Architecture and Interior Design - 19th Century - Ch09

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Inspired by revivalism, eclecticism, and a quest for nov-
elty in the second half of the 19th century, Exoticism
looks to non-Western cultures for inspiration and bor-
rows their forms, colors, and motifs. International expo-
sitions, books, periodicals, travel, and advances in
technology acquaint Europeans and Americans with
other cultures while creating a romantic image of far-
away lands and people. Egyptian Revival, Moorish or
Islamic, Turkish, and Indian join, yet never completely
surpass other fashionable styles.
HISTORICAL AND SOCIAL
By the middle of the 19th century, Europeans and Ameri-
cans (Fig. 9-1) begin to lose interest in the prevailing
styles, such as Greek Revival and Gothic Revival. Their
desire for new and novel styles opens the door for exotic
influences. At the same time, designers are looking for new
sources of inspiration apart from the rampant historicism.
Eclecticism, a dominant force in design during the time,
encourages the exploration and appreciation of the archi-
tecture and decorative arts of other cultures. Although
exotic-style public and private buildings, interiors, and
furnishings appear in both Europe and North America,
they are not overridingly popular.
Exotic influences are not new in Europe or even North
America because they have been present in varying
degrees since the Middle Ages. What is new is the wide-
spread fascination, arising from art, travel, literature (such
as guidebooks, novels, and travelogues), international
expositions, trade with other countries, colonialism
(particularly in France and England). Equally important
are archaeology, scholarship, and publications, which in-
crease interest in and create design resources for exotic
C H A P T E R 9
Exoticism
1830s1920s
In this room Messrs. Louis C. Tiffany and Co. have
made an elaborate attempt to assimilate the Moresque
idea to modern requirements, and no expense has
been spared to attain the most prefect result in every
respect, even the grand piano being made to assume a
Moresque garb. . . . The fireplace is lined with old
Persian tile in blue, blue-greens, and dark purplish-
red on a white ground, making a valuable sensation in
the surrounding opal tile, of which the hearth is
composed. . . . All the woodwork above [the floor] is
executed in white holly, the panels in which are filled
with various incrustations of stucco in delicate
Moresque patterns re-enforced with pale tints, gold,
and silver. Such portions of the walls as are not
otherwise occupied are covered with stamped cut and
uncut velvet on satin ground, in tones of pale buff,
red, and blue. . . . The furniture is all of white holly,
carved, turned, and inlaid with mother-of-pearl,
making rich effects with the olive plush coverings
embroidered in cream and gold-colored floss.
A. F. Oakley, Harpers New Monthly Magazine, April 1882, describing
the salon in the George Kemp House, New York City
M09_HARW5385_01_SE_C09.QXD 4/10/08 11:45 PM Page 212
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Architecture and Interior Design from the 19th Century: An Integrated History, Volume 2, by Buie Harwood, Bridget May, Ph.D., and Curt Sherman.
Published by Prentice Hall. Copyright 2009 by Pearson Education, Inc.
cultures. This intense scrutiny engenders myths about
the lives, people, customs, architecture, and objects in
other countries. Exotic styles arise mainly from the Egyptian
and Islamic cultures, which have centuries of artistic tradi-
tions that are largely unknown to Westerners until the
19th century.
Egyptian Revival. The art and architecture of ancient

Egypt project a timeless, formal, and ordered appearance
arising from a hierarchal society immersed in religion. The
most significant structurespyramids, tombs, and temples
are associated with spirituality, death, and rebirth. Note-
worthy introductions include the column, capital, pylon,
and obelisk. Egyptians are known for achievements in
medicine, astronomy, and geometry.
Characteristics of Egyptian architecture appear in and
influence art and architecture as early as classical antiquity
and continue in varying degrees through the Renaissance,
the Baroque, and into the 18th century. In the middle of
the 18th century, some interest in Egypt arises following
Giovanni Battista Piranesis creation and publication of
Egyptian style interiors in the Caffe degli Inglese (English
Coffee House) in Rome and his prints of Egyptian style
details. At the same time, Neoclassical architects, influ-
enced by French theories, adopt the forms, geometric vol-
umes, and some details of Egyptian architecture to express
clarity, severity, and integrity. Subsequent interest in
Egyptian art and architecture usually corresponds to events
that bring attention to it.
The earliest widespread adoption of Egyptian forms and
motifs in architecture and the decorative arts begins fol-
lowing Napoleons conquest of Egypt in 17981799.
Napoleons scientists, cartographers, engineers, and artists
study and record tombs, temples, and other buildings, and
the newly established Insitut dEgypte examines all aspects
of Egyptian civilization. These sources provide a wealth of
information about Egypt, ancient and modern, and ac-
quaint people with the land, about which little is known in
the West. A few Egyptian-style buildings and interiors
occur, and Egyptian details are applied to furniture.
A larger Egyptian Revival begins at midcentury aided
by new technology, which makes emulation of ancient
artifacts easier, faster, and more practical. Knowledge of
Egyptian and other cultures increases through develop-
ments in communications that make the world seem
smaller and allow almost anyone to visit faraway lands
through photographs and stereo views. Museums and
individuals collect and exhibit artifacts unearthed in
numerous archaeological sites, further acquainting and
stirring more interest. The successful Egyptian Court at
the Crystal Palace Exhibition of 1851 leads to similar dis-
plays at later expositions. Egypt even finds a place in the
design reform movements of the mid-19th century as the
adherents admire the stylized forms of its ornament and
sturdy and honest construction of its furniture.
A new wave of Egyptian Revival begins in the 1870s,
inspired by the opening of the Suez Canal in 1869, Giuseppe
Verdis opera Aida of 1871 with its colorful Egyptian-style
sets, and the installation of Egyptian obelisks in London in
1878 and New Yorks Central Park in 1879. The revival con-
tinues until the end of the 19th century when interest begins
to wane, although use of Egyptian forms and motifs never
completely ceases. In 1922, the discovery of the tomb of
Tutankhamen immediately stirs renewed interest in and
emulation of ancient Egypt.
Turkish, Arab, Saracenic, or Moorish and Indian Styles.

