28.7.10

ON THE FLOOR OF THE UNDERSIDE OF THE FLOOR OF THE SECOND STORY: PAGE 1, THE ELDEST STRATUM


i built for you on the floor of the underside of the floor of the second story a grand plastered surface containing vigorous molded ornament against a plain ground divided by a grid forming a central rectangle with semi-circular breaks and deeply moulded beams leaving only ovals or circles which had formerly been framed so that the patterns remain simple and forceful and large with densely ornamented areas divided by grids which imposed clearly centralized and sometimes hierarchical systems depicting scenes from ovid’s metamorphosis framed by cherubs in simple geometric patterns shaped with hand-forming tools and ornamental elements of moulded papier mache fixed with pins in situ rather than applied reflecting grand baroque traditions as executed by german craftspeople of southeastern pennsylvania held by dense strapwork with repeated breaks and ornament centred on armorial or emblematic devices most often the four seasons the seven sins the fives senses the nine virtues recessed in octagonal coffering decorated with wreathes and rosettes in delicate palettes of pea greens with pinks and lilacs and lilacs with greys on a shallow dome supported on pendentives decorated with an incised elongated greek key motif complementing the curving ornament in the rectangular panels at either side of an elaborate ensemble of swags and roundels with a central sunburst and the head of a god stenciled with painted and gold plaster of special exuberance displaying a penchant for roman splendour gilded and painted white in accord with chaste palladian principles of joists simply lathed and plastered resulting in a slightly undulating appearance marked with plain or corniced moulding along with acanthus and anthemion and egg-and-dart mouldings as well as beading in the cornice featuring ribbed design for intricate paintwork atop barrel vaulting of incipent modernism in the anglo-japanese style with all-over papers in reticent patterns with plain borders ensuite of tongue-and-groove boards or of painted tin insets with scenes or coats of arms with details reserved in white against sky tones for the curling vine motif that surrounds the central panel in strictly geometric compartments within naturalistic swags in white blue and cream representing glory as well as elaborate swags and ribs and flowers and festoons and roses and medallions and ventilators in combinations of rosettes and patera motifs with radiating palmettes and other leaves coarsened by layer upon layer upon layer upon layer upon layer upon layer upon layer upon layer of gold.

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