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<title>Polychrome</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Polychrome</span></span>

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</style><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="Polychrome_(disambiguation)" class="mw-disambig" title="Polychrome (disambiguation)">Polychrome (disambiguation)</a>.</div>

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<p><b>Polychrome</b> is the "practice of decorating architectural elements, sculpture, etc., in a variety of colors."<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The term is used to refer to certain <a href="Styles_of_architecture" class="mw-redirect" title="Styles of architecture">styles of architecture</a>, <a href="Pottery" title="Pottery">pottery</a>, or sculpture in multiple colors.

</p><p>When looking at artworks and architecture from <a href="Ancient_history" title="Ancient history">antiquity</a> and the <a href="European_Middle_Ages" class="mw-redirect" title="European Middle Ages">European Middle Ages</a>, people tend to believe that they were monochrome. In reality, the pre-Renaissance past was full of colour, and Greco-Roman sculptures and <a href="Gothic_architecture" title="Gothic architecture">Gothic</a> cathedrals, that are now white, beige, or grey, were initially painted in a variety of colours. As <a href="Andr%C3%A9_Malraux" title="André Malraux">André Malraux</a> 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."<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Polychrome was and is a practice not limited only to the <a href="Western_world" title="Western world">Western world</a>. Non-Western artworks, like <a href="Chinese_architecture" title="Chinese architecture">Chinese</a> temples, <a href="Oceanian_art" title="Oceanian art">Oceanian</a> <a href="Uli_figure" title="Uli figure">Uli figures</a>, or <a href="Maya_ceramics" title="Maya ceramics">Maya ceramic vases</a>, were also decorated with colours.

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<div class="mw-heading mw-heading2"><h2 id="Ancient_Near_East">Ancient Near East</h2></div>

<p>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 <a href="Ishtar_Gate" title="Ishtar Gate">Ishtar Gate</a>, the eighth gate to the inner city of <a href="Babylon" title="Babylon">Babylon</a> (in the area of present-day <a href="Hillah" title="Hillah">Hillah</a>, <a href="Babil_Governorate" class="mw-redirect" title="Babil Governorate">Babil Governorate</a>, <a href="Iraq" title="Iraq">Iraq</a>). It was constructed in <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 575 BC</span> by the order of King <a href="Nebuchadnezzar_II" title="Nebuchadnezzar II">Nebuchadnezzar II</a> 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.

</p><p>Many Ancient Near Eastern sculptures were painted too. Although they are grey today, all the <a href="Assyrian_sculpture" title="Assyrian sculpture">Assyrian reliefs</a> that decorated royal palaces were painted in highly saturated colours.

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<div class="gallerytext"><a href="Assyria" title="Assyria">Assyrian</a> tile with a guilloche border from the North-West Palace at <a href="Nimrud" title="Nimrud">Nimrud</a> (now in modern Iraq), 883–859 BC, glazed earthenware, <a href="British_Museum" title="British Museum">British Museum</a>, London<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup></div>

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<div class="gallerytext"><a href="Reconstruction_(architecture)" title="Reconstruction (architecture)">Reconstruction</a> of the <a href="Ishtar_Gate" title="Ishtar Gate">Ishtar Gate</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 605</span> – c.<span style="white-space:nowrap;"> 539 BC</span>, glazed bricks, <a href="Pergamon_Museum" title="Pergamon Museum">Pergamon Museum</a><sup id="cite_ref-FOOTNOTEFortenberry20176_4-0" class="reference"><a href="#cite_note-FOOTNOTEFortenberry20176-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></div>

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<div class="gallerytext">Reconstruction of a hall from an <a href="Assyria" title="Assyria">Assyrian</a> palace, by Sir <a href="Austen_Henry_Layard" title="Austen Henry Layard">Austen Henry Layard</a>, 1849</div>

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<div class="gallerytext"><a href="Assyrian_art" class="mw-redirect" title="Assyrian art">Assyrian</a> patterns and motifs from L'Ornement Polychrome, by Albert Racinet, 1888</div>

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<div class="gallerytext">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</div>

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<div class="mw-heading mw-heading2"><h2 id="Ancient_Egypt">Ancient Egypt</h2></div>

<p>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 <a href="Fresco" title="Fresco">frescos</a>. Egyptian artists primarily worked in black, red, yellow, brown, blue, and green pigments. These colours were derived from ground minerals, synthetic materials (<a href="Egyptian_blue" title="Egyptian blue">Egyptian blue</a>, Egyptian green, and frits used to make glass and ceramic glazes), and carbon-based blacks (soot and <a href="Charcoal" title="Charcoal">charcoal</a>). 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 <a href="Azurite" title="Azurite">azurite</a> and <a href="Malachite" title="Malachite">malachite</a>.

</p><p>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 <a href="Anubis" title="Anubis">Anubis</a>. White was the colour of purity, while green and blue were associated with vegetation and rejuvenation. Because of this, <a href="Osiris" title="Osiris">Osiris</a> was often shown with green skin, and the faces of coffins from the <a href="Twenty-sixth_Dynasty_of_Egypt" title="Twenty-sixth Dynasty of Egypt">26th Dynasty</a> were often green. Red, orange, and yellow were associated with the sun. Red was also the colour of the deserts, and hence associated with <a href="Set_(deity)" title="Set (deity)">Set</a> and the forces of destruction.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup>

</p><p>Later, during the 19th century, expeditions took place that had the purpose of cataloging the art and culture of ancient Egypt. <i><a href="Description_de_l'%C3%89gypte" title="Description de l'Égypte">Description de l'Égypte</a></i> 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.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup>

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<div class="gallerytext">Fragment of a temple <a href="Relief" title="Relief">relief</a>, 2150–1991 BC, painted limestone, <a href="British_Museum" title="British Museum">British Museum</a>, London<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup></div>

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<div class="gallerytext">Model paddling boat, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1981</span> – c.<span style="white-space:nowrap;"> 1975 BC</span>, wood, paint, plaster, linen twine and linen fabric, <a href="Metropolitan_Museum_of_Art" title="Metropolitan Museum of Art">Metropolitan Museum of Art</a>, New York City</div>

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<div class="gallerytext">Colossal statue of <a href="Tutankhamun" title="Tutankhamun">Tutankhamun</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1355</span> – c.<span style="white-space:nowrap;"> 1315 BC</span>, painted quartzite, <a href="Grand_Egyptian_Museum" title="Grand Egyptian Museum">Grand Egyptian Museum</a>, <a href="Giza" title="Giza">Giza</a>, Egypt</div>

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<div class="gallerytext"><i><a href="Nefertiti_Bust" title="Nefertiti Bust">Bust of Nefertiti</a></i>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1352</span> – c.<span style="white-space:nowrap;"> 1336 BC</span>, polychrome limestone and plaster, <a href="Neues_Museum" title="Neues Museum">Neues Museum</a>, <a href="Berlin" title="Berlin">Berlin</a>, Germany</div>

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<div class="gallerytext">Relief of <a href="Sethi_I" class="mw-redirect" title="Sethi I">Sethi I</a> and <a href="Hathor" title="Hathor">Hathor</a>, 13th century BC, limestone, <a href="Louvre" title="Louvre">Louvre</a></div>

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<div class="gallerytext">Composite papyrus capital, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 380</span> – c.<span style="white-space:nowrap;"> 343 BC</span>, polychrome sandstone, Metropolitan Museum of Art</div>

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<div class="gallerytext">Fragment of the sarcophagus of Djedthothiuefankh, 332–305 BC, wood and colourful glass, <a href="Museo_Egizio" title="Museo Egizio">Museo Egizio</a>, <a href="Turin" title="Turin">Turin</a>, Italy</div>

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<div class="gallerytext">Statuette of <a href="Anubis" title="Anubis">Anubis</a>, 332–30 BC, plastered and painted wood, Metropolitan Museum of Art</div>

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<div class="gallerytext">Winged sun on a <a href="Cavetto" title="Cavetto">cavetto</a> at the <a href="Medinet_Habu" title="Medinet Habu">Medinet Habu</a> temple complex, Egypt, unknown architect, unknown date</div>

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<div class="gallerytext">Intact interior of the <a href="Ramesseum" title="Ramesseum">Ramesseum</a>, Egypt, illustration from <i><a href="Description_de_l'%C3%89gypte" title="Description de l'Égypte">Description de l'Égypte</a></i>, unknown illustrator, 1809</div>

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<div class="gallerytext">Egyptian patterns, motifs and capitals, unknown illustrator, published by L. Prang & Co., 1874</div>

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<div class="gallerytext">Egyptian motifs from L'Ornement Polychrome, by Albert Racinet, 1888</div>

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<div class="gallerytext">Various examples of Ancient Egyptian polychrome capitals, unknown illustrator, 19th century</div>

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<div class="gallerytext">Various examples of Ancient Egyptian corniches, unknown illustrator, 19th century</div>

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<div class="mw-heading mw-heading2"><h2 id="Classical_world">Classical world</h2></div>

<div role="note" class="hatnote navigation-not-searchable">Further information: <a href="Ancient_Greek_art#Polychromy" title="Ancient Greek art">Ancient Greek art § Polychromy</a></div>

<p>Some very early polychrome pottery has been excavated on <a href="Minoan_civilization" title="Minoan civilization">Minoan</a> <a href="Crete" title="Crete">Crete</a> such as at the <a href="Bronze_Age" title="Bronze Age">Bronze Age</a> site of <a href="Phaistos" title="Phaistos">Phaistos</a>.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In <a href="Ancient_Greece" title="Ancient Greece">ancient Greece</a> 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 <a href="Temple_of_Aphaia" title="Temple of Aphaia">Temple of Aphaia</a> on <a href="Aegina" title="Aegina">Aegina</a> have recently 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 <a href="Chryselephantine_sculpture" title="Chryselephantine sculpture">chryselephantine sculptures</a>, and by the use of metals to depict lips, nipples, etc., on high-quality bronzes like the <a href="Riace_bronzes" title="Riace bronzes">Riace bronzes</a>. 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.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>

</p><p>An early example of polychrome decoration was found in the <a href="Parthenon" title="Parthenon">Parthenon</a> atop the <a href="Acropolis_of_Athens" title="Acropolis of Athens">Acropolis of Athens</a>. 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 <a href="Neoclassical_architecture" title="Neoclassical architecture">neoclassical architecture</a>. However, some classicists such as <a href="Jacques_Ignace_Hittorff" title="Jacques Ignace Hittorff">Jacques Ignace Hittorff</a> 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 <a href="Parthenon_(Nashville)" title="Parthenon (Nashville)">replica of the Parthenon</a> exhibited in <a href="Nashville%2C_Tennessee" title="Nashville, Tennessee">Nashville, Tennessee</a>, US.

</p>

<div class="gallerytext">Traces of paint depicting embroidered patterns on the <a href="Peplos" title="Peplos">peplos</a> of an Archaic <i><a href="Kore_(sculpture)" title="Kore (sculpture)">Kore</a></i>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 530 BC</span> marble, <a href="Acropolis_Museum" title="Acropolis Museum">Acropolis Museum</a>, <a href="Athens" title="Athens">Athens</a>, <a href="Greece" title="Greece">Greece</a></div>

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<div class="gallerytext">Polychrome on the <i><a href="Peplos_Kore" title="Peplos Kore">Peplos Kore</a></i>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 530 BC</span>, <a href="Parian_marble" title="Parian marble">Parian marble</a>, Acropolis Museum</div>

</li>

<div class="gallerytext"><i>Peplos Kore</i> color reconstruction</div>

</li>

<div class="gallerytext">Reconstructed color scheme on a Trojan archer from the <a href="Temple_of_Aphaia" title="Temple of Aphaia">Temple of Aphaia</a>, <a href="Aegina" title="Aegina">Aegina</a></div>

</li>

<div class="gallerytext">Carved and painted fragment from the roofline of the Temple of Hera at <a href="Paestum" title="Paestum">Paestum</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 520 BC</span>, Museo Archeologico Nazionale, Italy<sup id="cite_ref-FOOTNOTEJones201437_11-0" class="reference"><a href="#cite_note-FOOTNOTEJones201437-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Amathus_sarcophagus" title="Amathus sarcophagus">Amathus Sarcophagus</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 475</span> – c.<span style="white-space:nowrap;"> 450 BC</span>, limestone, <a href="Metropolitan_Museum_of_Art" title="Metropolitan Museum of Art">Metropolitan Museum of Art</a>, New York City</div>

</li>

<div class="gallerytext"><a href="Hades" title="Hades">Hades</a> and <a href="Persephone" title="Persephone">Persephone</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 340 BC</span>, pigments on marble, <a href="Museum_of_the_Royal_Tombs_of_Aigai_(Vergina)" title="Museum of the Royal Tombs of Aigai (Vergina)">Museum of the Royal Tombs of Aigai</a>, <a href="Vergina" title="Vergina">Vergina</a>, Greece<sup id="cite_ref-FOOTNOTEFortenberry201740_12-0" class="reference"><a href="#cite_note-FOOTNOTEFortenberry201740-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Facade of an ancient tomb at <a href="Agios_Athanasios%2C_Thessaloniki" title="Agios Athanasios, Thessaloniki">Agios Athanasios</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 325–300 BC</span>, Macedonia, Greece</div>

</li>

<div class="gallerytext">Terracota figurine of a woman with painted blue and gilt garment, from <a href="Tanagra" title="Tanagra">Tanagra</a>, 325–300 BC, <a href="Antikensammlung_Berlin" title="Antikensammlung Berlin">Antikensammlung Berlin</a>, Germany</div>

