548:
777:
563:
482:
517:
463:
721:
578:
43:
741:
533:
27:
498:
250:
759:
306:
797:
90:, walls and similar buildings, but here it merely arises from an unwillingness to spend the extra money required for ashlar masonry in a particular building, and lacks the deliberate emphasis on the joints between blocks. Though it often achieves a decorative effect, this is something of a by-product, and the exploitation for architectural effect within a single building of contrasts between rusticated and ashlar surfaces is rarely seen. In some buildings, such as the
597:
76:
The main part of the exposed face may be worked flat and smooth or left with, or worked, to give a more or less rough or patterned surface. Rustication is often used to give visual weight to the ground floor in contrast to smooth ashlar above. Though intended to convey a "rustic" simplicity, the finish is highly artificial, and the faces of the stones often carefully worked to achieve an appearance of a coarse finish.
392:
111:
154:, built between 1444 and 1484, with two contrasting rusticated finishes. The ground floor has an irregular and genuinely rugged appearance, with a variation in the degree to which parts of the faces of blocks project from the wall that is rarely equalled later. Above, the rustication is merely to emphasize the individual blocks, and the faces are all smooth and even. Also in Florence,
98:(begun 1298) something other than cost-saving is at play, and this may be the association of the technique with the display of power and strength, from its use in military architecture. Rough finishes on stone are also very common in architecture outside the European tradition, but these too would generally not be called rustication. For example, the bases of
445:("frost-work") is sometimes used. Also associated with gardens is "cyclopian" rustication, where the blocks are very large and irregular, as though placed by giants, and "rock-work", where surfaces are built up of rough rocks not placed in regular courses at all. This last goes beyond rustication, and is found in fountains and follies, and later
399:
The most common variation of rustication is the smooth-faced, where the external face of the block is smooth, as in ashlar, and differs from that only by the cutting in at the joints; this became increasingly popular, and is now the most commonly seen type. If deeply cut-back edges are worked only to
284:
revival, rustication was widely used on the ground floors of large buildings, as its contrived appearance of simplicity and solidity contrasted well to the carved ornamental stonework and columns of the floors above: "Rustication became almost obligatory in all 18th- and 19th-century public buildings
245:
and others of his generation enjoyed the play between rusticated and finished architectural elements. In the woodcut of a doorway from Serlio's 1537 treatise, the banded rustication of the wall is carried right across the attached column and the moldings of the doorway surround, binding together all
436:
Often, especially from the
Baroque onwards, the roughly flattened central areas of stones are indented in regular, but not too regular, patterns called "pecked" or "picked-work", and various other ways of patterning them may be found. In garden architecture, where water was to flow over or near the
329:
Typically, rustication after 1700 is highly regular, with the front faces of blocks flat even when worked in patterns, as opposed to the real unevenness often seen in the 16th-century examples. Often the
Palazzo Medici Riccardi model is followed; the ground floor has heavy rustication with textured
297:
at corners or elsewhere. Rustication may also be confined to the surrounds of arches, doors or windows, especially at the top. In these and other situations where rustication stops horizontally, the edge is usually made up of vertically alternating long and short blocks. Rustication therefore often
75:
Rusticated masonry is usually "dressed", or squared off neatly, on all sides of the stones except the face that will be visible when the stone is put in place. This is given wide joints that emphasize the edges of each block, by angling the edges ("channel-jointed"), or dropping them back a little.
827:
grooves that make each plank appear as if it were a series of stone blocks. Second, the wood is painted with a thick coat of paint. Third, while the paint is still wet, sand is thrown or air blasted onto the planks until no more sand will stick. After the paint dries the plank is ready for use.
424:
meaning "little worm", because the shapes resemble worms, worm-casts or worm tracks in mud or wet sand. Carved vermiculation requires a good deal of careful mason's work, and is mostly used over limited areas to highlight them. Disparities between individual blocks are often seen, presumably as
456:-like shape. Where the faces rise to a single point, this is often known by terms using "diamond", and is covered below. They may also, usually in blocks that are oblong rather than square, rise to a ridge in the centre. Both types are illustrated, with several others, by Serlio.
325:
set out detailed recommendations for the proportions of the blocks in relation to columns in the same facade, and the proportion of the block that a widened joint should occupy, though their prescriptions differ, and were not always followed by architects.