Like Egypt, religion is a significant influence on Islamic
art and architecture. The design traditions of its various
peoples and the aesthetic sensibilities of its artists and
builders contribute to its unique form and decoration.
Common to all arts are dense, flat patterns composed of
geometric forms and curving tendrils, which dematerialize
form and create visual complexity. Also unique is calligra-
phy that is integrated into decoration of nearly all objects
and structures.
Europeans are somewhat acquainted with Turkey, Per-
sia, Syria, Morocco, Moorish Spain, and India before the
mid-19th century. In the 1830s, a religious revival in
England focuses attention on Palestine where Christ had
lived. Painters, artists, and architects go to the Middle
East to study, paint, and sketch. Upon their return, many
publish their work. Design reformers admire the intri-
cate, stylized, and colorful designs and motifs of the
Middle East and promote them in their work and publi-
cations. Panoramas, a popular form of entertainment;
photographs; travel books; and stereo views depict
Cairo, Jerusalem, Paestum, Karnak, and Pompeii along
with other exotic sights.
EXOTI CI SM 213
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9-1. Womans costume showing
paisley underskirt; published in
Bloomingdales catalog, 1886.
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214 VI CTORI AN REVI VALS
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Like Egyptian Revival, expositions acquaint people
with the Islamic art and decoration. The Alhambra Court
at the Crystal Palace Exhibition of 1851 is also very suc-
cessful as is a smaller version in the New Crystal Palace
four years later in London. Both are important models for
designers. At the Centennial International Exposition of
1876 in Philadelphia, several buildings are Islamic in form
if not visual character. Turkish bazaars, cafs, and enter-
tainment pavilions at successive expositions provide places
for shopping, eating, and amusement. Not to be outdone,
department stores and warehouses, such as Macys in New
York and Libertys in London, import goods from the Mid-
dle East and display them in bazaars or use them in tea-
rooms throughout the 1870s and 1880s. This inspires a
domestic craze for Turkish or Cozy corners.
Closely aligned with the Turkish, Moorish, Saracenic
or Arab (as it is called) in Britain is the Indian or Mogul
style, a Victorian interpretation of Indian art and life. The
English colonists and military returning home bring ideas,
architecture, and objects from India, an important British
possession. India also exports many goods to the mother
country. Displays of Indian wares are well attended at the
Crystal Palace Exhibition of 1851. The style is limited to
a few examples in Great Britain.
CONCEPTS
Fascination with non-Western cultures gives rise to Egypt-
ian Revival, Turkish or Islamic styles, and the Indian or
Mogul style with various intensities throughout the 19th
century and into the 20th. Common among them is the
adaptation of characteristics of the cultures to Western
tastes and needs. By the mid-19th century, associations and
symbolism strongly influence stylistic choices and the visual
image. Each style is associated with particular building
types, rooms, and furniture, and conveys a particular
image, such as timelessness, monumentality, or a touch of
the exotic in an otherwise ordinary Victorian house.
DESIGN CHARACTERISTICS
Non-Western cultures during the 19th and early 20th
centuries inspire several Exotic revivals, including
Egyptian Revival and Turkish or Moorish Revival. Each
is an assemblage of motifs applied to contemporary
forms. Few, if any, attempts are made to live as other cul-
tures do because associations and evoking an image are
more important. The forms and motifs of the culture
define the style.
Egyptian Revival. Although Egyptian forms and motifs

appear in architecture beginning in antiquity, the first
conscious revival occurs about 1810. Egyptian Revival
architecture adopts the monumentality, simplicity, col-
umn forms, battered sides, and other architectural details
and motifs of the surviving buildings of ancient Egypt.
The small number of examples is limited to a few build-
ings types. Interiors, furniture, and decorative arts adopt
the details and motifs more than the forms of Egyptian
architecture. Eclecticism is characteristic in interiors
and furniture. Most often, Egyptian details are applied to
contemporary forms, but in the second half of the 19th
century, Egyptian chairs and stools are copied.
Turkish, Arab, Saracenic, Moorish, and Indian Styles.

Often evident in these styles are the architectural details
and complex layered ornament of Islamic art and archi-
tecture. European and American designers sometimes strive
to use forms and motifs more correctly, although still copy-
ing and reinterpreting them. Access to more information
enables them to develop greater archaeological correct-
ness. In architecture, fully Turkish or Moorish expressions
are extremely rare, but many buildings display some archi-
tectural details. Similarly, interiors also have Moorish
architectural details combined with other styles. Mostly
limited to particular types, such as smoking rooms, interi-
ors may be filled with rugs, furniture, and decorative arts
from the Middle East as well as Western interpretations.
Overstuffed, deeply tufted upholstery is the most common
example of Turkish-style furniture.
Motifs. Characteristic motifs are geometric forms typ-

ical of Egyptian architecture, columns and other archi-
tectural details, as well as real and fake hieroglyphs,
scarabs, Egyptian figures or heads, Egyptian gods and
goddesses, lotus, papyrus, crocodiles, cobra, sphinxes,
and sun disk (Fig. 9-2, 9-4, 9-5, 9-6, 9-7, 9-19, 9-23,
9-24, 9-41). Islamic or Turkish motifs include onion
domes, minarets, lattice, horseshoe arches, multifoil arches,
ogee arches, peacocks, carnations, vases, arabesques, and
flat and intricate patterns (Fig. 9-2, 9-3, 9-13, 9-17, 9-20,
9-25, 9-34).
IMPORTANT TREATISES
Lart arabe daprs les monuments du Caire,