</li>

<div class="gallerytext"><a href="Tomb_of_the_Palmettes" title="Tomb of the Palmettes">Tomb of the Palmettes</a> (<a href="Mieza_(Macedonia)" title="Mieza (Macedonia)">Mieza</a>, Greece), first half of the third century BC<sup id="cite_ref-MCS_13-0" class="reference"><a href="#cite_note-MCS-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Terracota figurine of a young woman, with <a href="Kaolin" class="mw-redirect" title="Kaolin">kaolin</a> and traces of polychromy, 3rd–2nd century BC, <a href="Liebieghaus" title="Liebieghaus">Liebieghaus</a>, Germany<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Roman mosaic of <a href="Neptune" title="Neptune">Neptune</a> and <a href="Amphitrite" title="Amphitrite">Amphitrite</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 70 BC</span>, mosaic, Casa di Nettuno e Anfitrite, <a href="Herculaneum" title="Herculaneum">Herculaneum</a> Archaeological Park, <a href="Ercolano" title="Ercolano">Ercolano</a>, Italy<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Roman shield, mid 3rd century, painted wood and hide, <a href="Yale_University_Art_Gallery" title="Yale University Art Gallery">Yale University Art Gallery</a>, <a href="New_Haven" class="mw-redirect" title="New Haven">New Haven</a>, USA<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Reconstruction of the Temple of <a href="Empedocles" title="Empedocles">Empedocles</a> at <a href="Selinunte" title="Selinunte">Selinunte</a>, <a href="Sicily" title="Sicily">Sicily</a>, by <a href="Jacques_Ignace_Hittorff" title="Jacques Ignace Hittorff">Jacques Ignace Hittorff</a>, 1830 (published in 1851)<sup id="cite_ref-FOOTNOTEBergdoll2000176_17-0" class="reference"><a href="#cite_note-FOOTNOTEBergdoll2000176-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Traces of red paint on <i>Korai</i> busts from the <a href="Hellenistic_period" title="Hellenistic period">Hellenistic period</a>, Museo Archeologico Paolo Orsi, <a href="Syracuse%2C_Sicily" title="Syracuse, Sicily">Syracuse</a>, Sicily</div>

</li>

<div class="gallerytext">Traces of paint on a Statue of <a href="Livia" title="Livia">Livia</a>, 1st century BCE to 1st century CE, found at <a href="Pompeii" title="Pompeii">Pompeii</a></div>

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<div class="gallerytext">Reconstructed elevation of the main facade of the Temple T at Selinunte, Sicily, by Jacques Ignace Hittorff, before 1859</div>

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<div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Polychromy_in_antique_art" class="extiw external" title="commons:Category:Polychromy in antique art">Polychromy in antique art</a></span>.</div></div>

</div>

<div role="note" class="hatnote navigation-not-searchable">See also: <a href="Caihua" title="Caihua">Caihua</a></div>

<p>Chinese art is known for the use of vibrant colours. Neolithic Chinese ceramic vessels, like those produced by the <a href="Yangshao_culture" title="Yangshao culture">Yangshao culture</a>, show the use of black and red pigments. Later, tomb and religious sculptures appear as a consequence of the spread of <a href="Buddhism" title="Buddhism">Buddhism</a>. The deities most common in Chinese Buddhist sculpture are forms of the <a href="Buddha" class="mw-redirect" title="Buddha">Buddha</a> and the <a href="Bodhisattva" title="Bodhisattva">bodhisattva</a> <a href="Guanyin" title="Guanyin">Guanyin</a>. Traces of gold and bright colours in which sculptures were painted still give an idea of their effect. During the <a href="Han_dynasty" title="Han dynasty">Han</a> and <a href="Tang_dynasty" title="Tang dynasty">Tang</a> 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 <a href="Chinese_porcelain" class="mw-redirect" title="Chinese porcelain">Chinese porcelain</a> is best known as being blue-and-white, many colorful ceramic vases and figures were produced during the <a href="Ming_dynasty" title="Ming dynasty">Ming</a> and <a href="Qing_dynasty" title="Qing dynasty">Qing</a> dynasties. During the same two dynasties, <a href="Cloisonn%C3%A9" title="Cloisonné">cloisonné</a> vessels that use copper wires (<i>cloisons</i>) and bright enamel were also manufactured.

</p><p>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.<sup id="cite_ref-FOOTNOTEFortenberry201775,_76,_87,_93_18-0" class="reference"><a href="#cite_note-FOOTNOTEFortenberry201775,_76,_87,_93-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup>

</p>

<div class="gallerytext"><a href="Tang_dynasty" title="Tang dynasty">Tang dynasty</a> mural of architecture from <a href="Mogao_Grottoes" class="mw-redirect" title="Mogao Grottoes">Mogao Grottoes</a></div>

</li>

<div class="gallerytext"><a href="Guanyin" title="Guanyin">Guanyin</a> of the southern seas (Chinese), 11th–12th centuries, painted and gilded wood, <a href="Nelson-Atkins_Museum_of_Art" title="Nelson-Atkins Museum of Art">Nelson-Atkins Museum of Art</a>, <a href="Kansas_City%2C_Missouri" title="Kansas City, Missouri">Kansas City</a>, USA<sup id="cite_ref-FOOTNOTEFortenberry201775_19-0" class="reference"><a href="#cite_note-FOOTNOTEFortenberry201775-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Scholar oficial (Chinese), 618–907 AD, painted and glazed ceramic, <a href="Shaanxi_History_Museum" title="Shaanxi History Museum">Shaanxi History Museum</a>, <a href="Xi'an" title="Xi'an">Xi'an</a>, China<sup id="cite_ref-FOOTNOTEFortenberry201776_20-0" class="reference"><a href="#cite_note-FOOTNOTEFortenberry201776-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">The Guanyian Pavilion of the <a href="Dule_Temple" title="Dule Temple">Dule Monastery</a>, <a href="Ji_County%2C_Tianjin" class="mw-redirect" title="Ji County, Tianjin">Jixian</a>, China, unknown architect, 984</div>

</li>

<div class="gallerytext">Ming dynasty <i><a href="Caihua" title="Caihua">caihua</a></i> decorations on Hall of Amitābha at <a href="Longxing_Temple" title="Longxing Temple">Longxing Temple</a></div>

</li>

<div class="gallerytext">Figure of a <a href="Daoism" class="mw-redirect" title="Daoism">Daoist</a> deity (Chinese), <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1488</span> – c.<span style="white-space:nowrap;"> 1644</span>, porcelain, <a href="British_Museum" title="British Museum">British Museum</a>, London<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Hall of Prayer for Good Harvests, the main building of the <a href="Temple_of_Heaven" title="Temple of Heaven">Temple of Heaven</a>, Beijing, unknown architect, 1703–1790</div>

</li>

<div class="gallerytext"><i><a href="You_(vessel)" title="You (vessel)">You</a></i> (Chinese), 19th century, <a href="Cloisonn%C3%A9" title="Cloisonné">cloisonné</a>, <a href="Tokyo_National_Museum" title="Tokyo National Museum">Tokyo National Museum</a>, <a href="Tokyo" title="Tokyo">Tokyo</a>, Japan</div>

</li>

<div class="gallerytext">Song dynasty <i>"Wucai Caihua"</i> (Five Coloured Painting)-<i><a href="Dougong" title="Dougong">dougong</a></i> decorations guide as detailed on the <a href="Yingzao_Fashi" title="Yingzao Fashi">Yingzao Fashi</a></div>

</li>

<div class="gallerytext">Chinese motifs from L'Ornement Polychrome, by Albert Racinet, 1888</div>

</li>

<div class="gallerytext">Chinese and Japanese cloisonné motifs from L'Ornement Polychrome</div>

</li>

<div class="gallerytext">Japanese cloisonné motifs from L'Ornement Polychrome</div>

</li>

</ul>

<div class="mw-heading mw-heading2"><h2 id="Medieval">Medieval</h2></div>

<p>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 <a href="Iconoclasm" title="Iconoclasm">iconoclast</a> phases of the <a href="Protestant_Reformation" class="mw-redirect" title="Protestant Reformation">Protestant Reformation</a> or in other unrest such as the <a href="French_Revolution" title="French Revolution">French Revolution</a>, though some have survived in museums such as the <a href="Victoria_and_Albert_Museum" title="Victoria and Albert Museum">V&A</a>, <a href="Mus%C3%A9e_de_Cluny" title="Musée de Cluny">Musée de Cluny</a>, and <a href="Louvre" title="Louvre">Louvre</a>. 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 <a href="Collegiate_church_of_Toro" class="mw-redirect" title="Collegiate church of Toro">Collegiate church of Toro</a> 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.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup>

</p>

<div class="gallerytext"><a href="Romanesque_art" title="Romanesque art">Romanesque</a> – Last Judgement tympanum, <a href="Abbey_Church_of_Sainte-Foy" title="Abbey Church of Sainte-Foy">Abbey Church of Sainte-Foy</a>, <a href="Conques" title="Conques">Conques</a>, France, early 12th century<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Romanesque – Madonna and Child Entroned, 12th century, walnut, silver, silvered copper and polychrome, Basilique Notre-Dame d'Orcival, <a href="Orcival" title="Orcival">Orcival</a>, France<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Gothic_architecture" title="Gothic architecture">Gothic</a> – <a href="Sainte-Chapelle" title="Sainte-Chapelle">Sainte-Chapelle</a>, Paris, by <a href="Pierre_de_Montreuil" title="Pierre de Montreuil">Pierre de Montreuil</a>, 1243–1248<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Gothic_art" title="Gothic art">Gothic</a> – Ekkehard and Uta, attributed to the Master of Namburg, 1245–1260, limestone and polychromy, <a href="Naumburg_Cathedral" title="Naumburg Cathedral">Naumburg Cathedral</a>, <a href="Naumburg" title="Naumburg">Naumburg</a>, Germany<sup id="cite_ref-FOOTNOTEFortenberry2017150_26-0" class="reference"><a href="#cite_note-FOOTNOTEFortenberry2017150-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Gothic – Portal of the <a href="Ourense_Cathedral" title="Ourense Cathedral">Ourense Cathedral</a>, <a href="Ourense" title="Ourense">Ourense</a>, Spain, unknown architect, first half of the 13th century</div>

</li>

<div class="gallerytext">Gothic – Portal of the <a href="Collegiate_church_of_Santa_Mar%C3%ADa_la_Mayor_(Toro)" title="Collegiate church of Santa María la Mayor (Toro)">Collegiate Church</a> of <a href="Toro%2C_Zamora" title="Toro, Zamora">Toro</a>, Spain, unknown architect, 13th century</div>

</li>

<div class="gallerytext">Gothic – Reliquary altarpiece with <a href="Saint_Ursula" title="Saint Ursula">Saint Ursula</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1325</span>, gilded and painted wood, Abteikirche Marienstatt, <a href="Streithausen" title="Streithausen">Streithausen</a>, Germany<sup id="cite_ref-FOOTNOTEFortenberry2017154_27-0" class="reference"><a href="#cite_note-FOOTNOTEFortenberry2017154-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Gothic – Bust of the Virgin, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1390–1395</span>, terracotta with paint, <a href="Metropolitan_Museum_of_Art" title="Metropolitan Museum of Art">Metropolitan Museum of Art</a>, New York City</div>

</li>

<div class="gallerytext">Gothic – Irene, daughter of Cratin, painting a sculpture of the Virgin Mary, France, 1401–1402. Detail from <a href="Giovanni_Bocaccio" class="mw-redirect" title="Giovanni Bocaccio">Giovanni Bocaccio</a>'s <i>De Claris mulieribus</i> (Concerning famous women), 1403 edition, <a href="Biblioth%C3%A8que_nationale_de_France" title="Bibliothèque nationale de France">Bibliothèque nationale de France</a>, Paris</div>

</li>

<div class="gallerytext">Gothic – <a href="Hospices_de_Beaune" title="Hospices de Beaune">Hôtel-Dieu de Beaune</a>, <a href="Beaune" title="Beaune">Beaune</a>, France, by Jacques Wiscrère, 1451<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Gothic – Enthroned Virgin, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1490</span> – c.<span style="white-space:nowrap;"> 1500</span>, limewood with gesso, paint and gilding, Metropolitan Museum of Art</div>

</li>

<div class="gallerytext">Portal of the <a href="Burgos_Cathedral" title="Burgos Cathedral">Burgos Cathedral</a>, <a href="Burgos" title="Burgos">Burgos</a>, Spain, unknown architect, unknown date</div>

</li>

<div class="gallerytext"><a href="Russian_architecture" class="mw-redirect" title="Russian architecture">Russian</a> portal of the <a href="Dormition_Cathedral%2C_Moscow" title="Dormition Cathedral, Moscow">Dormition Cathedral</a>, <a href="Moscow" title="Moscow">Moscow</a>, by <a href="Aristotele_Fioravanti" title="Aristotele Fioravanti">Aristotele Fioravanti</a>, 1475–1479<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup></div>

</li>

</ul>

<div class="mw-heading mw-heading2"><h2 id="17th_and_18th_centuries">17th and 18th centuries</h2></div>

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

</p><p><a href="Monochrome" title="Monochrome">Monochromatic</a> color solutions of architectural orders were also designed in the late,

dynamic Baroque, drawing on the ideas of <a href="Francesco_Borromini" title="Francesco Borromini">Borromini</a> 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).<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup>

</p><p>In the space of present-day Germany, during the 18th century, the Asam brothers (<a href="Egid_Quirin_Asam" title="Egid Quirin Asam">Egid Quirin Asam</a> and <a href="Cosmas_Damian_Asam" title="Cosmas Damian Asam">Cosmas Damian Asam</a>) designed churches with undulating walls, curved broken <a href="Pediment" title="Pediment">pediments</a> and polychromy.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> In the German-speaking space, multiple Rococo churches and libraries with pastel polychrome <a href="Stucco" title="Stucco">stuccos</a> 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 <a href="Plaster" title="Plaster">plaster</a>, <a href="Lime_(material)" title="Lime (material)">lime</a>, and <a href="Pigment" title="Pigment">pigment</a>. 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 <a href="Wiblingen_Abbey" title="Wiblingen Abbey">Wiblingen Abbey</a> in <a href="Ulm" title="Ulm">Ulm</a>, 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.

</p><p>In <a href="Wallachia" title="Wallachia">Wallachia</a>, during the late 17th and early 18th centuries, the <a href="Br%C3%A2ncovenesc_style" class="mw-redirect" title="Brâncovenesc style">Brâncovenesc style</a> was popular in architecture and decorative arts. It is named after Prince <a href="Constantin_Br%C3%A2ncoveanu" title="Constantin Brâncoveanu">Constantin Brâncoveanu</a>, during whose reign it was developed. Some of the churches in this style have polychrome facades, decorated with murals, like the church of the <a href="Stavropoleos_Monastery" title="Stavropoleos Monastery">Stavropoleos Monastery</a> in <a href="Bucharest" title="Bucharest">Bucharest</a>, <a href="Romania" title="Romania">Romania</a>.