240:
expand the voussoirs still further, and the courtyard in Mantua plays games with the technique, with some blocks ashlar, other projecting further than the rest, and larger blocks placed higher than smaller ones. The
Mannerist architectural writer
419:
When the stone is left with a rough external surface, rough shapes may be drilled or chiselled in the somewhat smoothed face in a technique called "vermiculation" ("vermiculate rustication" or "vermicular rustication"), so called from the Latin
138:
of buildings were finished in this manner. It was generally used for secular buildings, and has always remained uncommon in churches, perhaps through a lingering association with the architecture of military power; there are exceptions, such as
843:(decoration by scraping away one colour of coating on an exterior to show another beneath) is a feature from the late Renaissance onwards, continuing into the 20th century. Often "prismatic" or "diamond" rustication is imitated.
72:. The visible face of each individual block is cut back around the edges to make its size and placing very clear. In addition the central part of the face of each block may be given a deliberately rough or patterned surface.
330:
faces, while above there is smooth-faced "V" rustication. Though such horizontal zones of rustication are the most common, vertical zones can often be used as highlights, as in the illustration from
Catania above, or the
720:
400:
the horizontal joints, with the appearance of the vertical joints being minimised, the resulting effect is known as "banded rustication", mostly seen on the lowest levels of very large buildings like the
808:
The appearance of rustication, creating a rough, unfinished stone-like surface, can be worked on a wooden exterior. This process became popular in 18th century New
England to translate the features of
820:
both made use of this technique. Mount Vernon in particular makes extensive use of feigned rustication and sanded paint and the original finished surfaces of several original planks still survive.
462:
1550:
547:
656:
in Sicily, alternates rows of three square "diamond" blocks with two oblong blocks, where the faces rise to a ridge rather than a point, showing both the main forms of "prismatic rustication".
532:
352:
is an example of modest effects of rustication in industrial architecture; the effect is pleasing, and the cost was probably reduced. Massive effects of contrasting rustications typify the "
562:
659:
The sharply pointed styles have really nothing to do with classical rustication, and are instead a development of styles of raised decoration of masonry that were popular in late
613:
Various types of other patterns in masonry surfaces are sometimes called rustication. These include "diamond point" or "diamond rustication" where the face of each stone is a low
342:
front of the
Palazzo Pitti achieves a striking effect, not often copied, by using extensive "blocking", both rounded and rectangular, on the shafts of its columns and pilasters.
776:
1535:
269:
introduced the technique to France. Its spread to
Germany and England took longer, but by about the end of the 16th century it had reached all parts of Europe. In his
189:("House of Raphael", by 1510, now destroyed) provided a standard model for the integration of rustication with the orders. Here the obvious strength of a blind arched
714:(1660s) repeats the Kremlin formula of a broad zone of diamonds across the middle height of the facade, though like the towers in Milan these do not come to a point.
416:
and other contemporary versions of classical styles. In this style, the bands are sometimes several feet apart, making it apparent that stone facings are being used.
577:
727:
680:
516:
698:, relatively small areas of diamond rustication were reintegrated into architecture in the classical tradition, and were popular as highlights, especially in
433:(1740) has an unusually large area vermiculated, over half of the main level. When the shapes join up to form a network, the style is called "reticulated".
497:
481:
277:
gave a lightly rusticated surface texture to emphasize the blocks on both storeys, and to unify them behind his orders of pilasters and columns.
331:
228:
in the lead. Most early examples of this "rustic" style are therefore built for sophisticated patrons in the leading centres of taste. Giulio's
633:, designed by Italians and completed in 1492, with rectangular "diamonds". These "diamond palaces" influenced other whole walls of diamonds at
178:, probably of the 1460s, begins to classicize such facades, using smooth-faced rustication throughout, except for the pilasters at each level.
1014:
83:
and that of subsequent periods, particularly in the lower floors of secular buildings. It remains in use in some modern architecture.
408:
building in London. As at
Versailles, the bands may be "elbowed", dipping diagonally around arches to join up with and emphasize the
1545:
691:, small widely spaced pyramids cover one of the many zones with fancy carved elements, projecting from a wall otherwise in ashlar.