1869; Emile Prisse dAvennes.
Atlas de lhistoire de lart gyptien, 1870; Emile

Prisse dAvennes.
Domestic Architecture, 1841; Richard Brown.
Grammar of Ornament, 1856; Owen Jones.
Manners and Customs of the Ancient

Egyptians, 1837; John Gardner Wilkinson.
Plans, Elevations, Sections and Details of the

Alhambra, 18241825; Owen Jones.
Voyage dans la basse et la haute gypte,

1802; Baron de Denon.
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ARCHITECTURE
Examples of Exoticism in architecture are uncommon
when compared to other styles. Rare in residences, design-
ers apply exotic styles to particular public building types. In
the 19th century, the idea that a buildings design should
convey its purpose governs stylistic choices, making cer-
tain styles appropriate for particular types of buildings.
Symbolism, acknowledged through form and motifs, is an
important design context and characteristic. Thus, the
ancient Egyptians strong belief in life after death makes
their art and architecture appropriate for cemeteries and
funerary buildings. Themes of justice, solidity, and security
give rise to Egyptian Revival courthouses and prisons. The
perceived superior knowledge of the ancient Egyptians
deems the style appropriate for libraries and centers of
learning. Medical buildings often feature the style because
of the 19th centurys belief in Egypts advanced medical
knowledge and practices. Freemasons, secret societies, and
fraternal lodges see Egypts mysterious image and wisdom as
ample reason for choosing its style. For bridges and train
stations, Egyptian Revival symbolizes advancements in
technology. Less obvious is the choice of Egyptian Revival
for churches and synagogues.
9-2. Turkish, Persian, Indian, and Egyptian designs published in The Grammar of Ornament, 1856, by Owen Jones.
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9-4. Philadelphia County Prison, Debtors Wing, 1836; Philadelphia, Pennsylvania; Thomas U. Walter. Egyptian Revival.
9-3. Porch, wall elevation, and door detail, mid-19th century. Islamic influence.
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IMPORTANT BUILDINGS AND INTERIORS
Antwerp, Belgium:
Elephant Pavilion, Antwerp Zoo, 18551856;
Charles Servais. Egyptian Revival.
Atlanta, Georgia:
Yaarab Temple Shrine Mosque (Fox Theater),
19271929; Marye, Alger, and Vinour. Islamic
Revival.
Boise, Idaho:
Ada Theater, 1926; Frederick C. Hummel.
Egyptian Revival.
Cincinnati, Ohio:
Isaac M. Wise Temple, 1866; James K. Wilson.
Turkish/Exotic Revival.
Devonport, England:
Egyptian Library, 1823; John Foulston. Egyptian
Revival.
Glasgow, Scotland:
Templetons Carpet Factory, 18891892.
Exotic/Byzantine Revival.
Hudson, New York:

Olana, 18701872 house, 18881891 studio
wing; Frederic E. Church, consulting architect
Calvert Vaux. Exotic/Moorish Revival.
Leeds, England:
Temple Mill, 1842; Joseph Bonomi, Jr. Egyptian
Revival.
London, England:
Arab Hall, Lord Leighton House, c. 1865; George
Aitchison. Exotic/Islamic Revival.
The Egyptian Hall, Piccadilly, 1812; P. F.
Robinson. Egyptian Revival.
Los Angeles, California:

Egyptian Theater, 1922; Meyer and Holler.
Egyptian Revival.
Los Angeles Public Library, 19221926; Bertram
G. Goodhue and Carlton M. Winslow.
Egyptian/Islamic Revival.
Sampson Tyre and Rubber Company Building,
1929; Morgan, Walls, and Clements. Exotic.
Mitchell, South Dakota:

Corn Palace, 1921; Rapp and Rapp.
Turkish/Exotic Revival.
Nashville, Tennessee:
First Presbyterian Church, 18481851; William
Strickland. Egyptian Revival.
New Haven, Connecticut:

Grove Street Cemetery Entrance, 1845; Henry
Austin. Egyptian Revival.
Willis Bristol House, 1846; Henry Austin.
Exotic/Islamic Revival.
New York City, New York:

New York City Halls of Justice and House of
Detention (The Tombs), 18351838; John
Haviland. Egyptian Revival.
Paris, France:
Palais de Justice, 18571868; Joseph-Louis Duc.
Egyptian Revival.
Philadelphia, Pennsylvania:
Pennsylvania Academy of Fine Arts, 18711876;
Frank Furness and George W. Hewitt. Exotic
Revival.
Pennsylvania Fire Insurance Company, c. 1839,
John Haviland, and 1902, Theophilus Parsons
Chandler, Jr. Egyptian Revival.
Philadelphia County Prison, Debtors
Wing, 1836; Thomas U. Walter. Egyptian
Revival.
Richmond, Virginia:
Egyptian Building, Medical College of Virginia
(now a part of Virginia Commonwealth
University), 18441845; Thomas S. Stewart.
Egyptian Revival.
Millhiser House, 18911894; William M.
Poindexter. Turkish/Exotic Revival.
Sag Harbor, Long Island, New York:

First Presbyterian Church, 18431844;
to the design of Minard LaFever. Egyptian
Revival.
San Francisco, California:

Fine Arts Building, California Midwinter
International Exposition, 1894. Egyptian
Revival.
Hindu Society, late 19th century. Turkish/Exotic
Revival.
Santa Fe, New Mexico:

Scottish Rite Cathedral, c. 1912;
C. H. Martindale. Moorish Revival.
Washington, D.C.:
Washington Monument, 1833 (designed),
18481884 (built); Robert Mills.
Egyptian Revival.
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DESIGN SPOTLIGHT
Architecture: New York City Halls of Justice and House
of Detention (The Tombs), 18351838; New York City,
New York; John Haviland. Egyptian Revival. This building
is one of the most significant Egyptian Revival structures
in the United States. The attributes and visual character-
istics of ancient Egyptian buildings are intended to
convey security, monumentality, terror, and the misery
awaiting those to be incarcerated there. Reminiscent of
the massive gateways at the entrances of Egyptian
tombs, the faade emphasizes symmetry, volume, simple
geometric forms, and minimal ornament. Two wings
with battered walls and a center entrance portico carried
by Egyptian-style columns compose the facade. Slanted
moldings carrying a lintel form the window surrounds.
A plain or half-circle molding emphasizes the corners
and the cavetto cornice that caps the composition.
Haviland derives the architectural vocabulary from sev-
eral scholarly books on ancient Egypt that he owns. The
building also is a model prison for its day, incorporating
fireproofing, natural light and air, sanitary facilities, a
hospital, and individual cells for inmates.
Flat or low pitched roof typical
Egyptian columns define entry and portico
Symmetrical composition
Slanted columns frame windows
Battered or canted plain wall
Plain, rounded molding on corners
Cornice or lintel
Cavetto cornice
9-5. New York City Halls of Justice and House of Detention (The Tombs); New York City.
Architects rarely try to re-create authentic Egyptian or
Middle Eastern buildings, preferring instead to apply forms
and motifs to contemporary forms. These details may mix
with other styles. The belief that Egypt influences Greece
prompts Egyptian details in Greek Revival. Islamic pat-
terns sometimes mix with Gothic Revival in the work of
some designers, such as William Burges, and the Queen
Anne style in the late 19th century.
Never achieving a full revival, Turkish or Moorish de-
tails may define homes and a wide range of public buildings
from the 1860s onward. Picturesque, hedonistic, and erotic
allusions limit the Turkish context for use to those build-
ing types possessing romantic ideals, some tie to the Mid-
dle East, amusement, or entertainment.
Public and Private Buildings
Types. Appropriate building types for Egyptian Revival

include cemetery gates and other funerary structures, pris-
ons, courthouses, commercial buildings, fraternal lodges,
and occasionally a church or train station (Fig. 9-4, 9-5,
9-6, 9-7, 9-8, 9-9). In the early 20th century, Egyptian
movie theaters are common (Fig. 9-15). Entire houses in
the Egyptian style are rare, but Egyptian details such as
columns or slanted window surrounds combine with other
styles. Turkish or Moorish defines a variety of building
types, including synagogues, fraternal temples, pubs,
clubs, theaters, music halls, and a few commercial build-
ings (Fig. 9-11, 9-12). Moorish-style houses (Fig. 9-17)
are exceedingly eclectic with elements from several styles
applied to contemporary forms.
Site Orientation. No particular site orientation is associ-

ated with exotic buildings. Designers do not re-create the
processional entrances to Egyptian temples.
Floor Plans. There is no typical Egyptian Revival or

Turkish floor plan. Designers do not re-create accurate
floor plans of any exotic style, but instead develop the plan
from function or an attribute such as symmetry.
Materials. Materials include stone, brick, or wood, par-

ticularly in America. Brick may be stuccoed to render the
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9-9. Grove Street Cemetery Entrance, 1845; New Haven,
Connecticut; Henry Austin. Egyptian Revival.
9-6. Temple Mill, 1842; Leeds, England; Joseph Bonomi, Jr.
Egyptian Revival.
9-7. Egyptian Hall, c. 1840s; Picadilly, London, England.
Egyptian Revival.
9-8. First Presbyterian Church, 18431844; Sag Harbor, Long
Island, New York; to the design of Minard LaFever. Egyptian
Revival.
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9-10. Egyptian Building, Medical College of Virginia (now a
part of Virginia Commonwealth University), 18441845;
Richmond, Virginia; Thomas S. Stewart. Egyptian Revival.
9-11. Isaac M. Wise Temple, 1866; Cincinnati, Ohio; James K.
Wilson. Turkish/Exotic Revival.
9-12. Templetons Carpet Factory, 18891892; Glasgow,
Scotland. Byzantine and Exotic Revival.
9-13. India Building, Worlds Columbian Exposition, 1893;
Chicago, Illinois; construction by Henry Ives Cobb.
9-14. Corn Palace, 1921; Mitchell, South Dakota; Rapp and
Rapp. Turkish/Exotic Revival.
smooth walls desirable in Egyptian Revival. Details such as
columns or domes may be in cast iron, terra-cotta, or ce-
ramic tiles. Turkish or Moorish structures have brightly
colored tiles, details, and intricate patterning composed of
stars, flowers, or arabesques (Fig. 9-17). Common colors in-
clude neutrals, blues, turquoises, greens, purples, oranges,
and reds.
Faades. Faades reveal Egyptian influence through

such visual characteristics as geometric forms, smooth
wall treatments, battered walls, Egyptian reed-bundle or
papyrus columns, cavetto cornices, round moldings, and
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9-16. Willis Bristol House, 1846; New Haven, Connecticut;
Henry Austin. Exotic/Islamic Revival.
Egyptian motifs (Fig. 9-4, 9-5, 9-6, 9-7, 9-8, 9-9, 9-10).
Characteristic attributes include massiveness, solemnity,
solidity, and timeless or eternal feeling. The Egyptian gate-
way or pylon is a common form for entrances or entire
DESIGN PRACTITIONERS
Joseph Bonomi, Jr. (17961878) is the curator of

