Make your home look fancier than the builder intended. Design ideas from the Boston Architectural Club year book for 1922. Reprint of an earlier work from 1750.

Piers for gates. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate XVI, Page 25 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n24/mode/1up

The Semi Plans of the Piers. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate XVII, Page 25 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n25/mode/1up

Piers for Gates at the Entrances into Palaces: Semi Plan; by Lord Burlington at Chiswick; By Inigo Jones at Windsor Castle/The Measures to the Principal and Particular Parts of each Pier Invented by Batty Langley. Thomas Langley, Sculptor. Plate XVIII. Page 26 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n26/mode/1up

Tuscan and Dorick Piers for Gates. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate XIX, Page 27 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n27/mode/1up

Tuscan Gate: The Curvature of the Raking Cornice. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate XXI, Page 29 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n29/mode/1up

Design ideas from the Boston Architectural Club year book for 1922. Reprint of an earlier work from 1750.

The Dorick entablature and planceer of its cornice at large/Batty Langley Inventory 1739/Thomas Langley delineator and sculptor. Plate IV, Page 12 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization Federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n12/mode/1up

The Ionick capital with its plan/The plan of one quarter of a Capital to a Column/The Plan of one quarter of a Capital to a Pillaster/Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate VIII, Page 16 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n16/mode/1up

The Ionick abacus and volute at large/Batty Langley Inventory 1738. Thomas Langley sculptor. Plate VII, Page 15 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n15/mode/1up

The Corinthian capital and its plan at large/the Capital to one fourth of the column/the Capital to one fourth of a pillaster. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate X, Page 18 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n18/mode/1up

Decorate your home the Regency way. Interiors by British watercolorist James Stephanoff (1786-1874). Appointed historical painter in watercolors to William IV in 1830.

The King’s Closet, Kensington Palace. 1819. British. James Stephanoff, watercolorist (1786-1874). The aquatint engraving of this picture was published as plate 68 of W. H. Pyne’s 1819 work The History of the Royal Residences with the original being part of the Royal Collection. Artwork itself in the public domain due to age. via https://commons.wikimedia.org/wiki/File:Kensington_Palace,King%27s_Closet,_by_James_Stephanoff,_1819-_royal_coll_922160_313719_ORI_2.jpg
The Virtuoso; interior of a large room or gallery with decorative ceiling, with sculptures from the Parthenon placed on the ground and set into the wall, a man holding a book at a desk on which are two busts and vases, in the foreground to right are several portfolios stacked against a sculpture, beyond two columns, further books and cases with vases. 1833. British. Watercolor. James Stephanoff, watercolorist (1786-1874). Image © The Trustees of the British Museum. Fair use license. Artwork itself in the public domain due to age. via https://www.britishmuseum.org/collection/object/P_1934-0113-1

The richly decorated Music Room at Brighton Pavilion with chandeliers in the form of water-lilies, wall-paintings in red and gold showing scenes in China, Chinese porcelains, including pagoda towers in green, a blue and gold carpet and an organ on the far wall; a music party is underway with the Prince Regent seated on the left. Hand-colored etching and aqua tint that was issued in 1824 and re-issued in 1838. British. Watercolor. James Stephanoff, watercolorist (1786-1874). Image © The Trustees of the British Museum. Fair use license. Artwork itself in the public domain due to age. via https://www.britishmuseum.org/collection/object/P_1871-0812-392

Garden ornaments that they don’t sell at Home Depot. Plates from Salomon de Caus 1620 work “Hortvs Palatinvs: A Friderico Rege Boemiae Electore Palatino Heidelbergae Exstructus.” Collections of the University of Heidelberg.

