](/source/Romanesque_art) – Last Judgement tympanum, [Abbey Church of Sainte-Foy](/source/Abbey_Church_of_Sainte-Foy), [Conques](/source/Conques), France, early 12th century[23]

		- Romanesque – Madonna and Child Entroned, 12th century, walnut, silver, silvered copper and polychrome, [Basilique Notre-Dame d'Orcival](https://en.wikipedia.org/w/index.php?title=Basilique_Notre-Dame_d%27Orcival&action=edit&redlink=1) [[fr](https://fr.wikipedia.org/wiki/Basilique_Notre-Dame_d%27Orcival)], [Orcival](/source/Orcival), France[24]

		- [Gothic](/source/Gothic_architecture) – [Sainte-Chapelle](/source/Sainte-Chapelle), Paris, by [Pierre de Montreuil](/source/Pierre_de_Montreuil), 1243–1248[25]

		- [Gothic](/source/Gothic_art) – Ekkehard and Uta, attributed to the Master of Namburg, 1245–1260, limestone and polychromy, [Naumburg Cathedral](/source/Naumburg_Cathedral), [Naumburg](/source/Naumburg), Germany[26]

		- Gothic – Portal of the [Ourense Cathedral](/source/Ourense_Cathedral), [Ourense](/source/Ourense), Spain, unknown architect, first half of the 13th century

		- Gothic – Portal of the [Collegiate Church](/source/Collegiate_church_of_Santa_Mar%C3%ADa_la_Mayor_(Toro)) of [Toro](/source/Toro%2C_Zamora), Spain, unknown architect, 13th century

		- Gothic – Reliquary altarpiece with [Saint Ursula](/source/Saint_Ursula), c. 1325, gilded and painted wood, Abteikirche Marienstatt, [Streithausen](/source/Streithausen), Germany[27]

		- Gothic – Bust of the Virgin, c. 1390–1395, terracotta with paint, [Metropolitan Museum of Art](/source/Metropolitan_Museum_of_Art), New York City

		- Gothic – Irene, daughter of Cratin, painting a sculpture of the Virgin Mary, France, 1401–1402. Detail from [Giovanni Bocaccio](/source/Giovanni_Bocaccio)'s *De Claris mulieribus* (Concerning famous women), 1403 edition, [Bibliothèque nationale de France](/source/Biblioth%C3%A8que_nationale_de_France), Paris

		- Gothic – [Hôtel-Dieu de Beaune](/source/Hospices_de_Beaune), [Beaune](/source/Beaune), France, by [Jacques Wiscrère](https://en.wikipedia.org/w/index.php?title=Jacques_Wiscr%C3%A8re&action=edit&redlink=1), 1451[28]

		- Gothic – Enthroned Virgin, c. 1490 – c. 1500, limewood with gesso, paint and gilding, Metropolitan Museum of Art

		- Portal of the [Burgos Cathedral](/source/Burgos_Cathedral), [Burgos](/source/Burgos), Spain, unknown architect, unknown date

		- [Russian](/source/Russian_architecture) portal of the [Dormition Cathedral, Moscow](/source/Dormition_Cathedral%2C_Moscow), by [Aristotele Fioravanti](/source/Aristotele_Fioravanti), 1475–1479[29]

## 17th and 18th centuries

Library of the [Wiblingen Abbey](/source/Wiblingen_Abbey), [Ulm](/source/Ulm), Germany, by [Christian Wiedemann](https://en.wikipedia.org/w/index.php?title=Christian_Wiedemann&action=edit&redlink=1) [[sv](https://sv.wikipedia.org/wiki/Christian_Wiedemann)], 1737–1744.[30] All the elements that seem to be made out of marble are actually made from polychrome [stucco](/source/Stucco).

While stone and metal sculpture normally remained uncolored, like the classical survivals, polychromed wood sculptures were produced by Spanish artists: [Juan Martínez Montañés](/source/Juan_Mart%C3%ADnez_Monta%C3%B1%C3%A9s), [Gregorio Fernández](/source/Gregorio_Fern%C3%A1ndez) (17th century); German: [Ignaz Günther](/source/Ignaz_G%C3%BCnther), [Philipp Jakob Straub](/source/Philipp_Jakob_Straub) (18th century); or Brazilian: [Aleijadinho](/source/Aleijadinho) (19th century).

[Monochromatic](/source/Monochrome) color solutions of architectural orders were also designed in the late, dynamic Baroque, drawing on the ideas of [Borromini](/source/Francesco_Borromini) and Guarini. Single-colored stone cladding was used: light sandstone, as in the case of the façade of the Bamberg Jesuit church (Gunzelmann 2016) designed by Georg and Leonhard Dientzenhofer (1686–1693), the façade of the monastery church in Michelsberg by Leonard Dientzenhofer (1696), and the abbey church in Neresheim by J.B. Neumann (1747–1792).[31]

In the space of present-day Germany, during the 18th century, the Asam brothers ([Egid Quirin Asam](/source/Egid_Quirin_Asam) and [Cosmas Damian Asam](/source/Cosmas_Damian_Asam)) designed churches with undulating walls, curved broken [pediments](/source/Pediment) and polychromy.[32] In the German-speaking space, multiple Rococo churches and libraries with pastel polychrome [stuccos](/source/Stucco) and columns were built. There, faux marble columns are made from wood pillars that are covered in a layer of polychrome stucco, a mixture of [plaster](/source/Plaster), [lime](/source/Lime_(material)), and [pigment](/source/Pigment). When these ingredients are mixed, a homogenous-coloured paste is created. To achieve the marble look, thinner batches of darker and lighter paste are made, so that veins begin to appear. It is all roughly mixed by hand. When the material hardens it is polished by rubbing with fine sandpaper, and thus this layer of polychrome stucco becomes glossy and imitates really realistically marble. A good example of this is the Library of the [Wiblingen Abbey](/source/Wiblingen_Abbey) in [Ulm](/source/Ulm), Germany. Faux marble made of stucco will continue to be used during the 19th and early 20th centuries too. It is used only for interiors, because stucco dissolves outside through of contact with water.

In [Wallachia](/source/Wallachia), during the late 17th and early 18th centuries, the [Brâncovenesc style](/source/Br%C3%A2ncovenesc_style) was popular in architecture and decorative arts. It is named after Prince [Constantin Brâncoveanu](/source/Constantin_Br%C3%A2ncoveanu), during whose reign it was developed. Some of the churches in this style have polychrome facades, decorated with murals, like the church of the [Stavropoleos Monastery](/source/Stavropoleos_Monastery) in [Bucharest](/source/Bucharest), Romania.

The 2nd half of the 18th century was the rise of [Neoclassicism](/source/Neoclassicism), a movement which tries its best at reviving the styles of [Ancient Greece](/source/Ancient_Greece), [Rome](/source/Ancient_Rome), the [Etruscan civilization](/source/Etruscan_civilization), and sometimes even [Egypt](/source/Ancient_Egypt). During [Louis XVI](/source/Louis_XVI)'s reign (1760–1789), interiors in the [Louis XVI style](/source/Louis_XVI_style) start to be decorated with [arabesques](/source/Arabesque), inspired by those discovered in ancient houses in [Pompeii](/source/Pompeii) and [Herculaneum](/source/Herculaneum). They are painted in pastel colours, painted white with the ornate parts gilt, or polychrome. The State Dining Room of the [Inveraray Castle](/source/Inveraray_Castle) in [Scotland](/source/Scotland), decorated by two French painters, is a good example of a polychrome Louis XVI style interior.

		- [Baroque](/source/Baroque) – Escalier des Ambassadeurs of the [Palace of Versailles](/source/Palace_of_Versailles), [Versailles](/source/Versailles), France, by [François d'Orbay](/source/Fran%C3%A7ois_d'Orbay) and [Charles Le Brun](/source/Charles_Le_Brun), 1674–1679, demolished in 1752 under [Louis XV](/source/Louis_XV)[33]

		- Baroque – [Hall of Mirrors](/source/Hall_of_Mirrors) of the Palace of Versailles, by Jules Hardouin-Mansart, 1678–1684[34]

		- Baroque – [Church of San Francisco Acatepec](/source/Church_of_San_Francisco_Acatepec), [San Andrés Cholula](/source/San_Andr%C3%A9s_Cholula%2C_Puebla), Mexico, unknown artchitect, 17th–18th centuries

		- Baroque – The Entombment of Christ, by [Luisa Roldán](/source/Luisa_Rold%C3%A1n), 1700–1701, polychrome terracotta, [Metropolitan Museum of Art](/source/Metropolitan_Museum_of_Art), New York City

		- [Brâncovenesc](/source/Br%C3%A2ncovenesc_style) – [Stavropoleos Monastery](/source/Stavropoleos_Monastery) Church, [Bucharest](/source/Bucharest), Romania, unknown architect, 1724[35]

		- Rococo – [Capitals](/source/Capital_(architecture)) in the [Wallfahrtskirche Steinhausen](https://en.wikipedia.org/w/index.php?title=Wallfahrtskirche_Steinhausen&action=edit&redlink=1) [[de](https://de.wikipedia.org/wiki/Wallfahrtskirche_Steinhausen)], [Steinhausen](https://en.wikipedia.org/w/index.php?title=Steinhausen_(Bad_Schussenried)&action=edit&redlink=1), Germany, by [Dominikus Zimmermann](/source/Dominikus_Zimmermann), 1728–1733

		- Baroque – Summer as [Ceres](/source/Ceres_(mythology)), part of a series of [anthropomorphic](/source/Anthropomorphism) busts of the four seasons, a polychrome example of [Rouen faience](/source/Rouen_faience), c. 1730, [faience](/source/Faience), [Louvre](/source/Louvre)[36]

		- Rococo – [Helbling House](/source/Helbling_House), [Innsbruck](/source/Innsbruck), Austria, originally Gothic town house from the 15th century, renovated at the beginning of the 18th, and finished in 1732 by [Anton Gigl](https://en.wikipedia.org/w/index.php?title=Anton_Gigl&action=edit&redlink=1)

		- Rococo – [St. Johann Nepomuk](/source/Asam_Church%2C_Munich), [Munich](/source/Munich), Germany, by [Egid Quirin Asam](/source/Egid_Quirin_Asam) and [Cosmas Damian Asam](/source/Cosmas_Damian_Asam), 1733–1746[37]

		- Rococo – Apartment of [Madame du Barry](/source/Madame_du_Barry), [Palace of Versailles](/source/Palace_of_Versailles), [Versailles](/source/Versailles), France, by [Ange-Jacques Gabriel](/source/Ange-Jacques_Gabriel), 18th century