Sir John Soanes Museum. Bonomi also is a
distinguished Egyptologist who creates many
Egyptian Revival buildings in England. He is best
known for Temple Mills in Leeds and the Egyptian
Court (with Owen Jones) at the New Crystal
Palace in 1854.
John Haviland (17921852) comes to the United

States from England in 1816. He designs many
Greek Revival buildings as well as the first prison
in the United States to center on reform ideals
from Europe. Haviland is best known for his
Egyptian Revival buildings, including the New
York City Halls of Justice and House of Detention.
He publishes the Builders Assistant in 1818,
which is the first American publication to
illustrate the Greek orders.
Owen Jones (18091874) is a noted designer and

architect, and an authority on color and
ornament. Following extended travels to Spain
and the Middle East, he publishes works that
establish him as an authority on Islamic art and
architecture. As Superintendent of the Works for
the Great Exhibition of 1851, Jones decorates the
interiors of the Crystal Palace. At the new Crystal
Palace, he designs historical interiors in various
styles, including Islamic. His Grammar of
Ornament illustrates ornament in color of
historical styles and works of Islamic, Chinese,
and other non-Western cultures.
9-15. Yaarab Temple Shrine Mosque (Fox Theater),
19281929; Atlanta, Georgia; Marye, Alger, and Vinour. Art
Deco/Egyptian Revival.
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9-17. Olana, 18701872 house, 18881891 studio wing; Hudson, New York; Frederic E. Church, consulting architect Calvert Vaux.
Exotic/Moorish Revival.
9-18. Later Interpretation: Luxor Hotel, 1993; Las Vegas,
Nevada; Veldon Simpson. Modern Historicism with Egyptian
influences.
arches may frame or form windows (Fig. 9-11, 9-15). Some
have colored glass panes.
Doors. Doorways feature slanted sides and Egyptian

columns (Fig. 9-6). Doors in Islamic-style structures may
be located within horseshoe, multifoil, or ogee arches car-
ried by piers or columns (Fig. 9-3, 9-11, 9-13).
Roofs. Roofs usually are flat or low pitched on Egyptian

Revival structures (Fig. 9-7). Islamic buildings may have
multiple roofs with onion domes and minarets (Fig. 9-14).
Later Interpretations. Egyptian and Turkish design fea-

tures are not used frequently in later periods, except in
countries of, or influenced by, the Middle East. In the late
20th century, the most common application in Europe and
America appears in buildings emphasizing entertainment,
such as hotels, theaters, casinos, and theme parks in places
like Las Vegas (Fig. 9-18) or Disneyworld. Structures in the
Middle East reflect their Arabic or Islamic heritage, using
a more contemporary vocabulary.
INTERIORS
Exotic interiors often are the most eclectic, combining
architectural details, motifs, furniture, or decorative arts of
several cultures or styles. Although this enhances their
faades. Domes, Moorish arches, minarets, and colorful tiles
define Moorish-style buildings (Fig. 9-11, 9-13, 9-14, 9-15,
9-16, 9-17). Islamic arches may create bays across the
faade and be superimposed on each story.
Windows. Windows have slanted sides or surrounds on

Egyptian Revival buildings (Fig. 9-5, 9-7, 9-8). Islamic-style
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9-19. Nave, First Presbyterian Church, 18481851; Nashville, Tennessee; William Strickland. Egyptian Revival.
appeal, they usually represent only a room or two within
houses or a particular building type. As in architecture,
associations are important for choosing an exotic interior
style, and particular rooms are deemed appropriate for a par-
ticular style. Egyptian Revival interiors are far less common
in residences but typify rooms in public buildings of the style.
Museums, zoos, and collectors decorate interiors housing
their Egyptian or Middle Eastern artifacts and animals in the
appropriate style. Billiard or smoking rooms, reserved for
males, are most likely to be Turkish, Islamic, or Indian.
Turkish corners, derived from Turkish bazaars, and extremely
popular in the late 19th century in England and North
America, are seen as exotic and somewhat promiscuous.
Types. Egyptian Revival buildings usually have an in-

terior or interiors in the same style, particularly in fra-
ternal temples and early-20th-century movie theaters.
Smoking rooms, billiard rooms, Turkish bathrooms,
male-related spaces in hotels and houses, tea rooms, and
conservatories may exhibit Turkish designs and details
(Fig. 9-22, 9-28, 9-30). Turkish or cozy corners are a
craze in American and English homes during the 1870s
through the 1890s (Fig. 9-31, 9-32). Occupying a corner
or small portion of the room, the Turkish corner is iden-
tified by curtains and/or a canopy of Turkish fabrics or
rugs, divans or built-in seating with piles of pillows, Ori-
ental rugs, and numerous accessories such as potted
palms, ceramics, spears, swords, pipes, small tables,
lamps, and candlesticks. Periodicals carry instructions
for making cozy corners to aid owners of modest houses
in following the fashion.
Relationships. Often, there is little or no relationship

between exterior style and interior character. Room asso-
ciations and fashion are more likely to influence style
choices.
Color. Rich, highly saturated colors (Fig. 9-2) are

associated with exotic styles. Blue, green, gold, yellow,
red, and black are common for Egyptian. Turkish colors
include blues, greens, purples, turquoises, reds, oranges,
white, and black (Fig. 9-25, 9-26). Bold colors are usu-
ally seen against a neutral, often beige or earth-toned
background.
Lighting. Lighting fixtures exhibit forms and motifs com-

mon to exotic styles (Fig. 9-22, 9-27). Often fixtures acquired
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9-21. Stair hall and elevation, Pennsylvania Academy of Fine
Arts, 18721876; Philadelphia, Pennsylvania; Frank Furness and
George W. Hewitt.
on foreign travels are adapted to contemporary use. Mosque
lamps may illuminate Turkish interiors.
Floors. Wood floors with Oriental rugs are common in