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

</p>

<div class="gallerytext"><a href="Baroque" title="Baroque">Baroque</a> – Escalier des Ambassadeurs of the <a href="Palace_of_Versailles" title="Palace of Versailles">Palace of Versailles</a>, <a href="Versailles" class="mw-redirect" title="Versailles">Versailles</a>, France, by <a href="Fran%C3%A7ois_d'Orbay" title="François d'Orbay">François d'Orbay</a> and <a href="Charles_Le_Brun" title="Charles Le Brun">Charles Le Brun</a>, 1674–1679, demolished in 1752 under <a href="Louis_XV" title="Louis XV">Louis XV</a><sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Baroque – <a href="Hall_of_Mirrors" title="Hall of Mirrors">Hall of Mirrors</a> of the Palace of Versailles, by Jules Hardouin-Mansart, 1678–1684<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Baroque – <a href="Church_of_San_Francisco_Acatepec" title="Church of San Francisco Acatepec">Church of San Francisco Acatepec</a>, <a href="San_Andr%C3%A9s_Cholula%2C_Puebla" title="San Andrés Cholula, Puebla">San Andrés Cholula</a>, <a href="Mexico" title="Mexico">Mexico</a>, unknown artchitect, 17th–18th centuries</div>

</li>

<div class="gallerytext">Baroque – The Entombment of Christ, by <a href="Luisa_Rold%C3%A1n" title="Luisa Roldán">Luisa Roldán</a>, 1700–1701, polychrome terracotta, <a href="Metropolitan_Museum_of_Art" title="Metropolitan Museum of Art">Metropolitan Museum of Art</a>, New York City</div>

</li>

<div class="gallerytext"><a href="Rococo" title="Rococo">Rococo</a> – Interior of the Klosterbibliothek Metten, <a href="Metten" title="Metten">Metten</a>, Germany, unknown architect, 1722–1726<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Br%C3%A2ncovenesc_style" class="mw-redirect" title="Brâncovenesc style">Brâncovenesc</a> – <a href="Stavropoleos_Monastery" title="Stavropoleos Monastery">Stavropoleos Monastery</a> Church, <a href="Bucharest" title="Bucharest">Bucharest</a>, <a href="Romania" title="Romania">Romania</a>, unknown architect, 1724<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Rococo – <a href="Capital_(architecture)" title="Capital (architecture)">Capitals</a> in the Wallfahrtskirche Steinhausen, Steinhausen, Germany, by <a href="Dominikus_Zimmermann" title="Dominikus Zimmermann">Dominikus Zimmermann</a>, 1728–1733</div>

</li>

<div class="gallerytext">Baroque – Summer as <a href="Ceres_(mythology)" title="Ceres (mythology)">Ceres</a>, part of a series of <a href="Anthropomorphism" title="Anthropomorphism">anthropomorphic</a> busts of the four seasons, a polychrome example of <a href="Rouen_faience" title="Rouen faience">Rouen faience</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1730</span>, <a href="Faience" title="Faience">faience</a>, <a href="Louvre" title="Louvre">Louvre</a><sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Rococo – <a href="Helbling_House" title="Helbling House">Helbling House</a>, <a href="Innsbruck" title="Innsbruck">Innsbruck</a>, <a href="Austria" title="Austria">Austria</a>, originally Gothic town house from the 15th century, renovated at the beginning of the 18th, and finished in 1732 by Anton Gigl</div>

</li>

<div class="gallerytext">Rococo – <a href="Asam_Church%2C_Munich" title="Asam Church, Munich">St. Johann Nepomuk</a>, <a href="Munich" title="Munich">Munich</a>, Germany, by <a href="Egid_Quirin_Asam" title="Egid Quirin Asam">Egid Quirin Asam</a> and <a href="Cosmas_Damian_Asam" title="Cosmas Damian Asam">Cosmas Damian Asam</a>, 1733–1746<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Rococo – Apartment of <a href="Madame_du_Barry" title="Madame du Barry">Madame du Barry</a>, <a href="Palace_of_Versailles" title="Palace of Versailles">Palace of Versailles</a>, <a href="Versailles" class="mw-redirect" title="Versailles">Versailles</a>, <a href="France" title="France">France</a>, by <a href="Ange-Jacques_Gabriel" title="Ange-Jacques Gabriel">Ange-Jacques Gabriel</a>, 18th century</div>

</li>

<div class="gallerytext">Rococo – Illustration of 18th century <a href="Cartouche_(design)" title="Cartouche (design)">cartouches</a>, from L'ornement Polychrome, by Albert Racinet, 1888</div>

</li>

<div class="gallerytext">Rococo – fourth guest room, so-called Voltaire Room, <a href="Sanssouci" title="Sanssouci">Sanssouci</a>, <a href="Potsdam" title="Potsdam">Potsdam</a>, Germany, designed by <a href="Georg_Wenzeslaus_von_Knobelsdorff" title="Georg Wenzeslaus von Knobelsdorff">Georg Wenzeslaus von Knobelsdorff</a>, with decoration by Johann Michael the Elder and Johann Christian Hoppenhaupt the Younger, 1752–1753<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Rococo – <a href="Wieskirche" title="Wieskirche">Pilgrimage Church of Wies</a>, <a href="Steingaden" title="Steingaden">Steingaden</a>, Germany, by <a href="Dominikus_Zimmermann" title="Dominikus Zimmermann">Dominikus</a> and <a href="Johann_Baptist_Zimmermann" title="Johann Baptist Zimmermann">Johann Baptist Zimmermann</a>, 1754<sup id="cite_ref-FOOTNOTEJones2014238_40-0" class="reference"><a href="#cite_note-FOOTNOTEJones2014238-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Rococo – Tobias and the Angel, by <a href="Ignaz_G%C3%BCnther" title="Ignaz Günther">Ignaz Günther</a>, 1763, limewood, <a href="B%C3%BCrgersaalkirche" title="Bürgersaalkirche">Bürgersaalkirche</a>, <a href="Munich" title="Munich">Munich</a>, Germany<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Chinoiserie" title="Chinoiserie">Chinoiserie</a> – <a href="Chinese_Pavilion_at_Drottningholm" title="Chinese Pavilion at Drottningholm">Chinese Pavilion</a> (<a href="Eker%C3%B6_Municipality" title="Ekerö Municipality">Ekerö Municipality</a>, <a href="Sweden" title="Sweden">Sweden</a>), 1763–1769, by Carl Fredrik Adelcrantz<sup id="cite_ref-Fastighet_42-0" class="reference"><a href="#cite_note-Fastighet-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Neoclassicism" title="Neoclassicism">Neoclassical</a> – armchair, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1780</span>, carved and polychromed walnut, received upholstered in beige silk brocade, currently upholstered with modern cotton and linen velvet, Metropolitan Museum of Art</div>

</li>

<div class="gallerytext"><a href="Louis_XVI_style" title="Louis XVI style">Louis XVI style</a> – Ceiling decorated with <a href="Festoon" title="Festoon">festoons</a> in the State Dining Room, <a href="Inveraray_Castle" title="Inveraray Castle">Inveraray Castle</a>, <a href="Scotland" title="Scotland">Scotland</a>, the UK, by Girard and Guinand, 1784<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup></div>

</li>

</ul>

<div class="mw-heading mw-heading3"><h3 id="Porcelain">Porcelain</h3></div>

<p>With the arrival of European <a href="Porcelain" title="Porcelain">porcelain</a> 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 <a href="Johann_Friedrich_B%C3%B6ttger" title="Johann Friedrich Böttger">Johann Friedrich Böttger</a> and the physicist <a href="Ehrenfried_Walther_von_Tschirnhaus" title="Ehrenfried Walther von Tschirnhaus">Ehrenfried Walther von Tschirnhaus</a>, who made the first European variety in 1709. The <a href="Meissen_porcelain" title="Meissen porcelain">Meissen Porcelain Factory</a> 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 <a href="Manufacture_nationale_de_S%C3%A8vres" title="Manufacture nationale de Sèvres">Sèvres</a>, which produced stunning porcelain for the French elite during the 18th, 19th and 20th centuries.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup>

</p>

<div class="gallerytext"><a href="Rococo" title="Rococo">Rococo</a> – elephant-head vase (vase à tête d'éléphant), by the <a href="Manufacture_nationale_de_S%C3%A8vres" title="Manufacture nationale de Sèvres">Sèvres porcelain factory</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1756</span> – c.<span style="white-space:nowrap;"> 1762</span>, soft-paste porcelain, Metropolitan Museum of Art</div>

</li>

<div class="gallerytext">Rococo – wall sconce (bras de cheminée), by the Sèvres porcelain factory, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1761</span>, soft-paste porcelain and gilt bronze, Metropolitan Museum of Art</div>

</li>

<div class="gallerytext">Rococo – perfume vase, by the <a href="Chelsea_porcelain_factory" title="Chelsea porcelain factory">Chelsea porcelain factory</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1761</span>, soft-paste porcelain and burnished gold ground, Metropolitan Museum of Art</div>

</li>

<div class="gallerytext">Rococo – <a href="Singerie" title="Singerie">singerie</a> figurine, part of a monkey band, by the <a href="Meissen_porcelain" title="Meissen porcelain">Meissen porcelain factory</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1765</span>, porcelain, enamel and gilding, <a href="Art_Institute_of_Chicago" title="Art Institute of Chicago">Art Institute of Chicago</a>, <a href="Chicago" title="Chicago">Chicago</a>, USA</div>

</li>

<div class="gallerytext">Rococo – The Music Lesson, by the Chelsea porcelain factory, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1765</span>, soft-paste porcelain, Metropolitan Museum of Art</div>

</li>

<div class="gallerytext"><a href="Louis_XVI_style" title="Louis XVI style">Louis XVI style</a> – Vase (vase grec Duplessis rectifié), design attributed to <a href="Jean-Claude_Chambellan_Duplessis" title="Jean-Claude Chambellan Duplessis">Jean-Claude Chambellan Duplessis</a>, painted decoration by Vincent Taillandier, gilding by Jean Pierre Boulanger, by the Sèvres porcelain factory, 1780, painted and gilded hard-paste porcelain, gilt bronze, <a href="Rijksmuseum_Amsterdam" class="mw-redirect" title="Rijksmuseum Amsterdam">Rijksmuseum Amsterdam</a>, the <a href="Netherlands" title="Netherlands">Netherlands</a></div>

</li>

</ul>

<div class="mw-heading mw-heading2"><h2 id="19th_century">19th century</h2></div>

<p>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 <a href="Intarsia" title="Intarsia">intarsia</a> 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 <a href="Boiserie" class="mw-redirect" title="Boiserie">boiserie</a>, <a href="Stucco" title="Stucco">stucco</a>, and/or painted. Like in the 2nd half of the 18th century, multiple bronze clocks and decorative objects have two tints through <a href="Ormolu" title="Ormolu">gilding</a> and <a href="Patina" title="Patina">patina</a>. Porcelain elements were also added for more colour.

</p>

<div class="gallerytext"><a href="Gothic_Revival_decorative_arts" title="Gothic Revival decorative arts">Gothic Revival</a> clock, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1835</span> – c.<span style="white-space:nowrap;"> 1850</span>, gilt and patinated bronze, <a href="Mus%C3%A9e_des_Arts_d%C3%A9coratifs%2C_Paris" class="mw-redirect" title="Musée des Arts décoratifs, Paris">Museum of Decorative Arts</a>, Paris</div>

</li>

<div class="gallerytext"><a href="Gothic_Revival_architecture" title="Gothic Revival architecture">Gothic Revival</a> – Interior of the <a href="St_Giles'_Catholic_Church%2C_Cheadle" title="St Giles' Catholic Church, Cheadle">St Giles' Catholic Church</a>, <a href="Cheadle%2C_Staffordshire" title="Cheadle, Staffordshire">Cheadle</a>, <a href="Staffordshire_Moorlands" title="Staffordshire Moorlands">Staffordshire</a>, the UK, by <a href="Augustus_Pugin" title="Augustus Pugin">Augustus Pugin</a>, 1840–1846<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Gothic Revival – Chimney-piece in the Chaucer Room of the <a href="Cardiff_Castle" title="Cardiff Castle">Cardiff Castle</a>, <a href="Cardiff" title="Cardiff">Cardiff</a>, the UK, by <a href="William_Burges" title="William Burges">William Burges</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1877</span> – c.<span style="white-space:nowrap;"> 1890</span><sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Gothic Revival – Drawing room of the <a href="Castell_Coch" title="Castell Coch">Castell Coch</a>, <a href="Tongwynlais" title="Tongwynlais">Tongwynlais</a>, <a href="Wales" title="Wales">Wales</a>, by <a href="William_Burges" title="William Burges">William Burges</a>, 1891<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Beaux_Arts_architecture" class="mw-redirect" title="Beaux Arts architecture">Beaux Arts</a> – Ceiling <a href="Stucco" title="Stucco">stucco</a> fragment from Strada Plantelor no. 4, <a href="Bucharest" title="Bucharest">Bucharest</a>, <a href="Romania" title="Romania">Romania</a>, unknown architect, 1891</div>

</li>

<div class="gallerytext"><a href="Art_Nouveau" title="Art Nouveau">Art Nouveau</a> – <a href="Nature_Unveiling_Herself_Before_Science" title="Nature Unveiling Herself Before Science">Nature Unveiling Herself Before Science</a>, by <a href="Louis-Ernest_Barrias" title="Louis-Ernest Barrias">Louis-Ernest Barrias</a>, 1899, marble, <a href="Alabaster" title="Alabaster">alabaster</a>, <a href="Calcite" title="Calcite">calcite</a>, <a href="Malachite" title="Malachite">malachite</a>, <a href="Lapis_lazuli" title="Lapis lazuli">lapis lazuli</a>, <a href="Mus%C3%A9e_d'Orsay" title="Musée d'Orsay">Musée d'Orsay</a>, Paris</div>

</li>

</ul>

<div class="mw-heading mw-heading3"><h3 id="Neoclassicism">Neoclassicism</h3></div>

<p>Despite evidence of polychrome being discovered on <a href="Ancient_Greek_architecture" title="Ancient Greek architecture">Ancient Greek</a> architecture and sculptures, most <a href="Neoclassical_architecture" title="Neoclassical architecture">Neoclassical</a> buildings have white or beige facades, and black metalwork. Around 1840, the French architect <a href="Jacques_Ignace_Hittorff" title="Jacques Ignace Hittorff">Jacques Ignace Hittorff</a>, published studies of <a href="Sicily" title="Sicily">Sicilian</a> 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.<sup id="cite_ref-FOOTNOTEBergdoll2000176_17-1" class="reference"><a href="#cite_note-FOOTNOTEBergdoll2000176-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup>

</p><p>Due to the discovery of frescos in the Roman cities <a href="Pompeii" title="Pompeii">Pompeii</a> and <a href="Herculaneum" title="Herculaneum">Herculaneum</a> 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 <a href="Cambridgeshire" title="Cambridgeshire">Cambridgeshire</a>, the <a href="Pompejanum" title="Pompejanum">Pompejanum</a> in <a href="Aschaffenburg" title="Aschaffenburg">Aschaffenburg</a>, <a href="Empress_Jos%C3%A9phine" class="mw-redirect" title="Empress Joséphine">Empress Joséphine</a>'s Bedroom from the <a href="Ch%C3%A2teau_de_Malmaison" title="Château de Malmaison">Château de Malmaison</a>, and Napoleon's bath of the <a href="Ch%C3%A2teau_de_Rambouillet" title="Château de Rambouillet">Château de Rambouillet</a>. By the beginning of the 19th century, painters were also able to create effects of marbling and graining to imitate wood.