425:
different carvers interpreted their patterns slightly differently, or had different levels of skill. The small Turner
Mausoleum at
1540:
1146:
1089:
367:
Although essentially a technique for stone masonry, rustication can be imitated in brick and stucco, which began as early as
740:
293:
above. As well as uses emphasizing the horizontal, rustication is often used in relatively narrow vertical bands, on the
1057:
364:
character, especially in city centre streets where it helps modern buildings blend with older ones with rustication.
80:
979:
1586:
1390:
823:
Rustication of a wooden exterior consists of three basic steps. First, the wood is cut, sanded and prepared with
405:
1591:
1105:
1075:
1555:
322:
20:
758:
79:
Rustication was used in ancient times, but became especially popular in the revived classical styles of
1300:
1139:
523:
1119:
1380:
1260:
852:
817:
126:
Although rustication is known from a few buildings of Greek and Roman antiquity, for example Rome's
584:
353:
285:
in Europe and the USA". A ground floor with rustication, especially in an
English mansion such as
68:
giving visible surfaces a finish texture that contrasts with smooth, squared-block masonry called
1581:
1310:
504:
488:
469:
299:
266:
229:
225:
147:
51:
31:
309:
Regular smooth-faced rustication (left) turns to horizontal banded rustication at the corner of
302:, where roughly dressed wall surfaces often contrast with ashlar quoins and frames to openings.
1400:
809:
361:
140:
65:
1061:
1576:
1224:
1132:
1079:
607:
538:
Smooth-faced rustication with the blocks dropping back to the wall at 90°, rather than a "V"
376:
349:
190:
162:, begun 1458, rusticated their whole facades in the same style. These facades only used the
1204:
1199:
1022:
746:
695:
618:
401:
42:
412:. Banded rustication is mostly seen with smooth-faced stones, and has remained popular in
257:
in London, mostly smooth-faced "V" joints, but with vermiculated square blocks around the
8:
1365:
660:
652:
almost use diamonds, but their points are smoothed over. The illustration at right, from
413:
210:
206:
395:
Two adjacent vermiculated blocks showing rather different interpretations of the pattern
1327:
1209:
707:
645:
452:
In "prismatic rustication" the blocks are dressed at an angle near each edge, giving a
289:, is sometimes referred to as the "rustic floor", in order to distinguish it from the
26:
1489:
1436:
1115:
1101:
1094:
1071:
1053:
668:
242:
115:
174:, with arched forms in rustication the main relief from the massive flat walls. The
1395:
1317:
1245:
626:
600:
453:
357:
270:
217:(1527), had a deeply rusticated ground floor facade with regular rounded cushions.
175:
1509:
1265:
1229:
1219:
638:
569:
380:
372:
186:
182:
163:
155:
99:
91:
910:
679:
styles of patterning walls. In the spectacular late 15th-century gateway to the
249:
209:, set against a smooth wall. The first major Renaissance building in Spain, the
1456:
1385:
1214:
1189:
1084:
1045:
836:
832:
764:
703:
634:
630:
345:
339:
286:
258:
254:
127:
119:
1570:
1519:
1421:
1375:
1355:
1179:
335:
310:
159:
1451:
1405:
1339:
1155:
801:
684:
606:
with two types of prismatic rustication against a smooth background at the
305:
290:
102:
and other fortifications usually use rough stone, often very attractively.
796:
1360:
1295:
596:
430:
426:
318:
274:
202:
131:
86:
Similar finishes are very common in medieval architecture, especially in
1514:
1441:
1270:
1255:
813:
233:
158:, begun 1489, with large oblong rounded cushions, and the front of the
676:
220:
The technique was enthusiastically taken up by the next generation of
1498:
1494:
1461:
1446:
1426:
1322:
1275:
1184:
840:
688:
664:
641:
in Scotland (c. 1585; all stones, with flat edges between pyramids).