Turkish and Egyptian Revival interiors (Fig. 9-22, 9-26,
9-29, 9-30, 9-34). Alternative floor coverings include
animal skins and furs. Decorative tiles in various pat-
terns may embellish vestibules, large halls, and conser-
vatories (Fig. 9-25).
Walls. Walls feature motifs of the style chosen. In public

spaces, Egyptian architectural details, such as columns or
relief sculpture, may articulate walls (Fig. 9-19, 9-23, 9-24).
Spaces between architectural details may be decorated with
colorful Egyptian motifs or figures. Bands of Egyptian pat-
terning, figures, or hieroglyphs may decorate walls and
columns. Wallpaper and borders with Egyptian figures and
motifs are available but not common. A few landscape
wallpapers in the early 19th century depict Egyptian
architecture.
Islamic-style arches in plaster or paneling may articu-
late walls or divide spaces in Turkish rooms (Fig. 9-21,
9-22, 9-23, 9-26, 9-29). An alternative is ceramic tiles
with flat, intricate, stylized Islamic patterns, which cover
9-20. Nave, Isaac M. Wise Temple, 1866; Cincinnati, Ohio;
James K. Wilson. Turkish/Exotic Revival.
walls or embellish fireplace openings (Fig. 9-25). Flat or
draped textiles, such as shawls, kelims, or carpets, adorn
walls of Turkish interiors (Fig. 9-26, 9-32). Wallpapers
and borders with Islamic patterns are an alternative for
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9-22. Hotel lobby, 1902; United States.
9-23. Egyptian and Moorish halls, Masonic Temple, c. 1890; Philadelphia, Pennsylvania. Egyptian and Moorish Revival.
9-24. Proscenium, elevation, and detail, Ada Theater, 1926; Boise, Idaho; Frederick C. Hummel. Egyptian Revival.
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DESIGN SPOTLIGHT
Interiors: Stair hall and chimneypieces, Olana, 18701872
house, 18881891 studio wing; Hudson, New York; Frederic
E. Church, with consulting architect Calvert Vaux. Exotic/
Moorish Revival. Home of the Hudson River School painter,
Frederic Edwin Church, Olanas Islamic design results from
Churchs extended visit to the Middle East in 1867. Church
designs the exterior and interiors with the help of architect
Calvert Vaux. He makes numerous sketches for the exterior,
each room, and its architectural details and decoration. The
asymmetrical exterior is constructed of multicolored brick
with tile accents. Islamic pointed arches, a tower, porches,
balconies, and numerous windows to take advantage of the
magnificent surrounding countryside. The house adapts
Middle Eastern forms and elements to an American 19th-
century lifestyle.
In the stair hall, Oriental rugs cover the stairs and floors
and form the drapery at the first landing. A small
columned niche holds a golden Buddha. At the second
landing, pointed arches are accented above with stencil-
ing in rich colors derived from a book of Eastern designs.
Light from a window with yellow glass behind the arches
illuminates the staircase. The stairhall contains some of
Churchs finest objects, including Persian ceramics,
brasswares, and sculpture. He uses them to direct atten-
tion to great past civilizations.
textiles. Islamic patterns used on walls (Fig. 9-3) influ-
ence reform wallpaper designers, such as William Morris,
who adopt their flat, colorful, and curvilinear patterns in
the second half of the 19th century (see Chapter 17,
English Arts and Crafts). Fabrics in complicated
patterns or rugs hanging from fretwork, Moorish-style
arches, or spears frequently define the Turkish or cozy
corner (Fig. 9-22, 9-31, 9-32). Niches, called Damascus
niches, are a common Islamic characteristic for display-
ing ceramics or sculpture. Rooms often appear crowded
with objects collected from many exotic locations.
Windows Treatments. Lavish, layered window treatments

are characteristic of exotic rooms (Fig. 9-32). Some are of
Turkish textiles, such as kelims, or European imitations of
them.
Doors. Egyptian doorways (Fig. 9-19) may have slanted

surrounds or be painted with Egyptian motifs. Islamic-style
doors may have stenciled or inlaid decoration in geometric
patterns or arabesques. Some have panels shaped like
horseshoe or pointed arches. Interior doorways have
portieres made of rugs, fabrics with Turkish motifs, or bands
of fabrics hanging from rings (Fig. 9-28). Above may be
fretwork with Moorish-style arches.
Textiles. Egyptian motifs mixed with flowers and foliage

typify Egyptian revival fabrics. The flat patterns of Indian
chintzes and embroideries influence European textile and
wallpaper designers from the 17th century onward. The
European reinterpretation of the Indian elongated leaf
pattern becomes known as paisley (Fig. 9-33). Islamic
patterns especially appeal to reform textile designers who
advocate flat, stylized patterns (Fig. 9-25). Textiles are
important in Turkish style interiors where Oriental car-
pets and rugs cover floors, pillows, or seating, or hang on
walls or at doorways (Fig. 9-22, 9-26, 9-31, 9-34). Turkish
style interiors, like Egyptian and Islamic ones, use Euro-
pean textiles with Turkish patterns.
Ceilings. Ceilings may have wallpapers or painted or