</p>

<div class="gallerytext"><a href="Empire_style" title="Empire style">Empire style</a> – Napoleon's bath of the <a href="Ch%C3%A2teau_de_Rambouillet" title="Château de Rambouillet">Château de Rambouillet</a>, <a href="Rambouillet" title="Rambouillet">Rambouillet</a>, France, painted by Godard and Jean Vasserot, 1806</div>

</li>

<div class="gallerytext">Empire style – Vase, by the <a href="Manufacture_nationale_de_S%C3%A8vres" title="Manufacture nationale de Sèvres">Sèvres porcelain factory</a>, 1814, hard-paste porcelain with platinum background and gilt bronze mounts, <a href="Louvre" title="Louvre">Louvre</a><sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Neoclassicism" title="Neoclassicism">Neoclassical</a> – Polychromatic façade of the Cirque Nationale, Paris, by <a href="Jakob_Ignaz_Hittorff" class="mw-redirect" title="Jakob Ignaz Hittorff">Jakob Ignaz Hittorff</a>, 1840<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Neoclassical – Putto of the Grande Fontaine (Avenue Léopold-Robert), <a href="La_Chaux-de-Fonds" title="La Chaux-de-Fonds">La Chaux-de-Fonds</a>, <a href="Switzerland" title="Switzerland">Switzerland</a>, by Maximilien Louis Bourgeois, 1888</div>

</li>

<div class="gallerytext">Neoclassical – <a href="Pompeian_Styles" title="Pompeian Styles">Pompeian style</a> wall in Strada Nicolae Filipescu no. 45, <a href="Bucharest" title="Bucharest">Bucharest</a>, <a href="Romania" title="Romania">Romania</a>, unknown architect or painter, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1890</span></div>

</li>

<div class="gallerytext"><a href="Coffer" title="Coffer">Coffered ceiling</a> with polychromy in front of the main entrance of the <a href="Academy_of_Athens_(modern)" title="Academy of Athens (modern)">Academy of Athens</a>, completed in 1885.</div>

</li>

</ul>

<div class="mw-heading mw-heading3"><h3 id="19th_century_maximalism">19th century maximalism</h3></div>

<p>"More is more" was the aesthetic principle followed in the Victorian era. <a href="Maximalism" title="Maximalism">Maximalism</a> 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.

</p><p>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 <a href="Postmodernism" title="Postmodernism">Postmodernism</a>, when people started to question <a href="Modernism" title="Modernism">Modernism</a> 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, <a href="Marc-Louis_Solon" title="Marc-Louis Solon">Marc-Louis Solon</a> (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'.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> As time passed, negative opinions only got worse. Pioneer <a href="Modern_architecture" title="Modern architecture">Modern architects</a> <a href="Adolf_Loos" title="Adolf Loos">Adolf Loos</a> and <a href="Le_Corbusier" title="Le Corbusier">Le Corbusier</a> felt that works like this were not simply bad, they were such an affront they should have been made illegal.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup>

</p>

<div class="gallerytext"><a href="Rococo_Revival" title="Rococo Revival">Rococo Revival</a> incense burner (brûle-parfum), by Jacob Petit, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1834</span> – c.<span style="white-space:nowrap;"> 1848</span>, hard-paste porcelain, painted and gilded, <a href="Mus%C3%A9e_des_Arts_d%C3%A9coratifs%2C_Paris" class="mw-redirect" title="Musée des Arts décoratifs, Paris">Museum of Decorative Arts</a>, Paris</div>

</li>

<div class="gallerytext">Rococo Revival pair of bottles, by Jacob Petit, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1840</span>, hard-paste porcelain, painted and gilded, Museum of Decorative Arts, Paris</div>

</li>

<div class="gallerytext">Rococo Revival pair of cone-shaped vases and a clock, by Nicolas Bugeard?, mid-19th century, hard-paste porcelain, painted and gilded, Museum of Decorative Arts, Paris</div>

</li>

<div class="gallerytext"><a href="Neoclassical_architecture" title="Neoclassical architecture">Neoclassical</a> sculpted decoration on the ceiling of the Salon des Sept cheminées, <a href="Louvre_Palace" title="Louvre Palace">Louvre Palace</a>, Paris, by <a href="Francisque_Duret" class="mw-redirect" title="Francisque Duret">Francisque Duret</a>, 1851<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Neoclassical sculpted decoration on the ceiling of the Salon Carré, Louvre Palace, by <a href="Pierre-Charles_Simart" title="Pierre-Charles Simart">Pierre-Charles Simart</a>, 1851<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Beaux_Arts_architecture" class="mw-redirect" title="Beaux Arts architecture">Beaux Arts</a> mosaics on the <a href="Op%C3%A9ra_de_Monte-Carlo" title="Opéra de Monte-Carlo">Opéra de Monte-Carlo</a>, <a href="Monaco" title="Monaco">Monaco</a>, designed by <a href="Charles_Garnier_(architect)" title="Charles Garnier (architect)">Charles Garnier</a>, 1879</div>

</li>

<div class="gallerytext">Polychrome architectural detail of an unidentified building in <a href="Kendallville%2C_Indiana" title="Kendallville, Indiana">Kendallville, Indiana</a>, USA, unknown architect, 1892</div>

</li>

<div class="gallerytext">Interior of <a href="La_Cigale_(brasserie)" title="La Cigale (brasserie)">La Cigale</a>, <a href="Nantes" title="Nantes">Nantes</a>, France, designed by Émile Libaudière, and decorated with sculptures by Émile Gaucher and paintings by Georges Levreau, 1895</div>

</li>

</ul>

<div class="mw-heading mw-heading3"><h3 id="Polychrome_brickwork">Polychrome brickwork</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Polychrome_brickwork" title="Polychrome brickwork">Polychrome brickwork</a></div>

<p>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 <a href="Quoin_(architecture)" class="mw-redirect" title="Quoin (architecture)">quoining</a>. Early examples featured banding, with later examples exhibiting complex diagonal, criss-cross, and step patterns, in some cases even writing using bricks.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> Elements of glazed ceramic with details were also used for more complex ornaments.

</p>

<div class="gallerytext">Interior of <a href="All_Saints%2C_Margaret_Street" title="All Saints, Margaret Street">All Saints, Margaret Street</a>, London, 1850–1859, by <a href="William_Butterfield" title="William Butterfield">William Butterfield</a><sup id="cite_ref-FOOTNOTEJones2014286_55-0" class="reference"><a href="#cite_note-FOOTNOTEJones2014286-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Ampton Road no. 12, <a href="Edgbaston" title="Edgbaston">Edgbaston</a>, <a href="Birmingham" title="Birmingham">Birmingham</a>, the UK, by <a href="John_Henry_Chamberlain" title="John Henry Chamberlain">John Henry Chamberlain</a>, 1855<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Detail of the Pernot Biscuit Factory (Rue Courtepée no. 10–18), <a href="Dijon" title="Dijon">Dijon</a>, France, 1879</div>

</li>

<div class="gallerytext">Facade of the (now) Suriname Embassy (Rue du Ranelagh no. 94), Paris, unknown architect, 1885</div>

</li>

<div class="gallerytext">Avenue des Minimes no. 58, <a href="Vincennes" title="Vincennes">Vincennes</a>, France, by Victor Francione, 1905<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup></div>

</li>

</ul>

<div class="mw-heading mw-heading3"><h3 id="Romanian_Revival_style">Romanian Revival style</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Romanian_Revival_architecture" title="Romanian Revival architecture">Romanian Revival architecture</a></div>

<p>In the <a href="Kingdom_of_Romania" title="Kingdom of Romania">Kingdom of Romania</a>, the <a href="Romanian_Revival_architecture" title="Romanian Revival architecture">Romanian Revival</a> style appeared at the end of the 19th century. It is the Romanian equivalent of the <a href="National_Romantic_style" title="National Romantic style">National Romantic style</a> that was popular at the same time in <a href="Northern_Europe" title="Northern Europe">Northern Europe</a>. The movement is heavily inspired by <a href="Br%C3%A2ncovenesc_style" class="mw-redirect" title="Brâncovenesc style">Brâncovenesc architecture</a>, a style that was popular in <a href="Wallachia" title="Wallachia">Wallachia</a> 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 (<a href="Pia%C8%9Ba_Roman%C4%83" title="Piața Romană">Piața Romană</a> no. 5) in <a href="Bucharest" title="Bucharest">Bucharest</a>, by Spiru Cegăneanu, 1912<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup>

</p>

<div class="gallerytext">Gheorghe Ionescu-Gion House (Strada Logofătul Udriște no. 11), <a href="Bucharest" title="Bucharest">Bucharest</a>, <a href="Romania" title="Romania">Romania</a>, by Ion N. Socolescu, 1889<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="%C8%98coala_Central%C4%83_National_College" title="Școala Centrală National College">Central Girls' School</a>, Bucharest, by <a href="Ion_Mincu" title="Ion Mincu">Ion Mincu</a>, 1890<sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Ceiling of the Gheorghe Petrașcu House (Piața Romană no. 5), Bucharest, by Spiru Cegăneanu, 1912<sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Ceiling of the Gheorghe Petrașcu House, Bucharest, by Spiru Cegăneanu, 1912<sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup></div>

</li>

</ul>

<div class="mw-heading mw-heading2"><h2 id="20th_century">20th century</h2></div>

<p>In the twentieth century there were notable periods of polychromy in architecture, from the expressions of <a href="Art_Nouveau" title="Art Nouveau">Art Nouveau</a> throughout Europe, to the international flourishing of <a href="Art_Deco" title="Art Deco">Art Deco</a> 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.

</p>

<div class="mw-heading mw-heading3"><h3 id="Before_World_War_I">Before World War I</h3></div>

<p>At the beginning of the 20th century, before the world wars, <a href="Revivalism_(architecture)" title="Revivalism (architecture)">Revivalism</a> (including <a href="Neoclassicism" title="Neoclassicism">Neoclassicism</a> and the <a href="Gothic_Revival_architecture" title="Gothic Revival architecture">Gothic Revival</a>) 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.

</p><p><a href="Art_Nouveau" title="Art Nouveau">Art Nouveau</a> was also in fashion during the 1900s all over the <a href="Western_world" title="Western world">Western world</a>. 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 <a href="Whiplash_(decorative_art)" title="Whiplash (decorative art)">whiplash</a> motif, the <i><a href="Femme_fatale" title="Femme fatale">femme fatale</a></i>, 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 <a href="Gustav_Klimt" title="Gustav Klimt">Gustav Klimt</a>'s paintings and in the furniture of <a href="Koloman_Moser" title="Koloman Moser">Koloman Moser</a> are representative of the <a href="Vienna_Secession" title="Vienna Secession">Vienna Secession</a> (Austrian Art Nouveau). In some countries, artists found inspiration in national tradition and folklore. In the UK for example, multiple <a href="Silversmith" title="Silversmith">silversmiths</a> used <a href="Interlace_(art)" title="Interlace (art)">interlaces</a> taken from <a href="Celtic_art" title="Celtic art">Celtic art</a>. Similarly, Hungarian, Russian, and Ukrainian architects used polychromatic folkloric motifs on their buildings, usually through colourful ceramic ornaments.