360:. The technique is still sometimes used in architecture of a broadly
281:
221:
47:
437:
surface, a vertically oriented pattern evoking hanging pond-weed or
1431:
783:
603:
409:
368:
356:" style exemplified in the 1870s and 80s by the American architect
194:
171:
151:
95:
35:
1551:
Operative Plasterers' and Cement Masons' International Association
909:
Summerson, 58; Woodman. There is much detail in Alfonso Acocella,
667:(or Portuguese late Gothic) and its equivalent in Spain, known as
348:, a blind arcade cavity wall railroad viaduct built in 1834–35 in
1285:
1194:
857:
750:
672:
653:
622:
614:
539:
446:
214:
167:
61:
1504:
1484:
1370:
1305:
1280:
1169:
1124:
768:
731:
711:
699:
508:
473:
442:
391:
237:
198:
135:
87:
69:
1110:
Francis Woodman and Jacques Heyman, "Masonry, ii) Rustication
110:
1466:
1334:
1290:
1250:
824:
649:
553:
438:
294:
556:
only, with long and short strips, on a Czech railway station
134:, when the stone work of lower floors and sometimes entire
1536:
International Union of Bricklayers and Allied Craftworkers
915:
Stone architecture. Ancient and modern constructive skills
146:
Probably the earliest and most influential example is the
379:, and also in wood (see below), which is mainly found in
1021:. Mount Vernon Ladies' Association. 2008. Archived from
201:) gave reassuring support to the upper storey's paired
637:
in Portugal (after 1523, alternate stones only), and
468:"V" joints and roughened faces within a flat margin,
503:
An unusual pattern book of effects in the Loggia di
804:; an imitation of European style popular in America
1118:, Oxford University Press, accessed 2 Apr. 2016,
617:facing out. This covered the whole facade of the
1568:
1015:"George Washington's Mount Vernon - Rustication"
1052:, 2005 rev edn., Elsevier/Architectural Press.
583:Banded rustication in a wholly modern context,
197:on the rusticated ground storey (in fact using
118:, rusticated doorway of the type now called a
1140:
945:
943:
941:
625:, completed in 1503, and most of that of the
130:, the method first became popular during the
812:to the house-carpenter's idiom: in Virginia
568:Banded, with "elbows" and very wide joints,
298:reverses the patterns of medieval and later
800:Simple smooth-faced rustication in wood at
30:Two different styles of rustication in the
1147:
1133:
966:
964:
938:
38:; smooth-faced above and rough-faced below
917:, Milan, Skira-Lucense, 2006, pp. 624 ff.
896:
894:
892:
890:
671:. When not figurative these are known as
1546:Mason Contractors Association of America
795:
595:
390:
304:
248:
109:
41:
25:
1541:Master of Work to the Crown of Scotland
961:
317:Architectural books by authors such as
280:During the 18th century, following the
1569:
1090:The Classical Language of Architecture
887:
791:
730:, with small "diamonds" erupting from
675:. These are probably a development of
591:
265:The Italians brought in to expand the
1128:
991:"Prismatic", in Curl, James Stevens,
19:For other uses of "Rustication", see
1050:The Classical Orders Of Architecture
993:Encyclopaedia of Architectural Terms
375:and was common in smaller houses in
913:, online re-edit of his section in
702:and southern Italy and Eastern and
13:
1114:Vermiculation", Grove Art Online,
995:, 1993, Donhead Publishing, London
14:
1603:
726:Late 15th-century gateway to the
1154:
775:
757:
739:
719:
576:
561:
546:
531:
515:
496:
480:
461:
81:Italian Renaissance architecture
1391:Non-explosive demolition agents
1007:
998:
985:
973:
205:columns standing on rusticated
50:"cyclopian" rustication at the
952:
935:Woodman, exaggerating somewhat
929:
920:
903:
878:
869:
16:Masonry technique of texturing
1:
1070:, 2015 (reprint), Routledge,
1068:McKay's Building Construction
1039:
911:"Greek and Roman rustication"
386:
1556:Worshipful Company of Masons
875:Summerson, 45–47, 58–59, 132
313:in North Yorkshire, England.
21:Rustication (disambiguation)
7:
846:
10:
1608:
105:
18:
1528:
1477:
1414:
1381:Lewis (lifting appliance)
1348:
1238:
1162:
853:Rusticated concrete block
839:, feigned rustication in
782:"Diamond rustication" in
663:, especially the Iberian
863:
644:The round towers at the
585:Hattiesburg, Mississippi
354:Richardsonian Romanesque
489:Boulevard Saint-Germain
300:vernacular architecture
267:Palace of Fontainebleau
230:Palazzo Maccarani Stati
148:Palazzo Medici Riccardi
52:Palace of Fontainebleau
32:Palazzo Medici-Riccardi
1587:Architectural elements
810:Palladian architecture
805:
728:Palacio de Jabalquinto
681:Palacio de Jabalquinto
610:
396:
314:
262:
141:St Giles in the Fields
123:
66:classical architecture
54:
39:
1592:Architectural history
1120:subscription required
1066:McKay, William Barr,
799:
608:University of Catania
599:
487:Vermiculation at 286
394:
377:Georgian architecture
350:Canton, Massachusetts
308:
252:
113:
45:
29:
1205:Massive precut stone
1200:Post-tensioned stone
980:Looking at buildings
747:Palazzo dei Diamanti
696:Baroque architecture
619:Palazzo dei Diamanti
522:"Frost-work" on the
402:Palace of Versailles
143:, London (1730–34).