		- Rococo – Illustration of 18th century [cartouches](/source/Cartouche_(design)), from L'ornement Polychrome, by Albert Racinet, 1888

		- Rococo – fourth guest room, so-called Voltaire Room, [Sanssouci](/source/Sanssouci), [Potsdam](/source/Potsdam), Germany, designed by [Georg Wenzeslaus von Knobelsdorff](/source/Georg_Wenzeslaus_von_Knobelsdorff), with decoration by [Johann Michael the Elder](https://en.wikipedia.org/w/index.php?title=Johann_Michael_the_Elder&action=edit&redlink=1) and [Johann Christian Hoppenhaupt the Younger](https://en.wikipedia.org/w/index.php?title=Johann_Christian_Hoppenhaupt_the_Younger&action=edit&redlink=1), 1752–1753[38]

		- Rococo – [Pilgrimage Church of Wies](/source/Wieskirche), [Steingaden](/source/Steingaden), Germany, by [Dominikus](/source/Dominikus_Zimmermann) and [Johann Baptist Zimmermann](/source/Johann_Baptist_Zimmermann), 1754[39]

		- Rococo – Tobias and the Angel, by [Ignaz Günther](/source/Ignaz_G%C3%BCnther), 1763, limewood, [Bürgersaalkirche](/source/B%C3%BCrgersaalkirche), [Munich](/source/Munich), Germany[40]

		- [Chinoiserie](/source/Chinoiserie) – [Chinese Pavilion](/source/Chinese_Pavilion_at_Drottningholm) ([Ekerö Municipality](/source/Eker%C3%B6_Municipality), Sweden), 1763–1769, by Carl Fredrik Adelcrantz[41]

		- [Neoclassical](/source/Neoclassicism) – armchair, c. 1780, carved and polychromed walnut, received upholstered in beige silk brocade, currently upholstered with modern cotton and linen velvet, Metropolitan Museum of Art

		- [Louis XVI style](/source/Louis_XVI_style) – Ceiling decorated with [festoons](/source/Festoon) in the State Dining Room, [Inveraray Castle](/source/Inveraray_Castle), Scotland, the UK, by Girard and Guinand, 1784[42]

### Porcelain

With the arrival of European [porcelain](/source/Porcelain) in the 18th century, brightly colored pottery figurines with a wide range of colors became very popular. Porcelain was developed in China in the 9th century. Its recipe was kept secret from other nations, and only successfully copied in the 15th century by the Japanese and Vietnamese. During the 18th century, German kilns finally figured out how to make porcelain, beginning with the alchemist [Johann Friedrich Böttger](/source/Johann_Friedrich_B%C3%B6ttger) and the physicist [Ehrenfried Walther von Tschirnhaus](/source/Ehrenfried_Walther_von_Tschirnhaus), who made the first European variety in 1709. The [Meissen Porcelain Factory](/source/Meissen_porcelain) was founded in the following year, and it became the leading European porcelain manufacturer. Later, other kilns stole the recipe or came up with their own porcelain technology. Another really famous factory was the [Sèvres](/source/Manufacture_nationale_de_S%C3%A8vres), which produced stunning porcelain for the French elite during the 18th, 19th and 20th centuries.[43]

		- [Rococo](/source/Rococo) – elephant-head vase (vase à tête d'éléphant), by the [Sèvres porcelain factory](/source/Manufacture_nationale_de_S%C3%A8vres), c. 1756 – c. 1762, soft-paste porcelain, Metropolitan Museum of Art

		- Rococo – wall sconce (bras de cheminée), by the Sèvres porcelain factory, c. 1761, soft-paste porcelain and gilt bronze, Metropolitan Museum of Art

		- Rococo – perfume vase, by the [Chelsea porcelain factory](/source/Chelsea_porcelain_factory), c. 1761, soft-paste porcelain and burnished gold ground, Metropolitan Museum of Art

		- Rococo – [singerie](/source/Singerie) figurine, part of a monkey band, by the [Meissen porcelain factory](/source/Meissen_porcelain), c. 1765, porcelain, enamel and gilding, [Art Institute of Chicago](/source/Art_Institute_of_Chicago), [Chicago](/source/Chicago), USA

		- Rococo – The Music Lesson, by the Chelsea porcelain factory, c. 1765, soft-paste porcelain, Metropolitan Museum of Art

		- [Louis XVI style](/source/Louis_XVI_style) – Vase (vase grec Duplessis rectifié), design attributed to [Jean-Claude Chambellan Duplessis](/source/Jean-Claude_Chambellan_Duplessis), painted decoration by [Vincent Taillandier](https://en.wikipedia.org/w/index.php?title=Vincent_Taillandier&action=edit&redlink=1) [[fr](https://fr.wikipedia.org/wiki/Vincent_Taillandier)], gilding by [Jean Pierre Boulanger](https://en.wikipedia.org/w/index.php?title=Jean_Pierre_Boulanger&action=edit&redlink=1), by the Sèvres porcelain factory, 1780, painted and gilded hard-paste porcelain, gilt bronze, [Rijksmuseum Amsterdam](/source/Rijksmuseum_Amsterdam), the [Netherlands](/source/Netherlands)

## 19th century

Compared to the 18th century, polychromy was somewhat more widespread in the 19th. However, the facades of most buildings remained white, most sculptures were unpainted, and most furniture was in the shades of its materials. Colours were added usually though glazed ceramics on buildings, different types of stone on sculptures, and through painting or [intarsia](/source/Intarsia) most often on furniture. Like in the 18th century, porcelain remained quite colourful, many figures being life-like. In contrast with their exteriors, interiors of many houses of the rich were often decorated with [boiserie](/source/Boiserie), [stucco](/source/Stucco), and/or painted. Like in the 2nd half of the 18th century, multiple bronze clocks and decorative objects have two tints through [gilding](/source/Ormolu) and [patina](/source/Patina). Porcelain elements were also added for more colour.

		- [Gothic Revival](/source/Gothic_Revival_decorative_arts) clock, c. 1835 – c. 1850, gilt and patinated bronze, [Museum of Decorative Arts](/source/Mus%C3%A9e_des_Arts_d%C3%A9coratifs%2C_Paris), Paris

		- [Gothic Revival](/source/Gothic_Revival_architecture) – Interior of the [St Giles' Catholic Church, Cheadle](/source/St_Giles'_Catholic_Church%2C_Cheadle), [Staffordshire](/source/Staffordshire_Moorlands), the UK, by [Augustus Pugin](/source/Augustus_Pugin), 1840–1846[44]

		- Gothic Revival – Chimney-piece in the Chaucer Room of the [Cardiff Castle](/source/Cardiff_Castle), [Cardiff](/source/Cardiff), the UK, by [William Burges](/source/William_Burges), c. 1877 – c. 1890[45]

		- Gothic Revival – Drawing room of the [Castell Coch](/source/Castell_Coch), [Tongwynlais](/source/Tongwynlais), Wales, by [William Burges](/source/William_Burges), 1891[46]

		- [Beaux Arts](/source/Beaux_Arts_architecture) – Ceiling [stucco](/source/Stucco) fragment from Strada Plantelor no. 4, [Bucharest](/source/Bucharest), Romania, unknown architect, 1891

		- [Art Nouveau](/source/Art_Nouveau) – [Nature Unveiling Herself Before Science](/source/Nature_Unveiling_Herself_Before_Science), by [Louis-Ernest Barrias](/source/Louis-Ernest_Barrias), 1899, marble, [alabaster](/source/Alabaster), [calcite](/source/Calcite), [malachite](/source/Malachite), [lapis lazuli](/source/Lapis_lazuli), [Musée d'Orsay](/source/Mus%C3%A9e_d'Orsay), Paris

### Neoclassicism

Despite evidence of polychrome being discovered on [Ancient Greek](/source/Ancient_Greek_architecture) architecture and sculptures, most [Neoclassical](/source/Neoclassical_architecture) buildings have white or beige facades, and black metalwork. Around 1840, the French architect [Jacques Ignace Hittorff](/source/Jacques_Ignace_Hittorff), published studies of [Sicilian](/source/Sicily) architecture, documenting extensive evidence of color. The "polychrome controversy" raged for over a decade and proved to be a challenge for Neoclassical architects throughout Europe.[17]

Due to the discovery of frescos in the Roman cities [Pompeii](/source/Pompeii) and [Herculaneum](/source/Herculaneum) during the 18th century, multiple 18th and 19th century Neoclassical houses have their interiors decorated with colourful Pompeian style frescos. They often feature bright red, known as "Pompeian red". The fashion for Pompeian styles of painting resulted in rooms finished in vivid blocks of colour. Examples include the Pompeian Room from the Hinxton Hall in [Cambridgeshire](/source/Cambridgeshire), the [Pompejanum](/source/Pompejanum) in [Aschaffenburg](/source/Aschaffenburg), [Empress Joséphine](/source/Empress_Jos%C3%A9phine)'s Bedroom from the [Château de Malmaison](/source/Ch%C3%A2teau_de_Malmaison), and Napoleon's bath of the [Château de Rambouillet](/source/Ch%C3%A2teau_de_Rambouillet). By the beginning of the 19th century, painters were also able to create effects of marbling and graining to imitate wood.

		- [Empire style](/source/Empire_style) – Napoleon's bath of the [Château de Rambouillet](/source/Ch%C3%A2teau_de_Rambouillet), [Rambouillet](/source/Rambouillet), France, painted by Godard and Jean Vasserot, 1806

		- Empire style – Vase, by the [Sèvres porcelain factory](/source/Manufacture_nationale_de_S%C3%A8vres), 1814, hard-paste porcelain with platinum background and gilt bronze mounts, [Louvre](/source/Louvre)[47]

		- [Neoclassical](/source/Neoclassicism) – Polychromatic façade of the Cirque Nationale, Paris, by [Jakob Ignaz Hittorff](/source/Jakob_Ignaz_Hittorff), 1840[48]

		- Neoclassical – Putto of the Grande Fontaine (Avenue Léopold-Robert), [La Chaux-de-Fonds](/source/La_Chaux-de-Fonds), Switzerland, by [Maximilien Louis Bourgeois](https://en.wikipedia.org/w/index.php?title=Maximilien_Louis_Bourgeois&action=edit&redlink=1) [[fr](https://fr.wikipedia.org/wiki/Maximilien_Louis_Bourgeois)], 1888

		- Neoclassical – [Pompeian style](/source/Pompeian_Styles) wall in [Strada Nicolae Filipescu](https://en.wikipedia.org/w/index.php?title=Strada_Nicolae_Filipescu&action=edit&redlink=1) no. 45, [Bucharest](/source/Bucharest), Romania, unknown architect or painter, c. 1890

		- [Coffered ceiling](/source/Coffer) with polychromy in front of the main entrance of the [Academy of Athens](/source/Academy_of_Athens_(modern)), completed in 1885.