</p>

<div class="gallerytext"><a href="Rococo_Revival" title="Rococo Revival">Rococo Revival</a> – Boulangerie (<a href="Boulevard_Beaumarchais" title="Boulevard Beaumarchais">Boulevard Beaumarchais</a> no. 28), Paris, 1900, by Benoit et fils<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">French <a href="Art_Nouveau" title="Art Nouveau">Art Nouveau</a> – <a class="external text external" href="https://commons.wikimedia.org/wiki/Category:Bijouterie_Fouquet">Bijouterie Fouquet</a>, <a href="Mus%C3%A9e_Carnavalet" title="Musée Carnavalet">Musée Carnavalet</a>, Paris, by <a href="Alphonse_Mucha" title="Alphonse Mucha">Alphonse Mucha</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1900</span><sup id="cite_ref-FOOTNOTEDuncan199443_64-0" class="reference"><a href="#cite_note-FOOTNOTEDuncan199443-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">French Art Nouveau – Vase, by Clément Massier, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1900</span>, <a href="Lusterware" class="mw-redirect" title="Lusterware">lusterware</a>, Jason Jacques Gallery, New York<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">French Art Nouveau – Avenue Gallieni no. 14, <a href="Courbevoie" title="Courbevoie">Courbevoie</a>, France, by Eugène Coulon, 1903–1904</div>

</li>

<div class="gallerytext">French Art Nouveau – Entrance decorated with glazed tiles of the Les Chardons Building (Rue Eugène-Manuel no. 2), Paris, 1903, by <a href="Charles_Klein" title="Charles Klein">Charles Klein</a><sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Ukrainian Art Nouveau – Poltava Reginal Administrative Building, <a href="Poltava" title="Poltava">Poltava</a>, <a href="Ukraine" title="Ukraine">Ukraine</a>, by <a href="Vasyl_Krychevsky" title="Vasyl Krychevsky">Vasyl Krychevsky</a>, 1903–1907<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Austrian Art Nouveau – <a href="Putto" title="Putto">Putto</a> with two <a href="Cornucopia" title="Cornucopia">cornucopias</a> with floral cascades, by <a href="Michael_Powolny" title="Michael Powolny">Michael Powolny</a>, designed in <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1907</span>, produced in 1912, ceramic, <a href="Kunstgewerbemuseum_Berlin" title="Kunstgewerbemuseum Berlin">Kunstgewerbemuseum Berlin</a>, <a href="Berlin" title="Berlin">Berlin</a>, Germany<sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Russian_Revival_architecture" title="Russian Revival architecture">Russian Revival</a> – Window of the Church of the Theotokos of Tikhvin, <a href="Moscow" title="Moscow">Moscow</a>, by Nikolay Martyanov, 1911–1912</div>

</li>

<div class="gallerytext"><a href="Moorish_Revival_architecture" title="Moorish Revival architecture">Moorish Revival</a> – Ceiling in the Filitti House (Calea Dorobanților no. 18), Bucharest, by Ernest Doneaus, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1910</span><sup id="cite_ref-69" class="reference"><a href="#cite_note-69"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Beaux_Arts_architecture" class="mw-redirect" title="Beaux Arts architecture">Beaux Arts</a> – <a href="Stucco" title="Stucco">Stucco</a> with <a href="Putti" class="mw-redirect" title="Putti">putti</a> on a ceiling in <a href="Pia%C8%9Ba_Roman%C4%83" title="Piața Romană">Piața Romană</a> no. 3, Bucharest, by Siegfired Kofsinski and C. Crețoiu, 1912</div>

</li>

</ul>

<div class="mw-heading mw-heading3"><h3 id="Modernism">Modernism</h3></div>

<p>During the interwar period and the middle of the 20th century, <a href="Modernism" title="Modernism">Modernism</a> 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 <a href="De_Stijl" title="De Stijl">De Stijl</a> 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. <a href="Gerrit_Rietveld" title="Gerrit Rietveld">Gerrit Rietveld</a>'s <a href="Red_and_Blue_Chair" title="Red and Blue Chair">Red and Blue Chair</a> (1917–1918) and <a href="Rietveld_Schr%C3%B6der_House" title="Rietveld Schröder House">Rietveld Schröder House</a> in <a href="Utrecht" title="Utrecht">Utrecht</a> (1924) show this use of colour. Polychromy in Modernist design was not limited to De Stijl. The <a href="Unit%C3%A9_d'habitation" title="Unité d'habitation">Unité d'habitation</a>, a residential housing <a href="Typology_(urban_planning_and_architecture)" title="Typology (urban planning and architecture)">typology</a> developed by <a href="Le_Corbusier" title="Le Corbusier">Le Corbusier</a>, has some flat colourful parts.

</p><p>Some <a href="Art_Deco" title="Art Deco">Art Deco</a> objects, buildings and interiors stand out through their polychromy and use of intense colours. <a href="Fauvism" title="Fauvism">Fauvism</a>, with its highly saturated colours, like the paintings of <a href="Henri_Matisse" title="Henri Matisse">Henri Matisse</a>, was an influence for some Art Deco designers. Another influence for polychromy were the <a href="Ballets_Russes" title="Ballets Russes">Ballets Russes</a>. <a href="Leon_Bakst" class="mw-redirect" title="Leon Bakst">Leon Bakst</a>'s stage designs filled Parisian artistic circles with enthusiasm for bright colours.<sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup>

</p><p>Despite their lack of ornamentation, multiple <a href="Mid-century_modern" title="Mid-century modern">Mid-century modern</a> designs, like <a href="Lucienne_Day" title="Lucienne Day">Lucienne Day</a>'s textiles, <a href="Charles_Eames" title="Charles Eames">Charles</a> and <a href="Ray_Eames" title="Ray Eames">Ray Eames</a>'s Hang-It-All coat hanger (1953), or <a href="Irving_Harper" title="Irving Harper">Irving Harper</a>'s <a href="Marshmallow_sofa" title="Marshmallow sofa">Marshmallow sofa</a> (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.<sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup>

</p>

<div class="gallerytext"><a href="De_Stijl" title="De Stijl">De Stijl</a> – <a href="Red_and_Blue_Chair" title="Red and Blue Chair">Red and Blue Chair</a>, by <a href="Gerrit_Rietveld" title="Gerrit Rietveld">Gerrit Rietveld</a>, 1917, lacquered wood, <a href="Toledo_Museum_of_Art" title="Toledo Museum of Art">Toledo Museum of Art</a>, <a href="Toledo%2C_Ohio" title="Toledo, Ohio">Toledo</a>, <a href="Ohio" title="Ohio">Ohio</a>, USA</div>

</li>

<div class="gallerytext">De Stijl – Panel of polychrome bricks on the exterior of the Vakantiehuis De Vonk, a house in <a href="Noordwijkerhout" title="Noordwijkerhout">Noordwijkerhout</a>, the <a href="Netherlands" title="Netherlands">Netherlands</a>, by <a href="Theo_van_Doesburg" title="Theo van Doesburg">Theo van Doesburg</a>, 1917–1919<sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Mix of <a href="Egyptian_Revival_architecture" title="Egyptian Revival architecture">Egyptian Revival</a> and <a href="Art_Deco" title="Art Deco">Art Deco</a>: Le Louxor Cinema, Paris, by Henri Zipcy, 1919–1921<sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Mix of <a href="Pueblo_Revival_architecture" title="Pueblo Revival architecture">Pueblo Revival</a> and Art Deco (<a href="Pueblo_Deco_architecture" title="Pueblo Deco architecture">Pueblo Deco</a>): <a href="KiMo_Theater" title="KiMo Theater">KiMo Theater</a>, <a href="Albuquerque%2C_New_Mexico" title="Albuquerque, New Mexico">Albuquerque</a>, US, by the Boller Brothers, 1927</div>

</li>

<div class="gallerytext">Art Deco – Floor in the entrance hall of Bulevardul Hristo Botev no. 26, Bucharest, unknown architect, 1930s</div>

</li>

<div class="gallerytext">Art Deco – Marble facing in the entrance hall of Strada Pitar Moș no. 27–29, Bucharest, by Sandy Herivan, 1931–1933<sup id="cite_ref-74" class="reference"><a href="#cite_note-74"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Art Deco – Mosaics on the facade of <a href="Quai_Louis-Bl%C3%A9riot" title="Quai Louis-Blériot">Quai Louis-Blériot</a> no. 40, Paris, by Marteroy & Bonnel, 1932<sup id="cite_ref-75" class="reference"><a href="#cite_note-75"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="International_Style_(architecture)" class="mw-redirect" title="International Style (architecture)">International Style</a> – <a href="Unit%C3%A9_d'habitation" title="Unité d'habitation">Unité d'habitation</a>, <a href="Marseille" title="Marseille">Marseille</a>, France, by <a href="Le_Corbusier" title="Le Corbusier">Le Corbusier</a>, 1952<sup id="cite_ref-76" class="reference"><a href="#cite_note-76"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Mid-century_modern" title="Mid-century modern">Mid-century modern</a> – <a href="Marshmallow_sofa" title="Marshmallow sofa">Marshmallow sofa</a>, by <a href="Irving_Harper" title="Irving Harper">Irving Harper</a> for George Nelson Associates, 1956, metal frame with round discs of covered foam, unknown location<sup id="cite_ref-77" class="reference"><a href="#cite_note-77"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Fusterlandia, <a href="Havana%2C_Cuba" class="mw-redirect" title="Havana, Cuba">Havana, Cuba</a>, by <a href="Jos%C3%A9_Rodr%C3%ADguez_Fuster" title="José Rodríguez Fuster">José Rodríguez Fuster</a>, 1975<sup id="cite_ref-78" class="reference"><a href="#cite_note-78"><span class="cite-bracket">[</span>78<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Dona_i_Ocell" title="Dona i Ocell">Dona i Ocell</a>, by <a href="Joan_Mir%C3%B3" title="Joan Miró">Joan Miró</a>, 1983, glazed tile mosaic, <a href="Barcelona" title="Barcelona">Barcelona</a>, <a href="Spain" title="Spain">Spain</a><sup id="cite_ref-79" class="reference"><a href="#cite_note-79"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup></div>

</li>

</ul>

<div class="mw-heading mw-heading3"><h3 id="Postmodernism">Postmodernism</h3></div>

<p>The use of vivid colours continued with <a href="Postmodernism" title="Postmodernism">Postmodernism</a>, in the 1970s, 1980s and 1990s. Compared to <a href="Mid-century_modern" title="Mid-century modern">Mid-century modern</a> objects, which often had intense colours but were <a href="Monochrome" title="Monochrome">monochrome</a>, Postmodern design and architecture stand out through the use of a variety of colours on single objects or buildings. <a href="Postmodern_architecture" title="Postmodern architecture">Postmodern</a> architects working with bold colors included <a href="Robert_Venturi" title="Robert Venturi">Robert Venturi</a> (<a href="Allen_Memorial_Art_Museum" title="Allen Memorial Art Museum">Allen Memorial Art Museum</a> addition; Best Company Warehouse), <a href="Michael_Graves" title="Michael Graves">Michael Graves</a> (<a href="Snyderman_House" title="Snyderman House">Snyderman House</a>; Humana Building), and <a href="James_Stirling_(architect)" title="James Stirling (architect)">James Stirling</a> (<a href="Neue_Staatsgalerie" title="Neue Staatsgalerie">Neue Staatsgalerie</a>; <a href="Arthur_M._Sackler_Museum" class="mw-redirect" title="Arthur M. Sackler Museum">Arthur M. Sackler Museum</a>), among others. In the UK, <a href="John_Outram" title="John Outram">John Outram</a> 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.<sup id="cite_ref-80" class="reference"><a href="#cite_note-80"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup>

</p><p>An artist well known for her polychrome artworks is <a href="Niki_de_Saint_Phalle" title="Niki de Saint Phalle">Niki de Saint Phalle</a>, who produced many sculptures painted in bold colours. She devoted the later decades of her life to building a live-in sculpture park in <a href="Tuscany" title="Tuscany">Tuscany</a>, the <a href="Tarot_Garden" title="Tarot Garden">Tarot Garden</a>, with artworks covered in vibrant colourful mosaics.<sup id="cite_ref-81" class="reference"><a href="#cite_note-81"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup>

</p>

<div class="gallerytext">Proust armchair, by <a href="Studio_Alchimia" title="Studio Alchimia">Studio Alchimia</a>, 1978, wood and fabric, <a href="Indianapolis_Museum_of_Art" title="Indianapolis Museum of Art">Indianapolis Museum of Art</a>, <a href="Indianapolis" title="Indianapolis">Indianapolis</a>, USA<sup id="cite_ref-82" class="reference"><a href="#cite_note-82"><span class="cite-bracket">[</span>82<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Sheraton chair with applied decoration, by <a href="Robert_Venturi" title="Robert Venturi">Robert Venturi</a> for <a href="Knoll%2C_Inc." title="Knoll, Inc.">Knoll</a>, 1978–1984, bent laminated wood, <a href="Milwaukee_Art_Museum" title="Milwaukee Art Museum">Milwaukee Art Museum</a>, <a href="Milwaukee" title="Milwaukee">Milwaukee</a>, USA<sup id="cite_ref-83" class="reference"><a href="#cite_note-83"><span class="cite-bracket">[</span>83<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Plaza dressing table and stool, by <a href="Michael_Graves" title="Michael Graves">Michael Graves</a> for the <a href="Memphis_Group" title="Memphis Group">Memphis Group</a>, 1981, painted wood, natural rosehips, mirrors, and bulbs, <a href="Mus%C3%A9e_des_Arts_d%C3%A9coratifs%2C_Paris" class="mw-redirect" title="Musée des Arts décoratifs, Paris">Museum of Decorative Arts</a>, Paris</div>

</li>

<div class="gallerytext">Carlton Bookcase, by <a href="Ettore_Sottsass" title="Ettore Sottsass">Ettore Sottsass</a> for the Memphis Group, 1981, wood veneer and plastic laminate, Museum of Decorative Arts, Paris</div>

</li>

<div class="gallerytext">Super Lamp, by <a href="Martine_Bedin" title="Martine Bedin">Martine Bedin</a> for the Memphis Group, 1981, glazed stoneware, rubber and chrome-plated steel, <a href="Kunstgewerbemuseum_Berlin" title="Kunstgewerbemuseum Berlin">Museum of Decorative Arts</a>, <a href="Berlin" title="Berlin">Berlin</a>, Germany</div>

</li>

<div class="gallerytext"><a href="Neue_Staatsgalerie" title="Neue Staatsgalerie">Neue Staatsgalerie</a>, <a href="Stuttgart" title="Stuttgart">Stuttgart</a>, Germany, by <a href="James_Stirling_(architect)" title="James Stirling (architect)">James Stirling</a>, 1984<sup id="cite_ref-84" class="reference"><a href="#cite_note-84"><span class="cite-bracket">[</span>84<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Louis XVI, lowboy, by Robert Venturi for Arc International, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1985</span>, laminated wood, Indianapolis Museum of Art<sup id="cite_ref-85" class="reference"><a href="#cite_note-85"><span class="cite-bracket">[</span>85<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Isle_of_Dogs_Pumping_Station" title="Isle of Dogs Pumping Station">Isle of Dogs Pumping Station</a>, London, <a href="John_Outram" title="John Outram">John Outram</a>, 1988<sup id="cite_ref-86" class="reference"><a href="#cite_note-86"><span class="cite-bracket">[</span>86<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="No_1_Poultry" title="No 1 Poultry">No 1 Poultry</a>, London, by <a href="James_Stirling_(architect)" title="James Stirling (architect)">James Stirling</a>, designed in 1988 but built in 1997<sup id="cite_ref-87" class="reference"><a href="#cite_note-87"><span class="cite-bracket">[</span>87<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Oudhof (Rokin no. 99), <a href="Amsterdam" title="Amsterdam">Amsterdam</a>, <a href="Netherlands" title="Netherlands">Netherlands</a>, by Mart van Schijndel, 1988–1990<sup id="cite_ref-88" class="reference"><a href="#cite_note-88"><span class="cite-bracket">[</span>88<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Main hall of the <a href="Cambridge_Judge_Business_School" title="Cambridge Judge Business School">Judge Business School</a>, <a href="University_of_Cambridge" title="University of Cambridge">University of Cambridge</a>, <a href="England" title="England">England</a>, by John Outram, 1995<sup id="cite_ref-89" class="reference"><a href="#cite_note-89"><span class="cite-bracket">[</span>89<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Duncan Hall, <a href="Rice_University" title="Rice University">Rice University</a>, US, by <a href="John_Outram" title="John Outram">John Outram</a>, 1996<sup id="cite_ref-90" class="reference"><a href="#cite_note-90"><span class="cite-bracket">[</span>90<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">L'Ange Protecteur, by <a href="Niki_de_Saint_Phalle" title="Niki de Saint Phalle">Niki de Saint Phalle</a>, 1997, unknown materials, <a href="Z%C3%BCrich_Hauptbahnhof" title="Zürich Hauptbahnhof">Zürich Hauptbahnhof</a>, <a href="Z%C3%BCrich" class="mw-redirect" title="Zürich">Zürich</a>, <a href="Switzerland" title="Switzerland">Switzerland</a></div>

</li>

</ul>

<div class="mw-heading mw-heading3"><h3 id="United_States">United States</h3></div>

<p>Polychrome building facades later rose in popularity as a way of highlighting certain trim features in Victorian and <a href="Queen_Anne_Style_architecture" class="mw-redirect" title="Queen Anne Style architecture">Queen Anne</a> <a href="Architecture" title="Architecture">architecture</a> in the <a href="United_States" title="United States">United States</a>. The rise of the modern paint industry following the <a href="American_Civil_War" title="American Civil War">American Civil War</a> also helped to fuel the (sometimes extravagant) use of multiple colors.