1401:Stonemason's hammer
1366:Ceramic tile cutter
792:Feigned rustication
661:Gothic architecture
592:Diamond rustication
414:Stripped Classicism
211:Palace of Charles V
64:techniques used in
1004:Summerson, fig. 52
806:
646:Castello Sforzesco
611:
397:
315:
273:in London (1619),
263:
124:
55:
40:
1564:
1563:
1490:Hardstone carving
1437:Polygonal masonry
1261:Decorative stones
1116:Oxford Art Online
1095:Thames and Hudson
1078:, 9781317341093,
835:, especially the
669:Isabelline Gothic
526:, London, c. 1690
472:for his house in
243:Sebastiano Serlio
224:architects, with
1599:
1396:Plug and feather
1246:Artificial stone
1149:
1142:
1135:
1126:
1125:
1093:, 1980 edition,
1034:
1033:
1031:
1030:
1011:
1005:
1002:
996:
989:
983:
977:
971:
968:
959:
956:
950:
947:
936:
933:
927:
924:
918:
907:
901:
898:
885:
884:Summerson, 45–47
882:
876:
873:
779:
761:
743:
723:
627:Palace of Facets
601:Sicilian Baroque
580:
565:
550:
535:
519:
500:
484:
465:
358:H. H. Richardson
323:William Chambers
271:Banqueting House
176:Palazzo Rucellai
164:classical orders
114:Illustration to
100:Japanese castles
1607:
1606:
1602:
1601:
1600:
1598:
1597:
1596:
1567:
1566:
1565:
1560:
1524:
1473:
1410:
1344:
1266:Dimension stone
1234:
1158:
1153:
1085:Summerson, John
1046:Chitham, Robert
1042:
1037:
1028:
1026:
1013:
1012:
1008:
1003:
999:
990:
986:
982:, "Rustication"
978:
974:
969:
962:
957:
953:
948:
939:
934:
930:
925:
921:
908:
904:
899:
888:
883:
879:
874:
870:
866:
849:
794:
787:
780:
771:
762:
753:
744:
735:
724:
639:Crichton Castle
594:
587:
581:
572:
570:Cleveland, Ohio
566:
557:
551:
542:
536:
527:
520:
511:
501:
492:
485:
476:
466:
389:
381:British America
373:Palazzo Caprini
246:the elements.
187:Palazzo Caprini
183:Donato Bramante
156:Palazzo Strozzi
108:
92:Palazzo Vecchio
24:
17:
12:
11:
5:
1605:
1595:
1594:
1589:
1584:
1582:Building stone
1579:
1562:
1561:
1559:
1558:
1553:
1548:
1543:
1538:
1532:
1530:
1526:
1525:
1523:
1522:
1517:
1512:
1507:
1502:
1492:
1487:
1481:
1479:
1475:
1474:
1472:
1471:
1470:
1469:
1459:
1454:
1449:
1444:
1439:
1434:
1429:
1424:
1418:
1416:
1412:
1411:
1409:
1408:
1403:
1398:
1393:
1388:
1383:
1378:
1373:
1368:
1363:
1358:
1352:
1350:
1346:
1345:
1343:
1342:
1337:
1332:
1331:
1330:
1320:
1315:
1314:
1313:
1303:
1298:
1293:
1288:
1283:
1278:
1273:
1268:
1263:
1258:
1253:
1248:
1242:
1240:
1236:
1235:
1233:
1232:
1227:
1222:
1217:
1212:
1207:
1202:
1197:
1192:
1190:Letter cutting
1187:
1182:
1177:
1172:
1166:
1164:
1160:
1159:
1152:
1151:
1144:
1137:
1129:
1123:
1122:
1108:
1082:
1064:
1041:
1038:
1036:
1035:
1006:
997:
984:
972:
960:
951:
937:
928:
919:
902:
886:
877:
867:
865:
862:
861:
860:
855:
848:
845:
837:Czech Republic
833:Central Europe
793:
790:
789:
788:
781:
774:
772:
765:Casa dos Bicos
763:
756:
754:
745:
738:
736:
725:
718:
704:Central Europe
635:Casa dos Bicos
631:Moscow Kremlin
593:
590:
589:
588:
582:
575:
573:
567:
560:
558:
552:
545:
543:
537:
530:
528:
524:Diana Fountain
521:
514:
512:
502:
495:
493:
486:
479:
477:
467:
460:
449:for planting.