### 19th century maximalism

"More is more" was the aesthetic principle followed in the Victorian era. [Maximalism](/source/Maximalism) is present in many types of Victorian era designs, like ceramics, furniture, cutlery, tableware, fashion, architecture, book illustration, clocks, etc. Despite the appetite for ornamentation, many of them remain decorated with only a few colours, especially furniture. Ceramics were the field where polychrome was widespread. Besides objects, polychrome ceramic was also present in architecture and some furniture pieces and architecture through tiles.

The objects and buildings of the 19th century shown in the galleries of this page are without any doubt impressive. Today were are delighted by their ornaments, colours, and styles. However, up to the 1960s, with the rise of [Postmodernism](/source/Postmodernism), when people started to question [Modernism](/source/Modernism) and began to appreciate things from the pre-Modern past, the verdict of Victorian designs wasn't good. During the early 20th century and even when they were made, some described the Victorian age as being one that has been providing us with some of the ugliest objects that have ever been made. Descriptions like 'aesthetic monstrosities' or 'ornamental abominations' were around at the time, and it only got worse. At the end of the 19th century, [Marc-Louis Solon](/source/Marc-Louis_Solon) (1835–1913), a well established ceramic designer, who worked for Minton and Company, was not unusual in commenting that the period 'bears the stamp of an unmitigated bad taste'.[49] As time passed, negative opinions only got worse. Pioneer [Modern architects](/source/Modern_architecture) [Adolf Loos](/source/Adolf_Loos) and [Le Corbusier](/source/Le_Corbusier) felt that works like this were not simply bad, they were such an affront they should have been made illegal.[50]

		- [Rococo Revival](/source/Rococo_Revival) incense burner (brûle-parfum), by [Jacob Petit](https://en.wikipedia.org/w/index.php?title=Jacob_Petit&action=edit&redlink=1) [[fr](https://fr.wikipedia.org/wiki/Jacob_Petit)], c. 1834 – c. 1848, hard-paste porcelain, painted and gilded, [Museum of Decorative Arts](/source/Mus%C3%A9e_des_Arts_d%C3%A9coratifs%2C_Paris), Paris

		- Rococo Revival pair of bottles, by Jacob Petit, c. 1840, hard-paste porcelain, painted and gilded, Museum of Decorative Arts, Paris

		- Rococo Revival pair of cone-shaped vases and a clock, by [Nicolas Bugeard](https://en.wikipedia.org/w/index.php?title=Nicolas_Bugeard&action=edit&redlink=1)?, mid-19th century, hard-paste porcelain, painted and gilded, Museum of Decorative Arts, Paris

		- [Neoclassical](/source/Neoclassical_architecture) sculpted decoration on the ceiling of the Salon des Sept cheminées, [Louvre Palace](/source/Louvre_Palace), Paris, by [Francisque Duret](/source/Francisque_Duret), 1851[51]

		- Neoclassical sculpted decoration on the ceiling of the Salon Carré, Louvre Palace, by [Pierre-Charles Simart](/source/Pierre-Charles_Simart), 1851[52]

		- [Beaux Arts](/source/Beaux_Arts_architecture) mosaics on the [Opéra de Monte-Carlo](/source/Op%C3%A9ra_de_Monte-Carlo), Monaco, designed by [Charles Garnier](/source/Charles_Garnier_(architect)), 1879

		- Polychrome architectural detail of an unidentified building in [Kendallville, Indiana](/source/Kendallville%2C_Indiana), USA, unknown architect, 1892

		- Interior of [La Cigale](/source/La_Cigale_(brasserie)), [Nantes](/source/Nantes), France, designed by [Émile Libaudière](https://en.wikipedia.org/w/index.php?title=%C3%89mile_Libaudi%C3%A8re&action=edit&redlink=1), and decorated with sculptures by [Émile Gaucher](https://en.wikipedia.org/w/index.php?title=%C3%89mile_Gaucher&action=edit&redlink=1) and paintings by [Georges Levreau](https://en.wikipedia.org/w/index.php?title=Georges_Levreau&action=edit&redlink=1), 1895

### Polychrome brickwork

Main article: [Polychrome brickwork](/source/Polychrome_brickwork)

Polychrome brickwork is a style of architectural brickwork which emerged in the 1860s and used bricks of different colours (brown, cream, yellow, red, blue, and black) in patterned combinations to highlight architectural features. These patterns were made around window arches or were just applied on walls. It was often used to replicate the effect of [quoining](/source/Quoin_(architecture)). Early examples featured banding, with later examples exhibiting complex diagonal, criss-cross, and step patterns, in some cases even writing using bricks.[53] Elements of glazed ceramic with details were also used for more complex ornaments.

		- Interior of [All Saints, Margaret Street](/source/All_Saints%2C_Margaret_Street), London, 1850–1859, by [William Butterfield](/source/William_Butterfield)[54]

		- Ampton Road no. 12, [Edgbaston](/source/Edgbaston), [Birmingham](/source/Birmingham), the UK, by [John Henry Chamberlain](/source/John_Henry_Chamberlain), 1855[55]

		- Detail of the [Pernot Biscuit Factory](https://en.wikipedia.org/w/index.php?title=Pernot_Biscuit_Factory&action=edit&redlink=1) (Rue Courtepée no. 10–18), [Dijon](/source/Dijon), France, 1879

		- Facade of the (now) Suriname Embassy ([Rue du Ranelagh](https://en.wikipedia.org/w/index.php?title=Rue_du_Ranelagh&action=edit&redlink=1) no. 94), Paris, unknown architect, 1885

		- Avenue des Minimes no. 58, [Vincennes](/source/Vincennes), France, by [Victor Francione](https://en.wikipedia.org/w/index.php?title=Victor_Francione&action=edit&redlink=1), 1905[56]

### Romanian Revival style

Main article: [Romanian Revival architecture](/source/Romanian_Revival_architecture)

In the [Kingdom of Romania](/source/Kingdom_of_Romania), the [Romanian Revival](/source/Romanian_Revival_architecture) style appeared at the end of the 19th century. It is the Romanian equivalent of the [National Romantic style](/source/National_Romantic_style) that was popular at the same time in [Northern Europe](/source/Northern_Europe). The movement is heavily inspired by [Brâncovenesc architecture](/source/Br%C3%A2ncovenesc_style), a style that was popular in [Wallachia](/source/Wallachia) in the late 17th and early 18th centuries. Interiors of houses in this style built before WW1 are often decorated with a variety of bright colours. In the case of a few buildings, the polychrome extends on the exterior too, through the use of colorful glazed ceramic tiles. The style became more popular in the 20th century. A Romanian Revival house that stands out through its variety of colours is the [Gheorghe Petrașcu House](https://en.wikipedia.org/w/index.php?title=Gheorghe_Petra%C8%99cu_House&action=edit&redlink=1) ([Piața Romană](/source/Pia%C8%9Ba_Roman%C4%83) no. 5) in [Bucharest](/source/Bucharest), by [Spiru Cegăneanu](https://en.wikipedia.org/w/index.php?title=Spiru_Ceg%C4%83neanu&action=edit&redlink=1), 1912[57]

		- Gheorghe Ionescu-Gion House (Strada Logofătul Udriște no. 11), [Bucharest](/source/Bucharest), Romania, by [Ion N. Socolescu](https://en.wikipedia.org/w/index.php?title=Ion_N._Socolescu&action=edit&redlink=1), 1889[58]

		- [Central Girls' School](/source/%C8%98coala_Central%C4%83_National_College), Bucharest, by [Ion Mincu](/source/Ion_Mincu), 1890[59]

		- Ceiling of the Gheorghe Petrașcu House (Piața Romană no. 5), Bucharest, by [Spiru Cegăneanu](https://en.wikipedia.org/w/index.php?title=Spiru_Ceg%C4%83neanu&action=edit&redlink=1), 1912[60]

		- Ceiling of the Gheorghe Petrașcu House, Bucharest, by Spiru Cegăneanu, 1912[61]

## 20th century

In the twentieth century there were notable periods of polychromy in architecture, from the expressions of [Art Nouveau](/source/Art_Nouveau) throughout Europe, to the international flourishing of [Art Deco](/source/Art_Deco) or Art Moderne, to the development of postmodernism in the latter decades of the century. During these periods, brickwork, stone, tile, stucco, and metal facades were designed with a focus on the use of new colors and patterns, while architects often looked for inspiration to historical examples ranging from Islamic tilework to English Victorian brick.

### Before World War I

At the beginning of the 20th century, before the world wars, [Revivalism](/source/Revivalism_(architecture)) (including [Neoclassicism](/source/Neoclassicism) and the [Gothic Revival](/source/Gothic_Revival_architecture)) and eclecticism of historic styles were very popular in design and architecture. Many of the things said about the 19th century are still in this period. Many of the buildings from this period have their interiors decorated with colours, through tiles, mosaics, stuccos, or murals. When it comes to exteriors, most polychrome facades are decorated with ceramic tiles.

[Art Nouveau](/source/Art_Nouveau) was also in fashion during the 1900s all over the [Western world](/source/Western_world). However, it fragmented by 1911 and from then it steadily faded, until it disappeared with WW1. Some regular Art Nouveau buildings have their facades decorated with colourful glazed ceramic ornaments. The colours used are often more earthy and faded compared to the intense ones used by Neoclassicism. Compared to other movements in design and architecture, Art Nouveau was one with different versions in multiple countries. The Belgian and French form is characterized by organic shapes, ornaments taken from the plant world, sinuous lines, asymmetry (especially when it comes to objects design), the [whiplash](/source/Whiplash_(decorative_art)) motif, the *[femme fatale](/source/Femme_fatale)*, and other elements of nature. In Austria, Germany and the UK, it took a more stylized geometric form, as a form of protest towards revivalism and eclecticism. The geometric ornaments found in [Gustav Klimt](/source/Gustav_Klimt)'s paintings and in the furniture of [Koloman Moser](/source/Koloman_Moser) are representative of the [Vienna Secession](/source/Vienna_Secession) (Austrian Art Nouveau). In some countries, artists found inspiration in national tradition and folklore. In the UK for example, multiple [silversmiths](/source/Silversmith) used [interlaces](/source/Interlace_(art)) taken from [Celtic art](/source/Celtic_art). Similarly, Hungarian, Russian, and Ukrainian architects used polychromatic folkloric motifs on their buildings, usually through colourful ceramic ornaments.