</p>

<p>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 <a href="San_Francisco%2C_California" class="mw-redirect" title="San Francisco, California">San Francisco, California</a> in the 1970s to describe its abundant late-nineteenth-century houses. These earned the endearment '<a href="Painted_Ladies" class="mw-redirect" title="Painted Ladies">Painted Ladies</a>', a term that in modern times is considered <a href="Kitsch" title="Kitsch">kitsch</a> when it is applied to describe all Victorian houses that have been painted with period colors.

</p><p><a href="John_Joseph_Earley" title="John Joseph Earley">John Joseph Earley</a> (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 <a href="Rosslyn%2C_Virginia" title="Rosslyn, Virginia">Rosslyn, Virginia</a>. Earley's <a href="Polychrome_Historic_District" title="Polychrome Historic District">Polychrome Historic District</a> houses in <a href="Silver_Spring%2C_Maryland" title="Silver Spring, Maryland">Silver Spring, Maryland</a> 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.

</p><p>Native American ceramic artists, in particular those in the <a href="Southwestern_United_States" title="Southwestern United States">Southwest</a>, produced polychrome pottery from the time of the <a href="Mogollon_culture" title="Mogollon culture">Mogollon cultures</a> and <a href="Mogollon_culture#Mimbres_branch" title="Mogollon culture">Mimbres peoples</a> to contemporary times.<sup id="cite_ref-NM_Archaeology_91-0" class="reference"><a href="#cite_note-NM_Archaeology-91"><span class="cite-bracket">[</span>91<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading2"><h2 id="21st_century">21st century</h2></div>

<p>In the 2000s, the art of designing <a href="Art_toys" class="mw-redirect" title="Art toys">art toys</a> 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, <a href="Takashi_Murakami" title="Takashi Murakami">Takashi Murakami</a>, Flying Förtress, and CoonOne1.

</p><p>During the 2010s and the early 2020s, a new interest for <a href="Postmodern_architecture" title="Postmodern architecture">Postmodern architecture</a> and design appeared. One of the causes were memorial exhibitions that presented the style, the most comprehensive and influential one being held at the <a href="Victoria_%26_Albert_Museum" class="mw-redirect" title="Victoria & Albert Museum">Victoria & Albert Museum</a> in London in 2011, called <i><a href="Postmodernism%3A_Style_and_Subversion_1970%E2%80%931990" title="Postmodernism: Style and Subversion 1970–1990">Postmodernism: Style and Subversion 1970–1990</a></i>. The <a href="Salone_del_Mobile" title="Salone del Mobile">Salone del Mobile</a> in <a href="Milan" title="Milan">Milan</a> since 2014 showcased revivals, reinterpretations, and new postmodern-influenced designs.<sup id="cite_ref-92" class="reference"><a href="#cite_note-92"><span class="cite-bracket">[</span>92<span class="cite-bracket">]</span></a></sup> Because of this, multiple funky polychrome buildings were erected, like the House for Essex, <a href="Wrabness" title="Wrabness">Wrabness</a>, <a href="Essex" title="Essex">Essex</a>, the UK, by FAT and <a href="Grayson_Perry" title="Grayson Perry">Grayson Perry</a>, 2014<sup id="cite_ref-93" class="reference"><a href="#cite_note-93"><span class="cite-bracket">[</span>93<span class="cite-bracket">]</span></a></sup> or the Miami Museum Garage, <a href="Miami" title="Miami">Miami</a>, USA, by WORKac, 2018.<sup id="cite_ref-94" class="reference"><a href="#cite_note-94"><span class="cite-bracket">[</span>94<span class="cite-bracket">]</span></a></sup>

</p><p>Besides revivals of Postmodernism, another key design movement of the early 2020s is <a href="Maximalism" title="Maximalism">Maximalism</a>. Since its philosophy can be summarized as "more is more", contrasting with the minimalist motto "<a href="Less_is_more_(architecture)" class="mw-redirect" title="Less is more (architecture)">less is more</a>", it is characterized by a wide use of intense colours and patterns.

</p>

<div class="gallerytext">Cosmos Ball, by <a href="Takashi_Murakami" title="Takashi Murakami">Takashi Murakami</a>, 2000, molded plastic, <a href="Honolulu_Museum_of_Art" title="Honolulu Museum of Art">Honolulu Museum of Art</a>, <a href="Honolulu" title="Honolulu">Honolulu</a>, USA</div>

</li>

<div class="gallerytext">Roof of the Santa Caterina Market, <a href="Barcelona" title="Barcelona">Barcelona</a>, <a href="Spain" title="Spain">Spain</a>, by <a href="Benedetta_Tagliabue" title="Benedetta Tagliabue">Benedetta Tagliabue</a> and <a href="Enric_Miralles" title="Enric Miralles">Enric Miralles</a>, 2004<sup id="cite_ref-95" class="reference"><a href="#cite_note-95"><span class="cite-bracket">[</span>95<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Buildings in <a href="El_Alto" title="El Alto">El Alto</a>, <a href="Bolivia" title="Bolivia">Bolivia</a>, by <a href="Freddy_Mamani_(architect)" title="Freddy Mamani (architect)">Freddy Mamani (architect)</a>, after 2005<sup id="cite_ref-96" class="reference"><a href="#cite_note-96"><span class="cite-bracket">[</span>96<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">House for Essex, <a href="Wrabness" title="Wrabness">Wrabness</a>, <a href="Essex" title="Essex">Essex</a>, the UK, by FAT and <a href="Grayson_Perry" title="Grayson Perry">Grayson Perry</a>, 2014<sup id="cite_ref-97" class="reference"><a href="#cite_note-97"><span class="cite-bracket">[</span>97<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Xiafu Activity Center, Xiafu, <a href="Taiwan" title="Taiwan">Taiwan</a>, by IMO Architecture + Design and JC Cheng & Associates, Architects & Planners, 2017<sup id="cite_ref-98" class="reference"><a href="#cite_note-98"><span class="cite-bracket">[</span>98<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Memphis_Group" title="Memphis Group">Memphis Group</a>-inspired mural on a 7-storey building, <a href="Brooklyn" title="Brooklyn">Brooklyn</a>, NYC, by <a href="Camille_Walala" title="Camille Walala">Camille Walala</a>, probably 2018, mural on a brick wall</div>

</li>

<div class="gallerytext">Miami Museum Garage, <a href="Miami" title="Miami">Miami</a>, USA, by WORKac, 2018<sup id="cite_ref-99" class="reference"><a href="#cite_note-99"><span class="cite-bracket">[</span>99<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">The Colour Palace, <a href="Dulwich_Picture_Gallery" title="Dulwich Picture Gallery">Dulwich Picture Gallery</a>, London, by Pricegore and <a href="Yinka_Ilori" title="Yinka Ilori">Yinka Ilori</a>, 2019<sup id="cite_ref-100" class="reference"><a href="#cite_note-100"><span class="cite-bracket">[</span>100<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext"><a href="Biomuseo" title="Biomuseo">Biomuseo</a>, <a href="Panama_City" title="Panama City">Panama City</a>, <a href="Panama" title="Panama">Panama</a>, by <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>, partially opened in 2014, completed in 2019<sup id="cite_ref-101" class="reference"><a href="#cite_note-101"><span class="cite-bracket">[</span>101<span class="cite-bracket">]</span></a></sup></div>

</li>

<div class="gallerytext">Presence in Hormoz 02, <a href="Hormoz_Island" class="mw-redirect" title="Hormoz Island">Hormoz Island</a>, <a href="Hormozgan" class="mw-redirect" title="Hormozgan">Hormozgan</a>, <a href="Iran" title="Iran">Iran</a>, by <a href="ZAV_Architects" title="ZAV Architects">ZAV Architects</a>, 2020<sup id="cite_ref-102" class="reference"><a href="#cite_note-102"><span class="cite-bracket">[</span>102<span class="cite-bracket">]</span></a></sup></div>

</li>

</ul>

<div class="mw-heading mw-heading2"><h2 id="Polychromatic_light">Polychromatic light</h2></div>

<p>The term <b>polychromatic</b> means having several colors. It is used to describe <a href="Light" title="Light">light</a> that exhibits more than one <a href="Color" title="Color">color</a>, which also means that it contains radiation of more than one <a href="Wavelength" title="Wavelength">wavelength</a>. The study of polychromatics is particularly useful in the production of <a href="Diffraction_grating" title="Diffraction grating">diffraction gratings</a>.

</p>

<ul><li><a href="Encarnaci%C3%B3n_(sculpting)" title="Encarnación (sculpting)">Encarnación</a> Spanish form of polychrome sculpture</li>

<li><a href="Monochrome" title="Monochrome">Monochrome</a> (opposite of polychrome)</li></ul>

<div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2></div>

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<li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Harris, Cyril M., ed. <i>Illustrated Dictionary of Historic Architecture</i>, Dover Publications, New York, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1977</span>, 1983 edition</span>

</li>

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</style><cite id="CITEREFVinzenz_Brinkmann,_Renée_Dreyfus,_Ulrike_Koch-Brinkmann2017" class="citation book cs1">Vinzenz Brinkmann, Renée Dreyfus, Ulrike Koch-Brinkmann, John Camp, Heinrich Piening, Oliver Primavesi (2017). <i>GODS IN COLOR Polychromy in the Ancient World</i>. Fine Arts Museums of San Francisco and DelMonico Books. p. 65. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-7913-5707-2</bdi>.</cite><span class="cs1-maint citation-comment"><code class="cs1-code">{{cite book}}</code>: CS1 maint: multiple names: authors list (link)</span></span>

</li>

<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><cite id="CITEREFvan_Lemmen2013" class="citation book cs1">van Lemmen, Hans (2013). <i>5000 Years of Tiles</i>. The British Museum Press. p. 17. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-7141-5099-4</bdi>.</cite></span>

</li>

<li id="cite_note-FOOTNOTEFortenberry20176-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFortenberry20176_4-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFortenberry2017">Fortenberry 2017</a>, p. 6.</span>

</li>

<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><cite id="CITEREFVinzenz_Brinkmann,_Renée_Dreyfus,_Ulrike_Koch-Brinkmann2017" class="citation book cs1">Vinzenz Brinkmann, Renée Dreyfus, Ulrike Koch-Brinkmann, John Camp, Heinrich Piening, Oliver Primavesi (2017). <i>GODS IN COLOR Polychromy in the Ancient World</i>. Fine Arts Museums of San Francisco and DelMonico Books. p. 62 & 63. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-7913-5707-2</bdi>.</cite><span class="cs1-maint citation-comment"><code class="cs1-code">{{cite book}}</code>: CS1 maint: multiple names: authors list (link)</span></span>

</li>

<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><cite id="CITEREFWilkinson2008" class="citation book cs1">Wilkinson, Toby (2008). <i>Dictionary of ANCIENT EGYPT</i>. Thames and Hudson. p. 55. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-20396-5</bdi>.</cite></span>

</li>

<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><cite id="CITEREFRose_Marie2022" class="citation book cs1">Rose Marie, Rainer Hagen (2022). <i>EGYPT – People Gods Pharaohs</i>. Taschen. p. 242. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-8365-2054-6</bdi>.</cite></span>

</li>

<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.britishmuseum.org/collection/object/Y_EA1450_4">"temple-relief"</a>. <i>britishmuseum.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">May 1,</span> 2023</span>.</cite></span>

</li>

<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://themodernantiquarian.com/site/10857/phaistos.html#fieldnotes">C. Michael Hogan, <i>Knossos Fieldnotes</i>, The Modern Antiquarian (2007)</a></span>

</li>

<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><cite id="CITEREFSiottoCignoni2024" class="citation journal cs1">Siotto, Eliana; Cignoni, Paolo (July 1, 2024). <a rel="nofollow" class="external text" href="https://www.sciencedirect.com/science/article/pii/S1296207424001006">"Digital methods and techniques for reconstructing and visualizing ancient 3D polychromy – An overview"</a>. <i>Journal of Cultural Heritage</i>. <b>68</b>: <span class="nowrap">59–</span>85. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<span class="id-lock-free" title="Freely accessible"><a rel="nofollow" class="external text" href="https://doi.org/10.1016%2Fj.culher.2024.05.002">10.1016/j.culher.2024.05.002</a></span>. <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1296-2074">1296-2074</a>.</cite></span>