Grotto in the gardens of Hortus Palatinus, Heidelberg. 1620. Page 26 from Salomon de Caus’ Hortus Palatinus. Matthieu Marian, engraver. Collections of the University of Heidelberg. In the public domain due to age. via https://publicdomainreview.org/essay/petrified-waters

Fountain in the gardens of Hortus Palatinus, Heidelberg. 1620. Page 4 from Salomon de Caus’ Hortus Palatinus. Matthieu Marian, engraver. Collections of the University of Heidelberg. In the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/caus1620/0012/image,info,thumbs

Statuary in the gardens of Hortus Palatinus, Heidelberg. 1620. Page 8 from Salomon de Caus’ Hortus Palatinus. Matthieu Marian, engraver. Collections of the University of Heidelberg. In the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/caus1620/0012/image,info,thumbs

Folly in the gardens of Hortus Palatinus, Heidelberg. 1620. Page 11 from Salomon de Caus’ Hortus Palatinus. Matthieu Marian, engraver. Collections of the University of Heidelberg. In the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/caus1620/0012/image,info,thumbs
Fountains and statuary in the gardens of Hortus Palatinus, Heidelberg. 1620. Page 15 from Salomon de Caus’ Hortus Palatinus. Matthieu Marian, engraver. Collections of the University of Heidelberg. In the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/caus1620/0012/image,info,thumbs

Statuary in the gardens of Hortus Palatinus, Heidelberg. 1620. Page 20 from Salomon de Caus’ Hortus Palatinus. Matthieu Marian, engraver. Collections of the University of Heidelberg. In the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/caus1620/0012/image,info,thumbs

Gate with animal statuary in the gardens of Hortus Palatinus, Heidelberg. 1620. Page 23 from Salomon de Caus’ Hortus Palatinus. Matthieu Marian, engraver. Collections of the University of Heidelberg. In the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/caus1620/0012/image,info,thumbs

Grotto and artificial lake ? in the gardens of Hortus Palatinus, Heidelberg. 1620. Page 11 from Salomon de Caus’ Hortus Palatinus. Matthieu Marian, engraver. Collections of the University of Heidelberg. In the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/caus1620/0012/image,info,thumbs

Plates that illustrate the harmony and contrast of colors. From M. E. Chevreul’s work “The laws of contrast of colour and their application to the arts of painting, decoration of buildings, mosaic work, tapestry and carpet weaving, calico printing, dress, paper staining, printing, military clothing, illumination, landscape, and flower gardening.” Published in 1861 in London and New York by Routledge, Warne and Routledge, an English translation of the French.

Colours with white. Plate VIII, page 51, view 88 of M. E. Chevreul’s work The laws of contrast of colour with the plates engraved and printed in colors by Edmund Evans. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/lawsofcontrastof00chev/page/n88/mode/1up

Plate XIII showing the modifications which black designs undergo upon different colored grounds. Page 120, image 120 of M. E. Chevreul’s work The laws of contrast of colour with the plates engraved and printed in colors by Edmund Evans. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/lawsofcontrastof00chev/page/120/mode/1up
In reference to colours for paper-hangings and borders. Plate XIV, page 123, image 170 of M. E. Chevreul’s work The laws of contrast of colour with the plates engraved and printed in colors by Edmund Evans. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/lawsofcontrastof00chev/page/n170/mode/1up

Designs for the borders of paper-hangings. Plate XV, Page 124, view 174 of M. E. Chevreul’s work The laws of contrast of colour with the plates engraved and printed in colors by Edmund Evans. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/lawsofcontrastof00chev/page/n174/mode/1up

Ornaments for borders. Plate XVI, page 130, view 182 of M. E. Chevreul’s work The laws of contrast of colour with the plates engraved and printed in colors by Edmund Evans. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/lawsofcontrastof00chev/page/n182/mode/1up

Example of the effect of two colours, red and green. Plate XVII, Page 131, view 186 of M. E. Chevreul’s work The laws of contrast of colour with the plates engraved and printed in colors by Edmund Evans. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/lawsofcontrastof00chev/page/n186/mode/1up

Make your new house look very old even if it is new. Decor ideas from back in time, taken from H. Davis Benn’s work “Style in furniture” which was illustrated by W. C. Baldock. Published in London in 1920.

Elizabethan I. Plate 1, page 3 of H. David Benn’s Style in Furniture. W. C. Baldock, illustrator. Collections of the Robarts Library at the University of Toronto. MSN, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/styleinfurniture00bennuoft/page/n4/mode/1up

Henry-the-Eighth armoire. Now in the possession of Mr. J. Seymour Lucas, R.A.). Page 4 of H. David Benn’s Style in Furniture. W. C. Baldock, illustrator. Collections of the Robarts Library at the University of Toronto. MSN, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/styleinfurniture00bennuoft/page/4/mode/1up

Elizabethan. Page 22 of H. David Benn’s Style in Furniture. W. C. Baldock, illustrator. Collections of the Robarts Library at the University of Toronto. MSN, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/styleinfurniture00bennuoft/page/22/mode/thumb

More plates in gold and pretty colors from “Historic Styles Of Ornament containing 1,500 examples from all countries.” Translated from the original German of H. Dolmetsch and published by B. T. Batsford in London in 1898. Maybe it looked like this in Ancient Greece, maybe not. Either way they are fun.