plaster decorations in highly saturated colors and Egyptian
or Turkish motifs, arches, and/or patterning (Fig. 9-20,
9-25. Arab Hall, Lord Leighton House, c. 1865; London,
England; George Aitchison. Islamic Revival.
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EXOTI CI SM 227
DESIGN SERVICES OF
DESIGN SPOTLIGHT
Stenciling with exotic motifs
Exotic floor candlestick
Moorish style table with ivory inlay
Brassware used throughout as decorative accents
Niche with Buddha
Oriental rugs form drapery
Moorish style colors
Pointed arches
Persian ceramics
9-26 Stair hall and chimneypieces, Olana; Hudson, New York.
M09_HARW5385_01_SE_C09.QXD 4/11/08 2:55 AM Page 227
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9-31. Elsie de Wolfe in her cozy corner, Irving House, 1896;
New York. Turkish/Exotic Revival.
9-29. Parlor, Sarah Ives Hurtt; New York; published in
Artistic Homes, Vol. 1, 1883. Turkish Revival.
9-30. Smoking room, John D. Rockefeller House, c. 1885;
New York City, New York. Turkish Revival.
9-25, 9-27). Ceilings in public spaces may be compart-
mentalized and decorated with colorful Egyptian motifs or
Islamic patterning.
Later Interpretations. Occasional examples of Exotic influ-

ences appear in interiors during the late 20th century. Most
examples are within entertainment facilities focused on
fantasy, romance, and mystery (Fig. 9-35; see Chapter 30,
Modern Historicism).
9-27. Salon, George Kemp House; published in Artistic
Houses, 1882; Louis Comfort Tiffany and Company.
Exotic/Moorish Revival.
9-28. Oswald Ottendorfers Moorish Pavilion; Manhattanville,
New York; published in Artistic Homes, Vol. 1, 1883. Turkish Revival.
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DESIGN SERVICES OF
9-32. Reception room, Hall House, 1896; New York City,
New York. Turkish/Exotic Revival.
9-33. Textiles: Paisley patterns, mid to late 19th century; England and the United States. Islamic/Exotic Revival.
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9-35. Later Interpretation: Living room cozy corner, 1993;
Charlotte, North Carolina; Huston/Sherman. Modern Historicism.
9-34. Rugs: Examples from the mid to late 19th century; Turkish, Persian, and Caucasian. Islamic/Exotic Revival.
FURNISHINGS AND DECORATIVE ARTS
Egyptian character manifests in furniture as motifs in
classical styles, as a deliberate revival, or as copies of ex-
tant ancient pieces. Early in the 19th century, Egyptian
motifs appear in French Empire, Regency, and Biedermeier
(see Chapter 2, Directoire, French Empire, Chapter 3,
German Greek Revival, Beidermeier, Chapter 4,
English Regency, British Greek Revival). The later
Neo-Grec (see Chapter 7, Italianate, Renaissance
Revival), a substyle of Renaissance Revival, mixes
Greek, Roman, and Egyptian. Mid-19th century design
reformers adopt the slanted back with double bracing of
Egyptian chairs as a sturdy and honest method of con-
struction. Egyptian Revival furniture applies Egyptian
motifs to contemporary forms with varying accuracy.
Beginning in the 1880s, the Egyptian collections at the
British Museum inspire English copies of stools and
chairs.
Moorish- or Turkish-style furnishings appear beginning
in the 1870s. Some are imported; some are made in Eng-
land and North America. Imports include screens, small
tables, and Koran stands. In the United States, the most
common manifestation of Turkish style is in upholstery or
built-in seating. Seating adopts Turkish names such as di-
van or ottoman. Imported furniture, rugs, and decorative
arts from the Middle East easily add a touch of the exotic
to any interior.
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DESIGN SPOTLIGHT
Furniture: Turkish parlor chairs and sofa, late 19th cen-
tury; United States; by S. Karpen Brothers and Sears,
Roebuck and Company. Turkish/Exotic Revival. Manufac-
tured by S. Karpen Brothers and exhibited at the Worlds
Columbian Exposition in 1893, these chairs exemplify
the appearance of opulence and comfort desired during
the period. The deeply tufted back and seat, puffing on
the edges of the cushions, a fringed and tasseled skirt,
rounded corners, and additional padding on seat and
arms create the overstuffed Turkish upholstery that is
fashionable in the 1880s and 1890s. Sears, Roebuck and
Company, other companies, and manufacturers distrib-
uted similar versions.
9-36 Turkish parlor chairs, late 19th century.
Tufting
Fringed and tasseled skirt
Rounded corners and padding typical
Puffing on edges
Overstuffed and heavy appearance
231
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9-37. Moorish stools and table, c. 1890; Florence, Italy;
Andre Bacceti.
9-38. Slipper chair, c. 1875. Egyptian Revival.
9-39. Horn furniture, late 19th century; Texas and California.
Wicker, which carries associations with Exoticism,
becomes extremely fashionable in the second half of the
19th century. Known since antiquity, manufacturers ex-
periment with forms, materials, colors, and motifs from
China, Japan, and Moorish Spain. Wicker has numerous
patterns, including Egyptian.
Types. The Turkish-style overstuffed upholstery has no

prototype in the Middle East as do many Egyptian Revival
pieces, such as pianos and wardrobes. All types of furniture
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DESIGN SERVICES OF
are made of wicker, including wheelchairs, cribs, cradles,
baby carriages, and outdoor furniture.
Distinctive Features. Egyptian Revival furniture displays

the forms and motifs of ancient Egyptian architecture,
with slanted sides, columns, obelisks, and hieroglyphs
(Fig. 9-38). Some pieces are gilded or ebonized with in-
cising. Deep tufting and fancy trims distinguish Turkish
upholstery and give the impression of comfort and opulence
9-40. Wicker seating, c. 1880s1910s; United States.
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9-42. Later Interpretation: Turkish chair, 2003; available
from Marco Fine Furniture. Modern Historicism.
9-41. Decorative Arts: Clock, vases, and glassware; clocks and
vases exhibited at the Centennial International Exposition of 1876
in Philadelphia; United States, and Austria. Egyptian Revival.
(Fig. 9-22, 9-36). Other Turkish-style furniture is light in
scale and often has fretwork in typical patterns. Wicker
varies from very plain to highly decorative with curlicues,
beadwork, and various patterning (Fig. 9-29, 9-40).
Relationships. Exotic rooms have the same style of furni-