</li>

<li id="cite_note-FOOTNOTEJones201437-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEJones201437_11-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFJones2014">Jones 2014</a>, p. 37.<span class="error harv-error" style="display: none; font-size:100%"> sfn error: no target: CITEREFJones2014 (help)</span></span>

</li>

<li id="cite_note-FOOTNOTEFortenberry201740-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFortenberry201740_12-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFortenberry2017">Fortenberry 2017</a>, p. 40.</span>

</li>

<li id="cite_note-MCS-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-MCS_13-0">^</a></b></span> <span class="reference-text"><cite id="CITEREFPsarra" class="citation web cs1">Psarra, I. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200603190037/http://odysseus.culture.gr/h/2/eh251.jsp?obj_id=874">"Ministry of Culture and Sports: Mieza, the so-called Macedonian Tomb of the Palmettes"</a>. <i>odysseus.culture.gr</i>. Archived from <a rel="nofollow" class="external text" href="http://odysseus.culture.gr/h/2/eh251.jsp?obj_id=874">the original</a> on June 3, 2020<span class="reference-accessdate">. Retrieved <span class="nowrap">April 14,</span> 2019</span>.</cite></span>

</li>

<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><cite id="CITEREFVinzenz_Brinkmann,_Renée_Dreyfus,_Ulrike_Koch-Brinkmann2017" class="citation book cs1">Vinzenz Brinkmann, Renée Dreyfus, Ulrike Koch-Brinkmann, John Camp, Heinrich Piening, Oliver Primavesi (2017). <i>GODS IN COLOR Polychromy in the Ancient World</i>. Fine Arts Museums of San Francisco and DelMonico Books. p. 144. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-7913-5707-2</bdi>.</cite><span class="cs1-maint citation-comment"><code class="cs1-code">{{cite book}}</code>: CS1 maint: multiple names: authors list (link)</span></span>

</li>

<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><cite id="CITEREFVirginia2017" class="citation book cs1">Virginia, L. Campbell (2017). <i>Ancient Room – Pocket Museum</i>. Thames & Hudson. p. 199. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-51959-2</bdi>.</cite></span>

</li>

<li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><cite id="CITEREFVirginia2017" class="citation book cs1">Virginia, L. Campbell (2017). <i>Ancient Room – Pocket Museum</i>. Thames & Hudson. p. 199. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-51959-2</bdi>.</cite></span>

</li>

<li id="cite_note-FOOTNOTEBergdoll2000176-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEBergdoll2000176_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEBergdoll2000176_17-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBergdoll2000">Bergdoll 2000</a>, pp. 176.</span>

</li>

<li id="cite_note-FOOTNOTEFortenberry201775,_76,_87,_93-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFortenberry201775,_76,_87,_93_18-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFortenberry2017">Fortenberry 2017</a>, p. 75, 76, 87, 93.</span>

</li>

<li id="cite_note-FOOTNOTEFortenberry201775-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFortenberry201775_19-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFortenberry2017">Fortenberry 2017</a>, p. 75.</span>

</li>

<li id="cite_note-FOOTNOTEFortenberry201776-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFortenberry201776_20-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFortenberry2017">Fortenberry 2017</a>, p. 76.</span>

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<li id="cite_note-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-72">^</a></b></span> <span class="reference-text"><cite id="CITEREFvan_Lemmen2013" class="citation book cs1">van Lemmen, Hans (2013). <i>5000 Years of Tiles</i>. The British Museum Press. p. 238. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-7141-5099-4</bdi>.</cite></span>

</li>

<li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text"><cite id="CITEREFTexier2022" class="citation book cs1">Texier, Simon (2022). <i>Architectures Art Déco – Paris et Environs – 100 Bâtiments Remarquable</i>. Parigramme. p. 37. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-2-37395-136-3</bdi>.</cite></span>

</li>

<li id="cite_note-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-74">^</a></b></span> <span class="reference-text"><cite id="CITEREFCriticos2022" class="citation book cs1 cs1-prop-foreign-lang-source">Criticos, Mihaela (2022). <i>București Oraș Art Deco</i> (in Romanian and English). igloomedia. p. 183. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-606-8026-90-9</bdi>.</cite></span>

</li>

<li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text"><cite id="CITEREFCriticos2009" class="citation book cs1 cs1-prop-foreign-lang-source">Criticos, Mihaela (2009). <i>Art Deco sau Modernismul Bine Temperat – Art Deco or Well-Tempered Modernism</i> (in Romanian and English). SIMETRIA. p. 227. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-973-1872-03-2</bdi>.</cite></span>

</li>

<li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text"><cite id="CITEREFGlancey2017" class="citation book cs1">Glancey, Jonathan (2017). <i>Architecture – A Visual Guide</i>. DK. p. 376. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-2412-8843-6</bdi>.</cite></span>

</li>

<li id="cite_note-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-77">^</a></b></span> <span class="reference-text"><cite class="citation book cs1"><i>The Definitive Visual History of Design</i>. DK Limited. 2015. p. 215. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-2411-8565-0</bdi>.</cite></span>

</li>

<li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text"><cite id="CITEREFBanks2022" class="citation book cs1">Banks, Grace (2022). <i>Art Escapes – Hidden Art Experiences Outside the Museum</i>. gestalten. p. 19. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-96704-052-4</bdi>.</cite></span>

</li>

<li id="cite_note-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-79">^</a></b></span> <span class="reference-text"><cite id="CITEREFvan_Lemmen2013" class="citation book cs1">van Lemmen, Hans (2013). <i>5000 Years of Tiles</i>. The British Museum Press. p. 256. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-7141-5099-4</bdi>.</cite></span>

</li>

<li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text"><cite class="citation book cs1"><i>The Definitive Visual History of Design</i>. DK Limited. 2015. pp. 260, 261. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-2411-8565-0</bdi>.</cite></span>

</li>

<li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text"><cite id="CITEREFHessel2022" class="citation book cs1">Hessel, Katy (2022). <i>The Story off Art without Men</i>. Penguin Random House. p. 305. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9781529151145</bdi>.</cite></span>

</li>

<li id="cite_note-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-82">^</a></b></span> <span class="reference-text"><cite id="CITEREFFiell2023" class="citation book cs1">Fiell, Charlotte & Peter (2023). <i>Design of the 20th Century</i>. Taschen. p. 468. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-8365-4106-0</bdi>.</cite></span>

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<li id="cite_note-83"><span class="mw-cite-backlink"><b><a href="#cite_ref-83">^</a></b></span> <span class="reference-text"><cite id="CITEREFGura2017" class="citation book cs1">Gura, Judith (2017). <i>Postmodern Design Complete</i>. Thames & Hudson. p. 53. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-51914-1</bdi>.</cite></span>

</li>

<li id="cite_note-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-84">^</a></b></span> <span class="reference-text"><cite id="CITEREFHall2019" class="citation book cs1">Hall, William (2019). <i>Stone</i>. Phaidon. p. 79. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-7148-7925-3</bdi>.</cite></span>

</li>

<li id="cite_note-85"><span class="mw-cite-backlink"><b><a href="#cite_ref-85">^</a></b></span> <span class="reference-text"><cite id="CITEREFGura2017" class="citation book cs1">Gura, Judith (2017). <i>Postmodern Design Complete</i>. Thames & Hudson. p. 121. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-51914-1</bdi>.</cite></span>

</li>

<li id="cite_note-86"><span class="mw-cite-backlink"><b><a href="#cite_ref-86">^</a></b></span> <span class="reference-text"><cite id="CITEREFGura2017" class="citation book cs1">Gura, Judith (2017). <i>Postmodern Design Complete</i>. Thames & Hudson. p. 121. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-51914-1</bdi>.</cite></span>

</li>

<li id="cite_note-87"><span class="mw-cite-backlink"><b><a href="#cite_ref-87">^</a></b></span> <span class="reference-text"><cite id="CITEREFGura2017" class="citation book cs1">Gura, Judith (2017). <i>Postmodern Design Complete</i>. Thames & Hudson. p. 141. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-51914-1</bdi>.</cite></span>

</li>

<li id="cite_note-88"><span class="mw-cite-backlink"><b><a href="#cite_ref-88">^</a></b></span> <span class="reference-text"><cite id="CITEREFLizzie_Crook2020" class="citation web cs1">Lizzie Crook (February 14, 2020). <a rel="nofollow" class="external text" href="https://www.dezeen.com/2020/02/14/less-bore-book-celebrates-postmodern-architecture-forms/">"Less is a Bore book celebrates "postmodern architecture in all its forms""</a>. <i>dezeen.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">June 25,</span> 2023</span>.</cite></span>

</li>

<li id="cite_note-89"><span class="mw-cite-backlink"><b><a href="#cite_ref-89">^</a></b></span> <span class="reference-text"><cite id="CITEREFGura2017" class="citation book cs1">Gura, Judith (2017). <i>Postmodern Design Complete</i>. Thames & Hudson. p. 120. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-51914-1</bdi>.</cite></span>

</li>

<li id="cite_note-90"><span class="mw-cite-backlink"><b><a href="#cite_ref-90">^</a></b></span> <span class="reference-text"><cite id="CITEREFLizzie_Crook2020" class="citation web cs1">Lizzie Crook (February 14, 2020). <a rel="nofollow" class="external text" href="https://www.dezeen.com/2020/02/14/less-bore-book-celebrates-postmodern-architecture-forms/">"Less is a Bore book celebrates "postmodern architecture in all its forms""</a>. <i>dezeen.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">June 25,</span> 2023</span>.</cite></span>

</li>

<li id="cite_note-NM_Archaeology-91"><span class="mw-cite-backlink"><b><a href="#cite_ref-NM_Archaeology_91-0">^</a></b></span> <span class="reference-text"><cite id="CITEREFCenter_for_New_Mexico_Archaeology" class="citation web cs1">Center for New Mexico Archaeology. <a rel="nofollow" class="external text" href="http://ceramics.nmarchaeology.org/index/the-classification-system">"The Classification System"</a>. Office of Archaeological Studies, Pottery Typology Project<span class="reference-accessdate">. Retrieved <span class="nowrap">December 23,</span> 2020</span>.</cite></span>

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<li id="cite_note-92"><span class="mw-cite-backlink"><b><a href="#cite_ref-92">^</a></b></span> <span class="reference-text"><cite id="CITEREFGura2017" class="citation book cs1">Gura, Judith (2017). <i>Postmodern Design Complete</i>. Thames & Hudson. p. 439. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-51914-1</bdi>.</cite></span>

</li>

<li id="cite_note-93"><span class="mw-cite-backlink"><b><a href="#cite_ref-93">^</a></b></span> <span class="reference-text"><cite id="CITEREFWatkin2022" class="citation book cs1">Watkin, David (2022). <i>A History of Western Architecture</i>. Laurence King. p. 722. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-52942-030-2</bdi>.</cite></span>

</li>

<li id="cite_note-94"><span class="mw-cite-backlink"><b><a href="#cite_ref-94">^</a></b></span> <span class="reference-text"><cite id="CITEREFGalilee2021" class="citation book cs1">Galilee, Beatrice (2021). <i>radical architecturre of the future</i>. Phaidon. p. 192. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-83866-123-6</bdi>.</cite></span>

</li>

<li id="cite_note-95"><span class="mw-cite-backlink"><b><a href="#cite_ref-95">^</a></b></span> <span class="reference-text"><cite id="CITEREFIrving2019" class="citation book cs1">Irving, Mark (2019). <i>1001 BUILDINGS You Must See Before You Die</i>. Cassel Illustrated. p. 875. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-78840-176-0</bdi>.</cite></span>

</li>

<li id="cite_note-96"><span class="mw-cite-backlink"><b><a href="#cite_ref-96">^</a></b></span> <span class="reference-text"><cite id="CITEREFGalilee2021" class="citation book cs1">Galilee, Beatrice (2021). <i>radical architecturre of the future</i>. Phaidon. p. 30. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-83866-123-6</bdi>.</cite></span>

</li>

<li id="cite_note-97"><span class="mw-cite-backlink"><b><a href="#cite_ref-97">^</a></b></span> <span class="reference-text"><cite id="CITEREFWatkin2022" class="citation book cs1">Watkin, David (2022). <i>A History of Western Architecture</i>. Laurence King. p. 722. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-52942-030-2</bdi>.</cite></span>

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<li id="cite_note-98"><span class="mw-cite-backlink"><b><a href="#cite_ref-98">^</a></b></span> <span class="reference-text"><cite class="citation book cs1"><i>Architizer The World's Best Architecture</i>. Phaidon. 2020. p. 191. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-83866-066-6</bdi>.</cite></span>

</li>

<li id="cite_note-99"><span class="mw-cite-backlink"><b><a href="#cite_ref-99">^</a></b></span> <span class="reference-text"><cite id="CITEREFGalilee2021" class="citation book cs1">Galilee, Beatrice (2021). <i>radical architecturre of the future</i>. Phaidon. p. 192. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-83866-123-6</bdi>.</cite></span>

</li>

<li id="cite_note-100"><span class="mw-cite-backlink"><b><a href="#cite_ref-100">^</a></b></span> <span class="reference-text"><cite id="CITEREFWatkin2022" class="citation book cs1">Watkin, David (2022). <i>A History of Western Architecture</i>. Laurence King. p. 722. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-52942-030-2</bdi>.</cite></span>

</li>

<li id="cite_note-101"><span class="mw-cite-backlink"><b><a href="#cite_ref-101">^</a></b></span> <span class="reference-text"><cite id="CITEREFBenton2022" class="citation book cs1">Benton, Janetta Rebold (2022). <i>The History of Western Art</i>. Thames & Hudson. p. 167. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-29665-3</bdi>.</cite></span>

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<li id="cite_note-102"><span class="mw-cite-backlink"><b><a href="#cite_ref-102">^</a></b></span> <span class="reference-text"><cite class="citation book cs1"><i>Architizer The World's Best Architecture</i>. Monacelli. 2021. p. 187. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-58093-591-3</bdi>.</cite></span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