		- [Rococo Revival](/source/Rococo_Revival) – Boulangerie ([Boulevard Beaumarchais](/source/Boulevard_Beaumarchais) no. 28), Paris, 1900, by [Benoit et fils](https://en.wikipedia.org/w/index.php?title=Benoit_et_fils&action=edit&redlink=1)[62]

		- French [Art Nouveau](/source/Art_Nouveau) – [Bijouterie Fouquet](https://commons.wikimedia.org/wiki/Category:Bijouterie_Fouquet), [Musée Carnavalet](/source/Mus%C3%A9e_Carnavalet), Paris, by [Alphonse Mucha](/source/Alphonse_Mucha), c. 1900[63]

		- French Art Nouveau – Vase, by [Clément Massier](https://en.wikipedia.org/w/index.php?title=Cl%C3%A9ment_Massier&action=edit&redlink=1), c. 1900, [lusterware](/source/Lusterware), [Jason Jacques Gallery](https://en.wikipedia.org/w/index.php?title=Jason_Jacques_Gallery&action=edit&redlink=1), New York[64]

		- French Art Nouveau – Avenue Gallieni no. 14, [Courbevoie](/source/Courbevoie), France, by [Eugène Coulon](https://en.wikipedia.org/w/index.php?title=Eug%C3%A8ne_Coulon_(architect)&action=edit&redlink=1), 1903–1904

		- French Art Nouveau – Entrance decorated with glazed tiles of the Les Chardons Building (Rue Eugène-Manuel no. 2), Paris, 1903, by [Charles Klein](https://en.wikipedia.org/w/index.php?title=Charles_Klein_(architect)&action=edit&redlink=1)[65]

		- Ukrainian Art Nouveau – Poltava Reginal Administrative Building, [Poltava](/source/Poltava), Ukraine, by [Vasyl Krychevsky](/source/Vasyl_Krychevsky), 1903–1907[66]

		- Austrian Art Nouveau – [Putto](/source/Putto) with two [cornucopias](/source/Cornucopia) with floral cascades, by [Michael Powolny](/source/Michael_Powolny), designed in c. 1907, produced in 1912, ceramic, [Kunstgewerbemuseum Berlin](/source/Kunstgewerbemuseum_Berlin), [Berlin](/source/Berlin), Germany[67]

		- [Russian Revival](/source/Russian_Revival_architecture) – Window of the Church of the Theotokos of Tikhvin, [Moscow](/source/Moscow), by [Nikolay Martyanov](https://en.wikipedia.org/w/index.php?title=Nikolay_Martyanov&action=edit&redlink=1), 1911–1912

		- [Moorish Revival](/source/Moorish_Revival_architecture) – Ceiling in the Filitti House ([Calea Dorobanților](https://en.wikipedia.org/w/index.php?title=Calea_Doroban%C8%9Bilor&action=edit&redlink=1) [[ro](https://ro.wikipedia.org/wiki/Calea_Doroban%C8%9Bilor)] no. 18), Bucharest, by [Ernest Doneaus](https://en.wikipedia.org/w/index.php?title=Ernest_Doneaus&action=edit&redlink=1), c. 1910[68]

		- [Beaux Arts](/source/Beaux_Arts_architecture) – [Stucco](/source/Stucco) with [putti](/source/Putti) on a ceiling in [Piața Romană](/source/Pia%C8%9Ba_Roman%C4%83) no. 3, Bucharest, by [Siegfired Kofsinski](https://en.wikipedia.org/w/index.php?title=Siegfired_Kofsinski&action=edit&redlink=1) and C. Crețoiu, 1912

### Modernism

During the interwar period and the middle of the 20th century, [Modernism](/source/Modernism) was in fashion. To Modernists, form was more important than ornament, so solid blocks of strong colour were often used to emphasize shape and create contrast. Primary colours and black and white were preferred. This is really the case of the Dutch [De Stijl](/source/De_Stijl) movement, which began in 1917. The style involved reducing an object (whether a painting or a design) to its essentials, using only black, white and primary colours, and a simple geometry of straight lines and planes. [Gerrit Rietveld](/source/Gerrit_Rietveld)'s [Red and Blue Chair](/source/Red_and_Blue_Chair) (1917–1918) and [Rietveld Schröder House](/source/Rietveld_Schr%C3%B6der_House) in [Utrecht](/source/Utrecht) (1924) show this use of colour. Polychromy in Modernist design was not limited to De Stijl. The [Unité d'habitation](/source/Unit%C3%A9_d'habitation), a residential housing [typology](/source/Typology_(urban_planning_and_architecture)) developed by [Le Corbusier](/source/Le_Corbusier), has some flat colourful parts.

Some [Art Deco](/source/Art_Deco) objects, buildings and interiors stand out through their polychromy and use of intense colours. [Fauvism](/source/Fauvism), with its highly saturated colours, like the paintings of [Henri Matisse](/source/Henri_Matisse), was an influence for some Art Deco designers. Another influence for polychromy were the [Ballets Russes](/source/Ballets_Russes). [Leon Bakst](/source/Leon_Bakst)'s stage designs filled Parisian artistic circles with enthusiasm for bright colours.[69]

Despite their lack of ornamentation, multiple [Mid-century modern](/source/Mid-century_modern) designs, like [Lucienne Day](/source/Lucienne_Day)'s textiles, [Charles](/source/Charles_Eames) and [Ray Eames](/source/Ray_Eames)'s Hang-It-All coat hanger (1953), or [Irving Harper](/source/Irving_Harper)'s [Marshmallow sofa](/source/Marshmallow_sofa) (1956), are decorated with colours. Aside from individual objects, mid-century modern interiors were also quite colourful. This was also caused by the fact that after WW2, plastics became increasingly popular as a material for kitchenware and kitchen units, light fixtures, electrical appliances and toys, and by the fact that plastic could be produced in a wide range of colours, from jade green to red.[70]

		- [De Stijl](/source/De_Stijl) – [Red and Blue Chair](/source/Red_and_Blue_Chair), by [Gerrit Rietveld](/source/Gerrit_Rietveld), 1917, lacquered wood, [Toledo Museum of Art](/source/Toledo_Museum_of_Art), [Toledo, Ohio](/source/Toledo%2C_Ohio), USA

		- De Stijl – Panel of polychrome bricks on the exterior of the [Vakantiehuis De Vonk](https://en.wikipedia.org/w/index.php?title=Vakantiehuis_De_Vonk&action=edit&redlink=1) [[nl](https://nl.wikipedia.org/wiki/Vakantiehuis_De_Vonk)], a house in [Noordwijkerhout](/source/Noordwijkerhout), the [Netherlands](/source/Netherlands), by [Theo van Doesburg](/source/Theo_van_Doesburg), 1917–1919[71]

		- Mix of [Egyptian Revival](/source/Egyptian_Revival_architecture) and [Art Deco](/source/Art_Deco): [Le Louxor](https://en.wikipedia.org/w/index.php?title=Le_Louxor&action=edit&redlink=1) [[fr](https://fr.wikipedia.org/wiki/Le_Louxor)] Cinema, Paris, by [Henri Zipcy](https://en.wikipedia.org/w/index.php?title=Henri_Zipcy&action=edit&redlink=1), 1919–1921[72]

		- Mix of [Pueblo Revival](/source/Pueblo_Revival_architecture) and Art Deco ([Pueblo Deco](/source/Pueblo_Deco_architecture)): [KiMo Theater](/source/KiMo_Theater), [Albuquerque](/source/Albuquerque%2C_New_Mexico), US, by the Boller Brothers, 1927

		- Art Deco – Floor in the entrance hall of Bulevardul Hristo Botev no. 26, Bucharest, unknown architect, 1930s

		- Art Deco – Marble facing in the entrance hall of Strada Pitar Moș no. 27–29, Bucharest, by [Sandy Herivan](https://en.wikipedia.org/w/index.php?title=Sandy_Herivan&action=edit&redlink=1), 1931–1933[73]

		- Art Deco – Mosaics on the facade of [Quai Louis-Blériot](/source/Quai_Louis-Bl%C3%A9riot) no. 40, Paris, by Marteroy & Bonnel, 1932[74]

		- [International Style](/source/International_Style_(architecture)) – [Unité d'habitation](/source/Unit%C3%A9_d'habitation), [Marseille](/source/Marseille), France, by [Le Corbusier](/source/Le_Corbusier), 1952[75]

		- [Mid-century modern](/source/Mid-century_modern) – [Marshmallow sofa](/source/Marshmallow_sofa), by [Irving Harper](/source/Irving_Harper) for George Nelson Associates, 1956, metal frame with round discs of covered foam, unknown location[76]

		- [Fusterlandia](https://en.wikipedia.org/w/index.php?title=Fusterlandia&action=edit&redlink=1), [Havana, Cuba](/source/Havana%2C_Cuba), by [José Rodríguez Fuster](/source/Jos%C3%A9_Rodr%C3%ADguez_Fuster), 1975[77]

		- [Dona i Ocell](/source/Dona_i_Ocell), by [Joan Miró](/source/Joan_Mir%C3%B3), 1983, glazed tile mosaic, [Barcelona](/source/Barcelona), Spain[78]

### Postmodernism

The use of vivid colours continued with [Postmodernism](/source/Postmodernism), in the 1970s, 1980s and 1990s. Compared to [Mid-century modern](/source/Mid-century_modern) objects, which often had intense colours but were [monochrome](/source/Monochrome), Postmodern design and architecture stand out through the use of a variety of colours on single objects or buildings. [Postmodern](/source/Postmodern_architecture) architects working with bold colors included [Robert Venturi](/source/Robert_Venturi) ([Allen Memorial Art Museum](/source/Allen_Memorial_Art_Museum) addition; Best Company Warehouse), [Michael Graves](/source/Michael_Graves) ([Snyderman House](/source/Snyderman_House); Humana Building), and [James Stirling](/source/James_Stirling_(architect)) ([Neue Staatsgalerie](/source/Neue_Staatsgalerie); [Arthur M. Sackler Museum](/source/Arthur_M._Sackler_Museum)), among others. In the UK, [John Outram](/source/John_Outram) created numerous bright and colourful buildings throughout the 1980s and 90s, including the "Temple of Storms" pumping station. Aside from architecture, bright colours were present on everything, from furniture to textiles and posters. Neon greens and yellows were popular in product design, as were fluorescent tones of scarlet, pink, and orange used together. Injection-moulded plastics gave designers new creative freedom, making it possible to mass-produce almost any shape (and colour) quickly and cheaply.[79]