Greek: ornamental architecture and sculpture. Page 22. British. Collections of Ohio State University. In the public domain due to age. via https://archive.org/details/HistoricStylesOfOrnament/page/n22/mode/1up
Greek: Polychrome architecture. Page 26. British. Collections of Ohio State University. In the public domain due to age. via https://archive.org/details/HistoricStylesOfOrnament/page/n26/mode/1up
Greek: Pottery. Page 28. British. Collections of Ohio State University. In the public domain due to age. via https://archive.org/details/HistoricStylesOfOrnament/page/n28/mode/1up

More pochoir prints from “Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano.” By Enrique Gillet, it was published by A. Morance of Paris in 1922.

Page 37, Plate 13 from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n36/mode/1up
Page 38, Plate 11 from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n39/mode/1up
Page 40, Plate 15 from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n40/mode/1up

More Jugendstil stylized animals and plants, plates from Arnold Lyongrun’s 1899 work “Neue freie Dekorationsmotive entwickelt aus dem Tier- und Pflanzenreich : Eine Auswahl von Entwurfen in modernen Stil, mit Rucksicht auf die praktische Verwendung im Kunstgewerbe” which was published in Leipzig by B.F. Voigt. Pochoir prints.

Page 15. Collections of the Clark Institute Library. Digitalized by the Boston Public Library. In the public domain. via https://archive.org/details/neuefreiedekorat00lyon/page/n14/mode/1up
Page 17. Collections of the Clark Institute Library. Digitalized by the Boston Public Library. In the public domain. via https://archive.org/details/neuefreiedekorat00lyon/page/n16/mode/1up
Page 19. Collections of the Clark Institute Library. Digitalized by the Boston Public Library. In the public domain. via https://archive.org/details/neuefreiedekorat00lyon/page/n18/mode/1up
Page 21. Collections of the Clark Institute Library. Digitalized by the Boston Public Library. In the public domain. via https://archive.org/details/neuefreiedekorat00lyon/page/n20/mode/1up
Page 23. Collections of the Clark Institute Library. Digitalized by the Boston Public Library. In the public domain. via https://archive.org/details/neuefreiedekorat00lyon/page/n22/mode/1up

Plates from the portfolio of prints “Meister der Innen-Kunst: Haus eines Kunstfreundes” which has artwork by various people. Designed in 1901, it was published in Darmstadt, Germany in 1092. Part of a contest by Zeitschrift für Innendekoration

Image of the dining room, as proposed by Hugh Baillie Scott“. From the 1902 portfolio “Master of Interior Decoration: House of an Art Lover.” Collections of the Los Angeles County Museum of Art. Image © MUSEUM ASSOCIATES 2022. Fair use license. Artwork itself in the public domain. via https://collections.lacma.org/node/175367
House interior, as proposed by the Austrian architect Leopold Bauer. From the 1902 portfolio “Master of Interior Decoration: House of an Art Lover.” Collections of the Wolfsonian-FIU Rare Books and Special Collections Library. Image © Wolfsonian-FIU Rare Books and Special Collections Library. Artwork itself in the public domain. Fair use license. via https://wolfsonianfiulibrary.wordpress.com/2013/12/06/from-whiplash-lines-through-utopia-to-skyscrapers-built-and-unbuilt-landmark-architectural-designs-in-the-wolfsonian-library/
Empfangs – Raum und Musik – Zimmer (Reception room and Music Room). Panels by Margaret MacDonald Mackintosh. Charles Rennie Mackintosh, artist.” From the 1902 portfolio “Master of Interior Decoration: House of an Art Lover.” Image © 2021 Sothebys. Fair use license. Artwork itself in the public domain. via https://www.sothebys.com/en/buy/auction/2019/important-manuscripts-continental-books-and-music-2/mackintosh-baillie-scott-and-bauer-meister-der