<ul><li><cite id="CITEREFBergdoll2000" class="citation book cs1">Bergdoll, Barry (2000). <i>European Architecture 1750–1890</i>. <a href="Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-19-284222-0</bdi>.</cite></li>

<li><cite id="CITEREFFortenberry2017" class="citation book cs1">Fortenberry, Diane (2017). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=YsxDswEACAAJ"><i>The Art Museum</i></a> (Revised ed.). London: Phaidon Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-7148-7502-6</bdi>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210423220204/https://books.google.com/books?id=YsxDswEACAAJ">Archived</a> from the original on April 23, 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">April 23,</span> 2021</span>.</cite></li>

<li><cite id="CITEREFRogersGumuchdjianJones2014" class="citation book cs1">Rogers, Richard; Gumuchdjian, Philip; Jones, Denna (2014). <i>Architecture The Whole Story</i>. Thames & Hudson. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-500-29148-1</bdi>.</cite></li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

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<ul><li><a rel="nofollow" class="external text" href="http://www.stiftung-archaeologie.de">Research in the field of ancient polychrome sculpture</a> In German</li>

<li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20130228211241/http://www.france.fr/en/art-and-culture/amiens-cathedral-colour">Amiens Cathedral in Colour</a></li>

<li><a rel="nofollow" class="external text" href="http://dictionary.reference.com/browse/Polychromatic">Polychromatic, Reference.com's definition</a>.</li></ul>

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</style><div id="Color_topics419" style="font-size:114%;margin:0 4em"><a href="Color" title="Color">Color</a> topics</div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Color_science" title="Color science">Color science</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Color physics</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Electromagnetic_spectrum" title="Electromagnetic spectrum">Electromagnetic spectrum</a>

<ul><li><a href="Light" title="Light">Light</a></li>

<li><a href="Rainbow" title="Rainbow">Rainbow</a></li>

<li><a href="Visible_spectrum" title="Visible spectrum">Visible</a></li></ul></li>

<li><a href="Spectral_color" title="Spectral color">Spectral colors</a></li>

<li><a href="Chromophore" title="Chromophore">Chromophore</a>

<ul><li><a href="Structural_coloration" title="Structural coloration">Structural coloration</a></li>

<li><a href="Animal_coloration" title="Animal coloration">Animal coloration</a></li></ul></li>

<li><a href="Color_of_chemicals" title="Color of chemicals">Color of chemicals</a>

<ul><li><a href="Color_of_water" title="Color of water">Water</a></li></ul></li>

<li><a href="Spectral_power_distribution" title="Spectral power distribution">Spectral power distribution</a></li>

<li><a href="Colorimetry" title="Colorimetry">Colorimetry</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Color_vision" title="Color vision">Color perception</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Chromesthesia" title="Chromesthesia">Chromesthesia</a>

<ul><li><a href="Sonochromatism" title="Sonochromatism">Sonochromatism</a></li></ul></li>

<li><a href="Color_blindness" title="Color blindness">Color blindness</a>

<ul><li><a href="Achromatopsia" title="Achromatopsia">Achromatopsia</a></li>

<li><a href="Dichromacy" title="Dichromacy">Dichromacy</a></li></ul></li>

<li><a href="Color_calibration" title="Color calibration">Color calibration</a></li>

<li><a href="Color_constancy" title="Color constancy">Color constancy</a></li>

<li><a href="Color_task" title="Color task">Color task</a>

<ul><li><a href="Color_code" title="Color code">Color code</a></li></ul></li>

<li><a href="Color_temperature" title="Color temperature">Color temperature</a></li>

<li><a href="Color_vision_test" title="Color vision test">Color vision test</a></li>

<li><a href="Evolution_of_color_vision" title="Evolution of color vision">Evolution of color vision</a></li>

<li><a href="Impossible_color" title="Impossible color">Impossible colors</a></li>

<li><a href="Metamerism_(color)" title="Metamerism (color)">Metamerism</a></li>

<li><a href="Opponent_process" title="Opponent process">Opponent process</a>

<ul><li><a href="Afterimage" title="Afterimage">Afterimage</a></li>

<li><a href="Unique_hues" title="Unique hues">Unique hues</a></li></ul></li>

<li><a href="Tetrachromacy" title="Tetrachromacy">Tetrachromacy</a></li>

<li><i><a href="The_dress" title="The dress">The dress</a></i></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Color_psychology" title="Color psychology">Color psychology</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Color_symbolism" title="Color symbolism">Color symbolism</a></li>

<li><a href="Color_preferences" title="Color preferences">Color preferences</a></li>

<li><a href="L%C3%BCscher_color_test" title="Lüscher color test">Lüscher color test</a></li>

<li><a href="Kruithof_curve" title="Kruithof curve">Kruithof curve</a></li>

<li><a href="Political_colour" title="Political colour">Political color</a></li>

<li><a href="National_colours" title="National colours">National colors</a></li>

<li><a href="Chromophobia" title="Chromophobia">Chromophobia</a></li>

<li><a href="Chromotherapy" title="Chromotherapy">Chromotherapy</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Color_reproduction" title="Color reproduction">Color reproduction</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Color_photography" title="Color photography">Color photography</a>

<ul><li><a href="Color_balance" title="Color balance">Color balance</a></li>

<li><a href="Colour_cast" title="Colour cast">Color cast</a></li></ul></li>

<li><a href="Digital_image_processing" title="Digital image processing">Digital image processing</a></li>

<li><a href="Color_management" title="Color management">Color management</a></li>

<li><a href="Color_printing" title="Color printing">Color printing</a>

<ul><li><a href="Multi-primary_color_display" title="Multi-primary color display">Multi-primary color display</a></li>

<li><a href="Quattron" title="Quattron">Quattron</a></li></ul></li>

<li><a href="Color_model" title="Color model">Color model</a>

<ul><li><a href="Additive_color" title="Additive color">additive</a>

<li><a href="Subtractive_color" title="Subtractive color">subtractive</a>

<li><a href="Color_space" title="Color space">Color space</a></li>

<li><a href="Color_mapping" class="mw-redirect" title="Color mapping">Color mapping</a></li></ul>

</div></td></tr></tbody></table><div></div></td><td class="noviewer navbox-image" rowspan="6" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Philosophy_of_color" title="Philosophy of color">Color<br>philosophy</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Color_scheme" title="Color scheme">Color scheme</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Color_picker" title="Color picker">Color tool</a>

<ul><li><a href="Monochromatic_colors" class="mw-redirect" title="Monochromatic colors">Monochromatic colors</a>

<ul><li><a href="Black-and-white" class="mw-redirect" title="Black-and-white">Black-and-white</a></li>

<li><a href="Grisaille" title="Grisaille">Grisaille</a></li></ul></li>

<li><a href="Complementary_colors" title="Complementary colors">Complementary colors</a></li>

<li><a href="Analogous_colors" title="Analogous colors">Analogous colors</a></li>

<li><a href="Grey" title="Grey">Achromatic colors (Neutral)</a></li>

</ul></li>

<li><a href="Light-on-dark_color_scheme" title="Light-on-dark color scheme">Light-on-dark</a></li>

<li><a href="Web_colors" title="Web colors">Web colors</a></li>

<li><a href="Tincture_(heraldry)" title="Tincture (heraldry)">Tinctures in heraldry</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Color_theory" title="Color theory">Color theory</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Color_mixing" title="Color mixing">Color mixing</a>

<ul><li><a href="Primary_color" title="Primary color">Primary color</a></li>

<li><a href="Secondary_color" title="Secondary color">Secondary color</a></li></ul></li>

<li><a href="Chromaticity" title="Chromaticity">Chromaticity</a></li>

<li><a href="Color_solid" title="Color solid">Color solid</a></li>

<li><a href="Color_wheel" title="Color wheel">Color wheel</a></li>

<li><a href="Color_triangle" title="Color triangle">Color triangle</a></li>

<li><a href="Color_analysis" title="Color analysis">Color analysis</a> (fashion)</li>

<li><a href="Color_realism_(art_style)" title="Color realism (art style)">Color realism (art style)</a></li>

<li><i><a href="On_Vision_and_Colours" title="On Vision and Colours">On Vision and Colours</a></i> (Schopenhauer)</li>

<li><i><a href="Theory_of_Colours" title="Theory of Colours">Theory of Colours</a></i> (Goethe)</li></ul>

</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Color_term" title="Color term">Color terms</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Color_term#Basic_color_terms" title="Color term">Basic English terms</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Orange_(colour)" title="Orange (colour)">Orange</a></li>

<li><a href="Yellow" title="Yellow">Yellow</a></li>

<li><a href="Green" title="Green">Green</a></li>

<li><a href="Purple" title="Purple">Purple</a></li>

<li><a href="Brown" title="Brown">Brown</a></li>

<li><a href="White" title="White">White</a></li>

<li><a href="Black" title="Black">Black</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Cultural differences</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Linguistic_relativity_and_the_color_naming_debate" title="Linguistic relativity and the color naming debate">Linguistic relativity and the color naming debate</a>

<ul><li><a href="Blue%E2%80%93green_distinction_in_language" title="Blue–green distinction in language">Blue–green distinction in language</a></li></ul></li>

<li>Color history

<ul><li><a href="Black-and-white_dualism" title="Black-and-white dualism">Black-and-white dualism</a></li>

<li><a href="Blue_in_culture" title="Blue in culture">Blue in culture</a></li>

<li><a href="Color_in_Chinese_culture" title="Color in Chinese culture">Color in Chinese culture</a></li>

<li><a href="Traditional_colors_of_Japan" title="Traditional colors of Japan">Traditional colors of Japan</a></li>

<li><a href="Human_skin_color" title="Human skin color">Human skin color</a></li></ul></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Color dimensions</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Dichromatism" title="Dichromatism">Dichromatism</a></li></ul></li>

<li><a href="Colorfulness" title="Colorfulness">Colorfulness</a>

<ul><li><a href="Pastel_(color)" title="Pastel (color)">Pastel colors</a></li></ul></li>

<li><a href="Luminance" title="Luminance">Luminance</a>

<ul><li><a href="Lightness" title="Lightness">Lightness</a></li>

<li><a href="Darkness" title="Darkness">Darkness</a></li>

<li><a href="Brightness" title="Brightness">Brightness</a></li>

<li><a href="Iridescence" title="Iridescence">Iridescence</a></li>

<li><a href="Fluorescence" title="Fluorescence">Fluorescence</a></li></ul></li>

<li><a href="Grayscale" title="Grayscale">Grayscale</a></li>

<li><a href="Tint%2C_shade_and_tone" title="Tint, shade and tone">Tint, shade and tone</a></li></ul>

</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Color<br>organizations</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Pantone" title="Pantone">Pantone</a></li>

<li><a href="Color_Marketing_Group" title="Color Marketing Group">Color Marketing Group</a></li>

<li><a href="Color_Association_of_the_United_States" title="Color Association of the United States">Color Association of the United States</a></li>

<li><a href="International_Colour_Authority" title="International Colour Authority">International Colour Authority</a></li>

<li><a href="International_Commission_on_Illumination" title="International Commission on Illumination">International Commission on Illumination</a> (CIE)</li>

<li><a href="International_Color_Consortium" title="International Color Consortium">International Color Consortium</a></li>

<li><a href="International_Colour_Association" title="International Colour Association">International Colour Association</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Names</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Lists_of_colors" title="Lists of colors">Lists</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="List_of_colors%3A_A%E2%80%93F" title="List of colors: A–F">List of colors: A–F</a></li>

<li><a href="List_of_colors%3A_G%E2%80%93M" title="List of colors: G–M">List of colors: G–M</a></li>

<li><a href="List_of_colors%3A_N%E2%80%93Z" title="List of colors: N–Z">List of colors: N–Z</a></li>

<li><a href="List_of_colors_(compact)" class="mw-redirect" title="List of colors (compact)">List of colors (compact)</a></li>

<li><a href="List_of_colors_by_shade" title="List of colors by shade">List of colors by shade</a></li>

<li><a href="List_of_color_palettes" title="List of color palettes">List of color palettes</a></li>

<li><a href="List_of_color_spaces_and_their_uses" title="List of color spaces and their uses">List of color spaces</a></li>

<li><a href="List_of_Crayola_crayon_colors" title="List of Crayola crayon colors">List of Crayola crayon colors</a>

<ul><li><a href="History_of_Crayola_crayons" title="History of Crayola crayons">history</a></li></ul></li>

<li><a href="Color_chart" title="Color chart">Color chart</a></li>

<li><a href="List_of_RAL_colors" class="mw-redirect" title="List of RAL colors">List of RAL colors</a></li>

<li><a href="Web_colors" title="Web colors">List of web colors</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="List_of_colors_by_shade" title="List of colors by shade">Shades of:</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Shades_of_orange" title="Shades of orange">Orange</a></li>

<li><a href="Shades_of_yellow" title="Shades of yellow">Yellow</a></li>

<li><a href="Shades_of_green" title="Shades of green">Green</a></li>

<li><a href="Shades_of_violet" title="Shades of violet">Violet</a></li>

<li><a href="Shades_of_purple" title="Shades of purple">Purple</a></li>

<li><a href="Shades_of_magenta" title="Shades of magenta">Magenta</a></li>

<li><a href="Shades_of_brown" title="Shades of brown">Brown</a></li>

<li><a href="Shades_of_white" title="Shades of white">White</a></li>

<li><a href="Shades_of_black" title="Shades of black">Black</a></li></ul>

</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Index_of_color-related_articles" title="Index of color-related articles">Related</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Visual_perception" title="Visual perception">Vision</a>

<ul><li><a href="Contrast_(vision)" title="Contrast (vision)">Contrast</a></li></ul></li>

<li><a href="Qualia" title="Qualia">Qualia</a></li>

<li><a href="Lighting" title="Lighting">Lighting</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="3"><div>

<ul><li><span class="noviewer" typeof="mw:File"><span title="Category"></span></span> Category</li>

<li><span class="noviewer" typeof="mw:File"><span title="List-Class article"></span></span> <a href="Index_of_color-related_articles" title="Index of color-related articles">Index</a></li></ul>

</div></td></tr></tbody></table></div></div><div><div class="zim-footer">

This article is issued from <a class="external text" title="Last edited on 2025-06-07" href="https://en.wikipedia.org/wiki/?title=Polychrome&oldid=1294401240">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

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