An artist well known for her polychrome artworks is [Niki de Saint Phalle](/source/Niki_de_Saint_Phalle), who produced many sculptures painted in bold colours. She devoted the later decades of her life to building a live-in sculpture park in [Tuscany](/source/Tuscany), the [Tarot Garden](/source/Tarot_Garden), with artworks covered in vibrant colourful mosaics.[80]

		- Proust armchair, by [Studio Alchimia](/source/Studio_Alchimia), 1978, wood and fabric, [Indianapolis Museum of Art](/source/Indianapolis_Museum_of_Art), [Indianapolis](/source/Indianapolis), USA[81]

		- Sheraton chair with applied decoration, by [Robert Venturi](/source/Robert_Venturi) for [Knoll](/source/Knoll%2C_Inc.), 1978–1984, bent laminated wood, [Milwaukee Art Museum](/source/Milwaukee_Art_Museum), [Milwaukee](/source/Milwaukee), USA[82]

		- Plaza dressing table and stool, by [Michael Graves](/source/Michael_Graves) for the [Memphis Group](/source/Memphis_Group), 1981, painted wood, natural rosehips, mirrors, and bulbs, [Museum of Decorative Arts](/source/Mus%C3%A9e_des_Arts_d%C3%A9coratifs%2C_Paris), Paris

		- Carlton Bookcase, by [Ettore Sottsass](/source/Ettore_Sottsass) for the Memphis Group, 1981, wood veneer and plastic laminate, Museum of Decorative Arts, Paris

		- Super Lamp, by [Martine Bedin](/source/Martine_Bedin) for the Memphis Group, 1981, glazed stoneware, rubber and chrome-plated steel, [Museum of Decorative Arts](/source/Kunstgewerbemuseum_Berlin), [Berlin](/source/Berlin), Germany

		- [Neue Staatsgalerie](/source/Neue_Staatsgalerie), [Stuttgart](/source/Stuttgart), Germany, by [James Stirling](/source/James_Stirling_(architect)), 1984[83]

		- Louis XVI, lowboy, by Robert Venturi for Arc International, c. 1985, laminated wood, Indianapolis Museum of Art[84]

		- [Isle of Dogs Pumping Station](/source/Isle_of_Dogs_Pumping_Station), London, [John Outram](/source/John_Outram), 1988[85]

		- [No 1 Poultry](/source/No_1_Poultry), London, by [James Stirling](/source/James_Stirling_(architect)), designed in 1988 but built in 1997[86]

		- Oudhof (Rokin no. 99), [Amsterdam](/source/Amsterdam), Netherlands, by [Mart van Schijndel](https://en.wikipedia.org/w/index.php?title=Mart_van_Schijndel&action=edit&redlink=1) [[nl](https://nl.wikipedia.org/wiki/Mart_van_Schijndel)], 1988–1990[87]

		- Main hall of the [Judge Business School](/source/Cambridge_Judge_Business_School), [University of Cambridge](/source/University_of_Cambridge), England, by John Outram, 1995[88]

		- Duncan Hall, [Rice University](/source/Rice_University), US, by [John Outram](/source/John_Outram), 1996[89]

		- L'Ange Protecteur, by [Niki de Saint Phalle](/source/Niki_de_Saint_Phalle), 1997, unknown materials, [Zürich Hauptbahnhof](/source/Z%C3%BCrich_Hauptbahnhof), [Zürich](/source/Z%C3%BCrich), Switzerland

### United States

Polychrome building facades later rose in popularity as a way of highlighting certain trim features in Victorian and [Queen Anne](/source/Queen_Anne_Style_architecture) [architecture](/source/Architecture) in the [United States](/source/United_States). The rise of the modern paint industry following the [American Civil War](/source/American_Civil_War) also helped to fuel the (sometimes extravagant) use of multiple colors.

Early 20th Century polychrome pediment, [Philadelphia Museum of Art](/source/Philadelphia_Museum_of_Art) (1928)

Water pot, Acoma Pueblo, c. 1889 – c. 1903, earthenware decorated with slip – De Young Museum

The polychrome facade style faded with the rise of the 20th century's revival movements, which stressed classical colors applied in restrained fashion and, more importantly, with the birth of modernism, which advocated clean, unornamented facades rendered in white stucco or paint. Polychromy reappeared with the flourishing of the preservation movement and its embrace of (what had previously been seen as) the excesses of the Victorian era and in [San Francisco, California](/source/San_Francisco%2C_California) in the 1970s to describe its abundant late-nineteenth-century houses. These earned the endearment '[Painted Ladies](/source/Painted_Ladies)', a term that in modern times is considered [kitsch](/source/Kitsch) when it is applied to describe all Victorian houses that have been painted with period colors.

[John Joseph Earley](/source/John_Joseph_Earley) (1881–1945) developed a "polychrome" process of concrete slab construction and ornamentation that was admired across America. In the Washington, D.C. metropolitan area, his products graced a variety of buildings – all formed by the staff of the Earley Studio in [Rosslyn, Virginia](/source/Rosslyn%2C_Virginia). Earley's [Polychrome Historic District](/source/Polychrome_Historic_District) houses in [Silver Spring, Maryland](/source/Silver_Spring%2C_Maryland) were built in the mid-1930s. The concrete panels were pre-cast with colorful stones and shipped to the lot for on-site assembly. Earley wanted to develop a higher standard of affordable housing after the Depression, but only a handful of the houses were built before he died; written records of his concrete casting techniques were destroyed in a fire. Less well-known, but just as impressive, is the Dr. Fealy Polychrome House that Earley built atop a hill in Southeast Washington, D.C. overlooking the city. His uniquely designed polychrome houses were outstanding among prefabricated houses in the country, appreciated for their Art Deco ornament and superb craftsmanship.

Native American ceramic artists, in particular those in the [Southwest](/source/Southwestern_United_States), produced polychrome pottery from the time of the [Mogollon cultures](/source/Mogollon_culture) and [Mimbres peoples](/source/Mogollon_culture#Mimbres_branch) to contemporary times.[90]

## 21st century

In the 2000s, the art of designing [art toys](/source/Art_toys) was taking off. Multiple monochrome or polychrome vinyl figurines were produced during this period, and are still produced during the 2020s. A few artists who designed vinyl toys include Joe Ledbetter, [Takashi Murakami](/source/Takashi_Murakami), Flying Förtress, and CoonOne1.

During the 2010s and the early 2020s, a new interest for [Postmodern architecture](/source/Postmodern_architecture) and design appeared. One of the causes were memorial exhibitions that presented the style, the most comprehensive and influential one being held at the [Victoria & Albert Museum](/source/Victoria_%26_Albert_Museum) in London in 2011, called *[Postmodernism: Style and Subversion 1970–1990](/source/Postmodernism%3A_Style_and_Subversion_1970%E2%80%931990)*. The [Salone del Mobile](/source/Salone_del_Mobile) in [Milan](/source/Milan) since 2014 showcased revivals, reinterpretations, and new postmodern-influenced designs.[91] Because of this, multiple funky polychrome buildings were erected, like the House for Essex, [Wrabness](/source/Wrabness), [Essex](/source/Essex), the UK, by FAT and [Grayson Perry](/source/Grayson_Perry), 2014[92] or the Miami Museum Garage, [Miami](/source/Miami), USA, by WORKac, 2018.[93]

Besides revivals of Postmodernism, another key design movement of the early 2020s is [Maximalism](/source/Maximalism). Since its philosophy can be summarized as "more is more", contrasting with the minimalist motto "[less is more](/source/Less_is_more_(architecture))", it is characterized by a wide use of intense colours and patterns.

		- Roof of the Santa Caterina Market, [Barcelona](/source/Barcelona), Spain, by [Benedetta Tagliabue](/source/Benedetta_Tagliabue) and [Enric Miralles](/source/Enric_Miralles), 2004[94]

		- Buildings in [El Alto](/source/El_Alto), Bolivia, by [Freddy Mamani (architect)](/source/Freddy_Mamani_(architect)), after 2005[95]

		- House for Essex, [Wrabness](/source/Wrabness), [Essex](/source/Essex), the UK, by FAT and [Grayson Perry](/source/Grayson_Perry), 2014[96]

		- Xiafu Activity Center, [Xiafu](https://en.wikipedia.org/w/index.php?title=Xiafu&action=edit&redlink=1), Taiwan, by IMO Architecture + Design and JC Cheng & Associates, Architects & Planners, 2017[97]

		- [Memphis Group](/source/Memphis_Group)-inspired mural on a 7-storey building, [Brooklyn](/source/Brooklyn), NYC, by [Camille Walala](/source/Camille_Walala), probably 2018, mural on a brick wall

		- Miami Museum Garage, [Miami](/source/Miami), USA, by WORKac, 2018[98]

		- The Colour Palace, [Dulwich Picture Gallery](/source/Dulwich_Picture_Gallery), London, by Pricegore and [Yinka Ilori](/source/Yinka_Ilori), 2019[99]

		- [Biomuseo](/source/Biomuseo), [Panama City](/source/Panama_City), Panama, by [Frank Gehry](/source/Frank_Gehry), partially opened in 2014, completed in 2019[100]

		- Presence in Hormoz 02, [Hormoz Island](/source/Hormoz_Island), [Hormozgan](/source/Hormozgan), Iran, by [ZAV Architects](/source/ZAV_Architects), 2020[101]

## Polychromatic light

The term **polychromatic** means having several colors. It is used to describe [light](/source/Light) that exhibits more than one [color](/source/Color), which also means that it contains radiation of more than one [wavelength](/source/Wavelength). The study of polychromatics is particularly useful in the production of [diffraction gratings](/source/Diffraction_grating).

## See also

- [Encarnación](/source/Encarnaci%C3%B3n_(sculpting)) Spanish form of polychrome sculpture

- [Monochrome](/source/Monochrome) (opposite of polychrome)

## Notes

1. **[^](#cite_ref-1)** Harris, Cyril M., ed. *Illustrated Dictionary of Historic Architecture*, Dover Publications, New York, c. 1977, 1983 edition

1. **[^](#cite_ref-2)** Vinzenz Brinkmann, Renée Dreyfus, Ulrike Koch-Brinkmann, John Camp, Heinrich Piening, Oliver Primavesi (2017). *GODS IN COLOR Polychromy in the Ancient World*. Fine Arts Museums of San Francisco and DelMonico Books. p. 65. [ISBN](/source/ISBN_(identifier)) [978-3-7913-5707-2](https://en.wikipedia.org/wiki/Special:BookSources/978-3-7913-5707-2).{{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: CS1 maint: multiple names: authors list ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_multiple_names:_authors_list))

1. **[^](#cite_ref-3)** van Lemmen, Hans (2013). *5000 Years of Tiles*. The British Museum Press. p. 17. [ISBN](/source/ISBN_(identifier)) [978-0-7141-5099-4](https://en.wikipedia.org/wiki/Special:BookSources/978-0-7141-5099-4).