406:Foreign Office
388:
385:
346:Canton Viaduct
340:Baroque garden
287:Kedleston Hall
259:Gibbs surround
255:Somerset House
193:with emphatic
128:Porta Maggiore
120:Gibbs surround
107:
104:
60:is a range of
15:
9:
6:
4:
3:
2:
1604:
1593:
1590:
1588:
1585:
1583:
1580:
1578:
1575:
1574:
1572:
1557:
1554:
1552:
1549:
1547:
1544:
1542:
1539:
1537:
1534:
1533:
1531:
1529:Organizations
1527:
1521:
1520:Machicolation
1518:
1516:
1513:
1511:
1508:
1506:
1503:
1500:
1496:
1493:
1491:
1488:
1486:
1483:
1482:
1480:
1476:
1468:
1465:
1464:
1463:
1460:
1458:
1455:
1453:
1450:
1448:
1445:
1443:
1440:
1438:
1435:
1433:
1430:
1428:
1425:
1423:
1420:
1419:
1417:
1413:
1407:
1404:
1402:
1399:
1397:
1394:
1392:
1389:
1387:
1384:
1382:
1379:
1377:
1376:Diamond blade
1374:
1372:
1369:
1367:
1364:
1362:
1359:
1357:
1356:Angle grinder
1354:
1353:
1351:
1347:
1341:
1338:
1336:
1333:
1329:
1326:
1325:
1324:
1321:
1319:
1316:
1312:
1309:
1308:
1307:
1304:
1302:
1299:
1297:
1294:
1292:
1289:
1287:
1284:
1282:
1279:
1277:
1274:
1272:
1269:
1267:
1264:
1262:
1259:
1257:
1254:
1252:
1249:
1247:
1244:
1243:
1241:
1237:
1231:
1228:
1226:
1223:
1221:
1218:
1216:
1213:
1211:
1208:
1206:
1203:
1201:
1198:
1196:
1193:
1191:
1188:
1186:
1183:
1181:
1178:
1176:
1173:
1171:
1168:
1167:
1165:
1161:
1157:
1150:
1145:
1143:
1138:
1136:
1131:
1130:
1127:
1121:
1117:
1113:
1109:
1107:
1103:
1099:
1096:
1092:
1091:
1086:
1083:
1081:
1077:
1073:
1069:
1065:
1063:
1059:
1058:9780750661249
1055:
1051:
1047:
1044:
1043:
1025:on 2008-12-29
1024:
1020:
1016:
1010:
1001:
994:
988:
981:
976:
967:
965:
955:
946:
944:
942:
932:
926:Summerson, 53
923:
916:
912:
906:
897:
895:
893:
891:
881:
872:
868:
859:
856:
854:
851:
850:
844:
842:
838:
834:
829:
826:
821:
819:
815:
811:
803:
798:
785:
778:
773:
770:
766:
760:
755:
752:
748:
742:
737:
733:
729:
722:
717:
716:
715:
713:
709:
708:Černín Palace
705:
701:
697:
692:
690:
686:
682:
678:
674:
670:
666:
662:
657:
655:
651:
647:
642:
640:
636:
632:
628:
624:
620:
616:
609:
605:
602:
598:
586:
579:
574:
571:
564:
559:
555:
549:
544:
541:
534:
529:
525:
518:
513:
510:
506:
505:Giulio Romano
499:
494:
490:
483:
478:
475:
471:
470:Giulio Romano
464:
459:
458:
457:
455:
450:
448:
444:
440:
434:
432:
428:
423:
417:
415:
411:
407:
403:
393:
384:
382:
378:
374:
370:
365:
363:
359:
355:
351:
347:
343:
341:
337:
336:Louvre Palace
333:
332:Cour Napoleon
327:
324:
320:
312:
311:Castle Howard
307:
303:
301:
296:
292:
288:
283:
278:
276:
272:
268:
260:
256:
253:Courtyard of
251:
247:
244:
239:
235:
231:
227:
226:Giulio Romano
223:
218:
216:
212:
208:
204:
200:
196:
192:
188:
184:
179:
177:
173:
169:
165:
161:
160:Palazzo Pitti
157:
153:
149:
144:
142:
137:
133:
129:
121:
117:
112:
103:
101:
97:
93:
89:
84:
82:
77:
73:
71:
67:
63:
59:
53:
49:
44:
37:
33:
28:
22:
1577:Stonemasonry
1452:Tuckpointing
1406:Straightedge
1340:Stone veneer
1174:
1156:Stonemasonry
1111:
1098:World of Art
1097:
1088:
1080:google books
1067:
1062:google books
1049:
1027:. Retrieved
1023:the original
1019:Mount Vernon
1018:
1009:
1000:
992:
987:
975:
958:Chitham, 127
954:
949:Chitham, 126
931:
922:
914:
905:
880:
871:
830:
822:
818:Mount Vernon
807:
802:Mount Vernon
734:at the sides
706:. The large
693:
658:
643:
612:
451:
435:
421:
418:
404:or the main
398:
366:
344:
328:
316:
291:piano nobile
279:
264:
232:in Rome and
219:
180:
145:
125:
85:
78:
74:
57:
56:
1361:Bush hammer
1296:Lime mortar
1175:Rustication
431:James Gibbs
427:Kirkleatham
319:James Gibbs
275:Inigo Jones
261:to the door
132:Renaissance
58:Rustication
1571:Categories
1515:Stone wall
1442:Repointing
1415:Techniques
1271:Fieldstone
1256:Cast stone
1210:Monumental
1106:0500201773
1076:1317341090
1040:References
1029:2008-08-03
814:Monticello
694:Later, in
422:vermiculus
387:Variations
234:Palazzo Te
1510:Sculpture
1499:Footstone
1495:Headstone
1462:Brickwork
1447:Scabbling
1427:Flushwork
1323:Sandstone
1301:Limestone
1276:Flagstone
1239:Materials
1220:Sculpture
1185:Dry stone
970:McKay, 38
841:sgraffito
786:, Austria
689:Andalucia
665:Manueline
604:pilasters
447:rockeries
410:voussoirs
362:Modernist
282:Palladian
222:Mannerist
195:voussoirs
181:In Rome,
172:aedicules
48:Mannerist
1478:Products
1432:Knapping
1225:Slipform
1100:series,
847:See also
784:Wernberg
369:Bramante
168:mullions
152:Florence
96:Florence
46:Extreme
36:Florence
1422:Flaming
1286:Granite
1230:Snecked
1195:Masonry
1180:Carving
900:Woodman
858:Bossage
825:beveled
751:Ferrara
677:Mudéjar
673:bossage
654:Catania
629:in the
623:Ferrara
615:pyramid
540:chamfer
491:, Paris
443:icicles
334:in the
215:Granada
136:facades
106:History
88:castles
62:masonry
1505:Mosaic
1485:Castle
1457:Veneer
1386:Trowel
1371:Chisel
1318:Mortar
1306:Marble
1281:Gabion
1215:Rubble
1170:Ashlar
1104:
1074:
1056:
769:Lisbon
732:ashlar
712:Prague
700:Sicily
554:Quoins
509:Mantua
474:Mantua
338:. The
295:quoins
238:Mantua
199:stucco
191:arcade
122:, 1537
116:Serlio
70:ashlar
1467:Wythe
1349:Tools
1335:Slate
1311:Types
1291:Grout
1251:Brick
1163:Types
864:Notes
685:Baeza
650:Milan
454:prism
441:, or
439:algae
207:piers
203:Doric
1328:List
1102:ISBN
1072:ISBN
1054:ISBN
816:and
321:and
170:and
1112:and
831:In
710:in
683:in
648:in
621:in
507:in
429:by
371:'s
236:in
213:in
185:'s
166:in
150:in
94:in
34:in
1573::
1087:,
1060:,
1048:,
1017:.
963:^
940:^
889:^
767:,
749:,
687:,
383:.
1501:)
1497:(
1148:e
1141:t
1134:v
1032:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.JPG)