1. **[^](#cite_ref-FOOTNOTEFortenberry20176_4-0)** [Fortenberry 2017](#CITEREFFortenberry2017), p. 6.

1. **[^](#cite_ref-5)** Vinzenz Brinkmann, Renée Dreyfus, Ulrike Koch-Brinkmann, John Camp, Heinrich Piening, Oliver Primavesi (2017). *GODS IN COLOR Polychromy in the Ancient World*. Fine Arts Museums of San Francisco and DelMonico Books. p. 62 & 63. [ISBN](/source/ISBN_(identifier)) [978-3-7913-5707-2](https://en.wikipedia.org/wiki/Special:BookSources/978-3-7913-5707-2).{{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: CS1 maint: multiple names: authors list ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_multiple_names:_authors_list))

1. **[^](#cite_ref-6)** Wilkinson, Toby (2008). *Dictionary of ANCIENT EGYPT*. Thames and Hudson. p. 55. [ISBN](/source/ISBN_(identifier)) [978-0-500-20396-5](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-20396-5).

1. **[^](#cite_ref-7)** Rose Marie, Rainer Hagen (2022). *EGYPT – People Gods Pharaohs*. Taschen. p. 242. [ISBN](/source/ISBN_(identifier)) [978-3-8365-2054-6](https://en.wikipedia.org/wiki/Special:BookSources/978-3-8365-2054-6).

1. **[^](#cite_ref-8)** ["temple-relief"](https://www.britishmuseum.org/collection/object/Y_EA1450_4). *britishmuseum.org*. Retrieved May 1, 2023.

1. **[^](#cite_ref-9)** [C. Michael Hogan, *Knossos Fieldnotes*, The Modern Antiquarian (2007)](https://themodernantiquarian.com/site/10857/phaistos.html#fieldnotes)

1. **[^](#cite_ref-10)** Siotto, Eliana; Cignoni, Paolo (July 1, 2024). ["Digital methods and techniques for reconstructing and visualizing ancient 3D polychromy – An overview"](https://www.sciencedirect.com/science/article/pii/S1296207424001006). *Journal of Cultural Heritage*. **68**: 59–85. [doi](/source/Doi_(identifier)):[10.1016/j.culher.2024.05.002](https://doi.org/10.1016%2Fj.culher.2024.05.002). [ISSN](/source/ISSN_(identifier)) [1296-2074](https://search.worldcat.org/issn/1296-2074).

1. **[^](#cite_ref-FOOTNOTEJones201437_11-0)** [Jones 2014](#CITEREFJones2014), p. 37. sfn error: no target: CITEREFJones2014 ([help](https://en.wikipedia.org/wiki/Category:Harv_and_Sfn_template_errors))

1. **[^](#cite_ref-12)** Vinzenz Brinkmann, Renée Dreyfus, Ulrike Koch-Brinkmann, John Camp, Heinrich Piening, Oliver Primavesi (2017). *GODS IN COLOR Polychromy in the Ancient World*. Fine Arts Museums of San Francisco and DelMonico Books. p. 144. [ISBN](/source/ISBN_(identifier)) [978-3-7913-5707-2](https://en.wikipedia.org/wiki/Special:BookSources/978-3-7913-5707-2).{{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: CS1 maint: multiple names: authors list ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_multiple_names:_authors_list))

1. **[^](#cite_ref-FOOTNOTEFortenberry201740_13-0)** [Fortenberry 2017](#CITEREFFortenberry2017), p. 40.

1. **[^](#cite_ref-MCS_14-0)** Psarra, I. ["Ministry of Culture and Sports: Mieza, the so-called Macedonian Tomb of the Palmettes"](https://web.archive.org/web/20200603190037/http://odysseus.culture.gr/h/2/eh251.jsp?obj_id=874). *odysseus.culture.gr*. Archived from [the original](http://odysseus.culture.gr/h/2/eh251.jsp?obj_id=874) on June 3, 2020. Retrieved April 14, 2019.

1. **[^](#cite_ref-15)** Virginia, L. Campbell (2017). *Ancient Room – Pocket Museum*. Thames & Hudson. p. 199. [ISBN](/source/ISBN_(identifier)) [978-0-500-51959-2](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-51959-2).

1. **[^](#cite_ref-16)** Virginia, L. Campbell (2017). *Ancient Room – Pocket Museum*. Thames & Hudson. p. 199. [ISBN](/source/ISBN_(identifier)) [978-0-500-51959-2](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-51959-2).

1. ^ [***a***](#cite_ref-FOOTNOTEBergdoll2000176_17-0) [***b***](#cite_ref-FOOTNOTEBergdoll2000176_17-1) [Bergdoll 2000](#CITEREFBergdoll2000), pp. 176.

1. **[^](#cite_ref-FOOTNOTEFortenberry201775,_76,_87,_93_18-0)** [Fortenberry 2017](#CITEREFFortenberry2017), p. 75, 76, 87, 93.

1. **[^](#cite_ref-FOOTNOTEFortenberry201775_19-0)** [Fortenberry 2017](#CITEREFFortenberry2017), p. 75.

1. **[^](#cite_ref-FOOTNOTEFortenberry201776_20-0)** [Fortenberry 2017](#CITEREFFortenberry2017), p. 76.

1. **[^](#cite_ref-21)** ["Figure"](https://www.britishmuseum.org/collection/object/A_1930-0719-62). *britishmuseum.org*. Retrieved September 17, 2023.

1. **[^](#cite_ref-22)** Katz, Melissa R. *[Architectural Polychromy and the Painters' Trade in Medieval Spain](https://www.jstor.org/stable/767201)*. Gesta. Vol. 41, No. 1, Artistic Identity in the Late Middle Ages (2002), pp. 3–14

1. **[^](#cite_ref-23)** Benton, Janetta Rebold (2022). *The History of Western Art*. Thames & Hudson. p. 60. [ISBN](/source/ISBN_(identifier)) [978-0-500-29665-3](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-29665-3).

1. **[^](#cite_ref-24)** Benton, Janetta Rebold (2022). *The History of Western Art*. Thames & Hudson. p. 61. [ISBN](/source/ISBN_(identifier)) [978-0-500-29665-3](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-29665-3).

1. **[^](#cite_ref-25)** Melvin, Jeremy (2006). *…isme Să Înțelegem Stilurile Arhitecturale* (in Romanian). p. 39. [ISBN](/source/ISBN_(identifier)) [973-717-075-X](https://en.wikipedia.org/wiki/Special:BookSources/973-717-075-X).

1. **[^](#cite_ref-FOOTNOTEFortenberry2017150_26-0)** [Fortenberry 2017](#CITEREFFortenberry2017), p. 150.

1. **[^](#cite_ref-FOOTNOTEFortenberry2017154_27-0)** [Fortenberry 2017](#CITEREFFortenberry2017), p. 154.

1. **[^](#cite_ref-28)** Irving, Mark (2019). *1001 BUILDINGS You Must See Before You Die*. Cassel Illustrated. p. 108. [ISBN](/source/ISBN_(identifier)) [978-1-78840-176-0](https://en.wikipedia.org/wiki/Special:BookSources/978-1-78840-176-0).

1. **[^](#cite_ref-29)** Hubert Faensen, Vladimir Ivanov (1981). *Arhitectura Rusă Veche* (in Romanian). Editura Meridiane.

1. **[^](#cite_ref-30)** Listri, Massimo (2020). *The World's Most Beautiful Libraries*. Taschen. p. 346. [ISBN](/source/ISBN_(identifier)) [978-3-8365-3524-3](https://en.wikipedia.org/wiki/Special:BookSources/978-3-8365-3524-3).

1. **[^](#cite_ref-31)** Ludwig, Bogna. 2022. The Polychrome in Expression of Baroque Façade Architecture. Arts 11: 113. [https://doi.org/10.3390/arts](https://doi.org/10.3390/arts) 11060113

1. **[^](#cite_ref-32)** Glancey, Jonathan (2017). *Architecture – A Visual Guide*. DK. p. 257. [ISBN](/source/ISBN_(identifier)) [978-0-2412-8843-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-2412-8843-6).

1. **[^](#cite_ref-33)** Rosenberg, Sandrine (2019). *Château de Versailles – Petit Inventaire Ludique et Spectaculaire de "La Plus Belle Maison du Monde"* (in French). Chêne. p. 62. [ISBN](/source/ISBN_(identifier)) [978-2-81230-351-7](https://en.wikipedia.org/wiki/Special:BookSources/978-2-81230-351-7).

1. **[^](#cite_ref-34)** Martin, Henry (1927). *Le Style Louis XIV* (in French). Flammarion. p. 31.

1. **[^](#cite_ref-35)** Florea, Vasile (2016). *Arta Românească de la Origini până în Prezent* (in Romanian). Litera. p. 244. [ISBN](/source/ISBN_(identifier)) [978-606-33-1053-9](https://en.wikipedia.org/wiki/Special:BookSources/978-606-33-1053-9).

1. **[^](#cite_ref-36)** ["Terme : l'Eté sous les traits de Cérès"](https://collections.louvre.fr/en/ark:/53355/cl010109909). *collections.louvre.fr* (in French). Retrieved June 11, 2023.

1. **[^](#cite_ref-37)** Watkin, David (2022). *A History of Western Architecture*. Laurence King. p. 331. [ISBN](/source/ISBN_(identifier)) [978-1-52942-030-2](https://en.wikipedia.org/wiki/Special:BookSources/978-1-52942-030-2).

1. **[^](#cite_ref-38)** Borngässer, Barbara (2020). *POTSDAM – Art, Architecture and Landscape*. Vista Point. p. 94. [ISBN](/source/ISBN_(identifier)) [978-3-96141-579-3](https://en.wikipedia.org/wiki/Special:BookSources/978-3-96141-579-3).

1. **[^](#cite_ref-FOOTNOTEJones2014238_39-0)** [Jones 2014](#CITEREFJones2014), p. 238. sfn error: no target: CITEREFJones2014 ([help](https://en.wikipedia.org/wiki/Category:Harv_and_Sfn_template_errors))

1. **[^](#cite_ref-40)** Honour, Hugh; Fleming, John (2009). *A World History of Art – Revised Seventh Edition*. Laurence King. p. 619. [ISBN](/source/ISBN_(identifier)) [978-1-85669-584-8](https://en.wikipedia.org/wiki/Special:BookSources/978-1-85669-584-8).

1. **[^](#cite_ref-Fastighet_41-0)** ["Kina slott, Drottningholm"](http://www.sfv.se/fastigheter/sverige/stockholms-lan-ab/slott/drottningholm/kina-slott-drottningholm/). *www.sfv.se*. National Property Board of Sweden. Retrieved August 2, 2014.{{[cite web](https://en.wikipedia.org/wiki/Template:Cite_web)}}: CS1 maint: deprecated archival service ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_deprecated_archival_service))

1. **[^](#cite_ref-42)** ["Ground Floor"](https://www.inveraray-castle.com/castle/ground-floor). *inveraray-castle.com*. Retrieved April 23, 2023.

1. **[^](#cite_ref-43)** Andrew, Graham-Dixon (2023). *art – The Definitive Visual History*. Dorling Kindersley Limited. p. 251. [ISBN](/source/ISBN_(identifier)) [978-0-2416-2903-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-2416-2903-1).

1. **[^](#cite_ref-44)** Watkin, David (2022). *A History of Western Architecture*. Laurence King. p. 503. [ISBN](/source/ISBN_(identifier)) [978-1-52942-030-2](https://en.wikipedia.org/wiki/Special:BookSources/978-1-52942-030-2).

1. **[^](#cite_ref-45)** Watkin, David (2022). *A History of Western Architecture*. Laurence King. p. 509. [ISBN](/source/ISBN_(identifier)) [978-1-52942-030-2](https://en.wikipedia.org/wiki/Special:BookSources/978-1-52942-030-2).

1. **[^](#cite_ref-46)** Irving, Mark (2019). *1001 BUILDINGS You Must See Before You Die*. Cassel Illustrated. p. 315. [ISBN](/source/ISBN_(identifier)) [978-1-78840-176-0](https://en.wikipedia.org/wiki/Special:BookSources/978-1-78840-176-0).

1. **[^](#cite_ref-47)** ["PAIRE DE VASES " FUSEAU ""](https://www.amisdulouvre.fr/acquisitions/paire-vases-fuseau). *amisdulouvre.fr*. Retrieved May 10, 2023.

1. **[^](#cite_ref-48)** Watkin, David (2022). *A History of Western Architecture*. Laurence King. p. 443. [ISBN](/source/ISBN_(identifier)) [978-1-52942-030-2](https://en.wikipedia.org/wiki/Special:BookSources/978-1-52942-030-2).

1. **[^](#cite_ref-49)** Greenhalgh, Paul (2021). *Ceramic – Art and Civilisation*. Bloomsbury. p. 296. [ISBN](/source/ISBN_(identifier)) [978-1-4742-3970-7](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4742-3970-7).

1. **[^](#cite_ref-50)** Greenhalgh, Paul (2021). *Ceramic – Art and Civilisation*. Bloomsbury. pp. 287, 288, 296. [ISBN](/source/ISBN_(identifier)) [978-1-4742-3970-7](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4742-3970-7).

1. **[^](#cite_ref-51)** Bresc-Bautier, Geneviève (2008). *The Louvre, a Tale of a Palace*. Musée du Louvre Éditions. p. 122. [ISBN](/source/ISBN_(identifier)) [978-2-7572-0177-0](https://en.wikipedia.org/wiki/Special:BookSources/978-2-7572-0177-0).

1. **[^](#cite_ref-52)** Bresc-Bautier, Geneviève (2008). *The Louvre, a Tale of a Palace*. Musée du Louvre Éditions. p. 122. [ISBN](/source/ISBN_(identifier)) [978-2-7572-0177-0](https://en.wikipedia.org/wiki/Special:BookSources/978-2-7572-0177-0).

1. **[^](#cite_ref-53)** O'Brien, Charles (2017). *Houses – An Architectural Guide*. PEVSNER. pp. 134, 138, 139. [ISBN](/source/ISBN_(identifier)) [9780300233421](https://en.wikipedia.org/wiki/Special:BookSources/9780300233421).

1. **[^](#cite_ref-FOOTNOTEJones2014286_54-0)** [Jones 2014](#CITEREFJones2014), p. 286. sfn error: no target: CITEREFJones2014 ([help](https://en.wikipedia.org/wiki/Category:Harv_and_Sfn_template_errors))

1. **[^](#cite_ref-55)** O'Brien, Charles (2017). *Houses – An Architectural Guide*. PEVSNER. p. 139. [ISBN](/source/ISBN_(identifier)) [9780300233421](https://en.wikipedia.org/wiki/Special:BookSources/9780300233421).

1. **[^](#cite_ref-56)** ["Maison"](https://www.pop.culture.gouv.fr/notice/merimee/IA00075828). *pop.culture.gouv.fr*. Retrieved September 15, 2023.

1. **[^](#cite_ref-57)** Mariana Celac, Octavian Carabela and Marius Marcu-Lapadat (2017). *Bucharest Architecture – an annotated guide*. Ordinul Arhitecților din România. p. 80. [ISBN](/source/ISBN_(identifier)) [978-973-0-23884-6](https://en.wikipedia.org/wiki/Special:BookSources/978-973-0-23884-6).

1. **[^](#cite_ref-58)** ["Arh. Ion Socolescu"](https://ionsocolescu.blogspot.com/2013/07/traseu-pietonal-1-casa-ionescu-gion-1889.html). *ionsocolescu.blogspot.com*. Retrieved April 30, 2023.

1. **[^](#cite_ref-59)** Mariana Celac, Octavian Carabela and Marius Marcu-Lapadat (2017). *Bucharest Architecture – an annotated guide*. Ordinul Arhitecților din România. p. 90. [ISBN](/source/ISBN_(identifier)) [978-973-0-23884-6](https://en.wikipedia.org/wiki/Special:BookSources/978-973-0-23884-6).

1. **[^](#cite_ref-60)** Mariana Celac, Octavian Carabela and Marius Marcu-Lapadat (2017). *Bucharest Architecture – an annotated guide*. Ordinul Arhitecților din România. p. 80. [ISBN](/source/ISBN_(identifier)) [978-973-0-23884-6](https://en.wikipedia.org/wiki/Special:BookSources/978-973-0-23884-6).

1. **[^](#cite_ref-61)** Mariana Celac, Octavian Carabela and Marius Marcu-Lapadat (2017). *Bucharest Architecture – an annotated guide*. Ordinul Arhitecților din România. p. 80. [ISBN](/source/ISBN_(identifier)) [978-973-0-23884-6](https://en.wikipedia.org/wiki/Special:BookSources/978-973-0-23884-6).

1. **[^](#cite_ref-62)** ["Boulangerie"](https://www.pop.culture.gouv.fr/notice/merimee/PA00086525). *pop.culture.gouv.fr*. Retrieved September 17, 2023.

1. **[^](#cite_ref-FOOTNOTEDuncan199443_63-0)** [Duncan 1994](#CITEREFDuncan1994), p. 43. sfn error: no target: CITEREFDuncan1994 ([help](https://en.wikipedia.org/wiki/Category:Harv_and_Sfn_template_errors))

1. **[^](#cite_ref-64)** Greenhalgh, Paul (2019). *Ceramic – Art and Civilization*. Bloomsbury. p. 323. [ISBN](/source/ISBN_(identifier)) [978-1-4742-3970-7](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4742-3970-7).

1. **[^](#cite_ref-65)** ["Immeuble Les Chardons"](https://www.pop.culture.gouv.fr/notice/merimee/PA00086682). *pop.culture.gouv.fr*. Retrieved April 10, 2022.

1. **[^](#cite_ref-66)** *Treasures of Ukraine – A Nation's Cultural Heritage*. Thames & Hudson. 2022. p. 168. [ISBN](/source/ISBN_(identifier)) [978-0-500-02603-8](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-02603-8).

1. **[^](#cite_ref-67)** Wilhide, Elizabeth (2022). *Design – The Whole Story*. Thames & Hudson. p. 105. [ISBN](/source/ISBN_(identifier)) [978-0-500-29687-5](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-29687-5).

1. **[^](#cite_ref-68)** Marinache, Oana (2015). *Ernest Donaud – visul liniei* (in Romanian). Editura Istoria Artei. p. 79. [ISBN](/source/ISBN_(identifier)) [978-606-94042-8-7](https://en.wikipedia.org/wiki/Special:BookSources/978-606-94042-8-7).

1. **[^](#cite_ref-69)** Criticos, Mihaela (2009). *Art Deco sau Modernismul Bine Temperat – Art Deco or Well-Tempered Modernism* (in Romanian and English). SIMETRIA. pp. 68, 72. [ISBN](/source/ISBN_(identifier)) [978-973-1872-03-2](https://en.wikipedia.org/wiki/Special:BookSources/978-973-1872-03-2).

1. **[^](#cite_ref-70)** *The Definitive Visual History of Design*. DK Limited. 2015. pp. 167, 172, 215, 223, 233. [ISBN](/source/ISBN_(identifier)) [978-0-2411-8565-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-2411-8565-0).

1. **[^](#cite_ref-71)** van Lemmen, Hans (2013). *5000 Years of Tiles*. The British Museum Press. p. 238. [ISBN](/source/ISBN_(identifier)) [978-0-7141-5099-4](https://en.wikipedia.org/wiki/Special:BookSources/978-0-7141-5099-4).

1. **[^](#cite_ref-72)** Texier, Simon (2022). *Architectures Art Déco – Paris et Environs – 100 Bâtiments Remarquable*. Parigramme. p. 37. [ISBN](/source/ISBN_(identifier)) [978-2-37395-136-3](https://en.wikipedia.org/wiki/Special:BookSources/978-2-37395-136-3).

1. **[^](#cite_ref-73)** Criticos, Mihaela (2022). *București Oraș Art Deco* (in Romanian and English). igloomedia. p. 183. [ISBN](/source/ISBN_(identifier)) [978-606-8026-90-9](https://en.wikipedia.org/wiki/Special:BookSources/978-606-8026-90-9).

1. **[^](#cite_ref-74)** Criticos, Mihaela (2009). *Art Deco sau Modernismul Bine Temperat – Art Deco or Well-Tempered Modernism* (in Romanian and English). SIMETRIA. p. 227. [ISBN](/source/ISBN_(identifier)) [978-973-1872-03-2](https://en.wikipedia.org/wiki/Special:BookSources/978-973-1872-03-2).

1. **[^](#cite_ref-75)** Glancey, Jonathan (2017). *Architecture – A Visual Guide*. DK. p. 376. [ISBN](/source/ISBN_(identifier)) [978-0-2412-8843-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-2412-8843-6).

1. **[^](#cite_ref-76)** *The Definitive Visual History of Design*. DK Limited. 2015. p. 215. [ISBN](/source/ISBN_(identifier)) [978-0-2411-8565-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-2411-8565-0).

1. **[^](#cite_ref-77)** Banks, Grace (2022). *Art Escapes – Hidden Art Experiences Outside the Museum*. gestalten. p. 19. [ISBN](/source/ISBN_(identifier)) [978-3-96704-052-4](https://en.wikipedia.org/wiki/Special:BookSources/978-3-96704-052-4).

1. **[^](#cite_ref-78)** van Lemmen, Hans (2013). *5000 Years of Tiles*. The British Museum Press. p. 256. [ISBN](/source/ISBN_(identifier)) [978-0-7141-5099-4](https://en.wikipedia.org/wiki/Special:BookSources/978-0-7141-5099-4).

1. **[^](#cite_ref-79)** *The Definitive Visual History of Design*. DK Limited. 2015. pp. 260, 261. [ISBN](/source/ISBN_(identifier)) [978-0-2411-8565-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-2411-8565-0).

1. **[^](#cite_ref-80)** Hessel, Katy (2022). *The Story off Art without Men*. Penguin Random House. p. 305. [ISBN](/source/ISBN_(identifier)) [9781529151145](https://en.wikipedia.org/wiki/Special:BookSources/9781529151145).

1. **[^](#cite_ref-81)** Fiell, Charlotte & Peter (2023). *Design of the 20th Century*. Taschen. p. 468. [ISBN](/source/ISBN_(identifier)) [978-3-8365-4106-0](https://en.wikipedia.org/wiki/Special:BookSources/978-3-8365-4106-0).

1. **[^](#cite_ref-82)** Gura, Judith (2017). *Postmodern Design Complete*. Thames & Hudson. p. 53. [ISBN](/source/ISBN_(identifier)) [978-0-500-51914-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-51914-1).

1. **[^](#cite_ref-83)** Hall, William (2019). *Stone*. Phaidon. p. 79. [ISBN](/source/ISBN_(identifier)) [978-0-7148-7925-3](https://en.wikipedia.org/wiki/Special:BookSources/978-0-7148-7925-3).

1. **[^](#cite_ref-84)** Gura, Judith (2017). *Postmodern Design Complete*. Thames & Hudson. p. 121. [ISBN](/source/ISBN_(identifier)) [978-0-500-51914-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-51914-1).

1. **[^](#cite_ref-85)** Gura, Judith (2017). *Postmodern Design Complete*. Thames & Hudson. p. 121. [ISBN](/source/ISBN_(identifier)) [978-0-500-51914-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-51914-1).

1. **[^](#cite_ref-86)** Gura, Judith (2017). *Postmodern Design Complete*. Thames & Hudson. p. 141. [ISBN](/source/ISBN_(identifier)) [978-0-500-51914-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-51914-1).

1. **[^](#cite_ref-87)** Lizzie Crook (February 14, 2020). ["Less is a Bore book celebrates "postmodern architecture in all its forms""](https://www.dezeen.com/2020/02/14/less-bore-book-celebrates-postmodern-architecture-forms/). *dezeen.com*. Retrieved June 25, 2023.

1. **[^](#cite_ref-88)** Gura, Judith (2017). *Postmodern Design Complete*. Thames & Hudson. p. 120. [ISBN](/source/ISBN_(identifier)) [978-0-500-51914-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-51914-1).

1. **[^](#cite_ref-89)** Lizzie Crook (February 14, 2020). ["Less is a Bore book celebrates "postmodern architecture in all its forms""](https://www.dezeen.com/2020/02/14/less-bore-book-celebrates-postmodern-architecture-forms/). *dezeen.com*. Retrieved June 25, 2023.

1. **[^](#cite_ref-NM_Archaeology_90-0)** Center for New Mexico Archaeology. ["The Classification System"](https://ceramics.nmarchaeology.org/index/the-classification-system). Office of Archaeological Studies, Pottery Typology Project. Retrieved December 23, 2020.

1. **[^](#cite_ref-91)** Gura, Judith (2017). *Postmodern Design Complete*. Thames & Hudson. p. 439. [ISBN](/source/ISBN_(identifier)) [978-0-500-51914-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-51914-1).

1. **[^](#cite_ref-92)** Watkin, David (2022). *A History of Western Architecture*. Laurence King. p. 722. [ISBN](/source/ISBN_(identifier)) [978-1-52942-030-2](https://en.wikipedia.org/wiki/Special:BookSources/978-1-52942-030-2).

1. **[^](#cite_ref-93)** Galilee, Beatrice (2021). *radical architecturre of the future*. Phaidon. p. 192. [ISBN](/source/ISBN_(identifier)) [978-1-83866-123-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-83866-123-6).

1. **[^](#cite_ref-94)** Irving, Mark (2019). *1001 BUILDINGS You Must See Before You Die*. Cassel Illustrated. p. 875. [ISBN](/source/ISBN_(identifier)) [978-1-78840-176-0](https://en.wikipedia.org/wiki/Special:BookSources/978-1-78840-176-0).

1. **[^](#cite_ref-95)** Galilee, Beatrice (2021). *radical architecturre of the future*. Phaidon. p. 30. [ISBN](/source/ISBN_(identifier)) [978-1-83866-123-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-83866-123-6).

1. **[^](#cite_ref-96)** Watkin, David (2022). *A History of Western Architecture*. Laurence King. p. 722. [ISBN](/source/ISBN_(identifier)) [978-1-52942-030-2](https://en.wikipedia.org/wiki/Special:BookSources/978-1-52942-030-2).

1. **[^](#cite_ref-97)** *Architizer The World's Best Architecture*. Phaidon. 2020. p. 191. [ISBN](/source/ISBN_(identifier)) [978-1-83866-066-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-83866-066-6).

1. **[^](#cite_ref-98)** Galilee, Beatrice (2021). *radical architecturre of the future*. Phaidon. p. 192. [ISBN](/source/ISBN_(identifier)) [978-1-83866-123-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-83866-123-6).

1. **[^](#cite_ref-99)** Watkin, David (2022). *A History of Western Architecture*. Laurence King. p. 722. [ISBN](/source/ISBN_(identifier)) [978-1-52942-030-2](https://en.wikipedia.org/wiki/Special:BookSources/978-1-52942-030-2).

1. **[^](#cite_ref-100)** Benton, Janetta Rebold (2022). *The History of Western Art*. Thames & Hudson. p. 167. [ISBN](/source/ISBN_(identifier)) [978-0-500-29665-3](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-29665-3).

1. **[^](#cite_ref-101)** *Architizer The World's Best Architecture*. Monacelli. 2021. p. 187. [ISBN](/source/ISBN_(identifier)) [978-1-58093-591-3](https://en.wikipedia.org/wiki/Special:BookSources/978-1-58093-591-3).

## References

- Bergdoll, Barry (2000). *European Architecture 1750–1890*. [Oxford University Press](/source/Oxford_University_Press). [ISBN](/source/ISBN_(identifier)) [978-0-19-284222-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-19-284222-0).

- Fortenberry, Diane (2017). [*The Art Museum*](https://books.google.com/books?id=YsxDswEACAAJ) (Revised ed.). London: Phaidon Press. [ISBN](/source/ISBN_(identifier)) [978-0-7148-7502-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-7148-7502-6). [Archived](https://web.archive.org/web/20210423220204/https://books.google.com/books?id=YsxDswEACAAJ) from the original on April 23, 2021. Retrieved April 23, 2021.

- Rogers, Richard; Gumuchdjian, Philip; Jones, Denna (2014). *Architecture The Whole Story*. Thames & Hudson. [ISBN](/source/ISBN_(identifier)) [978-0-500-29148-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-500-29148-1).

## External links

**Polychrome**  at Wikipedia's [sister projects](https://en.wikipedia.org/wiki/Wikipedia:Wikimedia_sister_projects)

- [Definitions](https://en.wiktionary.org/wiki/Special:Search/Polychrome) from Wiktionary
- [Media](https://commons.wikimedia.org/wiki/Colorful) from Commons

- [Research in the field of ancient polychrome sculpture](http://www.stiftung-archaeologie.de) In German

- [Amiens Cathedral in Colour](https://web.archive.org/web/20130228211241/http://www.france.fr/en/art-and-culture/amiens-cathedral-colour)

- [Polychromatic, Reference.com's definition](http://dictionary.reference.com/browse/Polychromatic).

v t e Color topics Color science Color physics Electromagnetic spectrum Light Rainbow Visible Spectral colors Chromophore Structural coloration Animal coloration Color of chemicals Water Spectral power distribution Colorimetry Color perception Chromesthesia Sonochromatism Color blindness Achromatopsia Dichromacy Color calibration Color constancy Color task Color code Color temperature Color vision test Evolution of color vision Impossible colors Metamerism Opponent process Afterimage Unique hues Tetrachromacy The dress Color psychology Color symbolism Color preferences Lüscher color test Kruithof curve Political color National colors Chromophobia Chromotherapy Color reproduction Color photography Color balance Color cast Digital image processing Color management Color printing Multi-primary color display Quattron Color model additive RGB subtractive CMYK Color space Image color transfer Color philosophy Color scheme Color tool Monochromatic colors Black and white Grisaille Complementary colors Analogous colors Achromatic colors (Neutral) Polychromatic colors Light-on-dark Web colors Tinctures in heraldry Color theory Color mixing Primary color Secondary color Chromaticity Color solid Color wheel Color triangle Color analysis (fashion) Color realism (art style) On Vision and Colours (Schopenhauer) Theory of Colours (Goethe) Color terms Basic English terms Red Orange Yellow Green Blue Purple Pink Brown White Gray Black Cultural differences Linguistic relativity and the color naming debate Blue–green distinction in language Color history Black-and-white dualism Blue in culture Color in Chinese culture Traditional colors of Japan Human skin color Color dimensions Hue Dichromatism Colorfulness Pastel colors Luminance Lightness Darkness Brightness Iridescence Fluorescence Grayscale Tint, shade and tone Color organizations Pantone Color Marketing Group Color Association of the United States International Colour Authority International Commission on Illumination (CIE) International Color Consortium International Colour Association Names Lists Alphabetical List of colors: A–F G–M N–Z Full list List of colors by shade List of color palettes List of color spaces List of Crayola crayon colors history Color chart List of RAL colors List of web colors Shades of: Red Orange Yellow Green Cyan Blue Violet Purple Magenta Pink Brown White Gray Black Related Vision Contrast Qualia Lighting Category Index

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Adapted from the Wikipedia article [Polychrome](https://en.wikipedia.org/wiki/Polychrome) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Polychrome?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.