ture with the exception of Turkish upholstery, which mixes
with other styles. Wicker is used on porches and conserva-
tories and may appear in other rooms.
Materials. Egyptian Revival and Turkish furniture

usually is of dark woods, such as mahogany or rosewood.
Less exotic woods are grained to imitate other woods.
Embellishments consist of inlay, gilding, ebonizing,
incising, ormolu mounts, or painted decorations. Inlay in
Turkish furniture is of bone or ivory. Wicker is made of
straw, willow, rattan, and other fibers, although most is
of rattan (Fig. 9-40). It is painted red, yellow, brown,
black, green, or white. Some pieces have gilding or com-
binations of colors.
Seating. Egyptian Revival chairs and parlor sets have

wooden frames with carved and sometimes stylized
Egyptian details and upholstered backs and seats (Fig.
9-38). Legs may be animal shaped with paw feet or
hooves or tapered with Egyptian-style capitals. Turkish-
style overstuffed upholstery has deep tufting, fringe,
and/or trim that covers the legs. Chairs and sofas often
have an extra roll of stuffing around the arms and backs
(Fig. 9-36). Cording, puffing, and pleating add visual
complexity and give an impression of comfort. Turkish
divans or lounges refer to deeply tufted couches without
backs or arms. Turkish ottomans are large and round with
tufted backs and a space for a potted palm or sculpture in
the raised center. Often used in grand spaces, they are
intended as a momentary seat rather than a place of re-
laxation. Variations of the Turkish style include chairs or
sofas with round or oval backs not attached to the seats
and round or oval seats. Often small and fragile, these
chairs upholstered in silk or satin are used in parlors.
Americans love Turkish-style rocking chairs. Some
Turkish interiors use pillows on the floor for seating (Fig.
9-29, 9-31). Others, particularly mens smoking rooms
and libraries, incorporate horn chairs upholstered in
exotic skins or other similar horn furniture (Fig. 9-39).
Usually made in western areas of the United States such
as Texas, examples convey a rugged, manly character.
Indoor and outdoor seating in public and private build-
ings, including parlor sets, often is of wicker (Fig. 9-40).
Solid portions may be plainly woven or have patterns, such
as stars or dippers. Cresting, backs, legs, and arms often
have curving forms of fans, lattice, strapwork, arabesques,
ogees, or curlicues. Some wicker seating has upholstered
backs and seats, although most rely on added cushions for
comfort. Ladies add their own decorative touches, such as
ribbon threaded through openwork, bows, or tassels.
Tables. Egyptian Revival tables exhibit Egyptian

motifs, such as figures, heads, or sphinxes. Some have
slender tapered legs with incising and stylized carving.
Obelisks or pylon-shaped pedestals display sculpture
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or plants. Hexagonal or octagonal occasional tables
imported from the Middle East are of dark woods with
ivory or mother-of-pearl inlay in geometric patterns (Fig.
9-27, 9-37). Small stands, originally designed to hold the
Koran, rest upon tables and hold books. Wicker tables
and stands may match seating.
Storage. Wardrobes, cupboards, and commodes may

have the slanted sides and fronts of Egyptian gateways,
Egyptian columns or figures, and other Egyptian motifs.
Tops may have cavetto cornices or rounded moldings.
Some pieces are ebonized with gilding, incising, and
painted decorations. Wicker cupboards or chests of drawers
are not as common as wicker seating is.
Beds. Egyptian-style beds are very rare. Beds for children,

cribs, and cradles may be in plain or fancy wicker.
Upholstery. Textiles for upholstery include damasks, vel-

vets, cut velvets, brocades, satins, silks, Oriental rugs, cot-
tons or other fabrics either plain or with Egyptian and
Turkish motifs or patterns, and leather. In the 1880s,
Liberty and Company in London sells hugely popular silk
textiles with anglicized Middle Eastern patterns in pastel
blues, greens, corals, yellows, and golds.
Decorative Arts. Egyptian Revival decorative arts, such as

clocks, porcelains, or vases, feature Egyptian architectural
details, including obelisks, and motifs, such as sphinxes.
Sevres and other porcelain factories make dinner sets
painted with Egyptian motifs and architecture. Egyptian
mantel sets consisting of a clock and vases or obelisks are
common in the second half of the 19th century (Fig. 9-41).
Imported brass objects, ceramics, folding screens, spears,
daggers, plates, tiles, and potted palms define Turkish or
Moorish interiors. Ceramics from India and the Middle East
inspire tiles and other ceramics with intricate flat patterns
in turquoise, blue, green, and red. The glass of Louis Com-
fort Tiffany and others draws inspiration from the shapes,
forms, and colors of Egyptian, Islamic, and Oriental glass
and ceramics. Wicker mirrors, plant stands, birdcages, and
the like add a touch of exoticism to many rooms.
Later Interpretations. Furnishings and decorative arts re-

flecting an Exotic influence rarely appear in later periods,
unless in concert with custom-designed Exotic interiors,
such as those in entertainment facilities or libraries of the
late 20th century (Fig. 9-42). Art Deco in the 1920s and
1930s adapts Egyptian motifs and colors.
EXOTI CI SM 235
DESIGN SERVICES OF
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100938 C PH/OH/CHET A H d P N 212 C/M/Y/K

Egyptian Revival. The art and architecture of ancient

Turkish, Arab, Saracenic, or Moorish and Indian Styles.

Egyptian Revival. Although Egyptian forms and motifs

Turkish, Arab, Saracenic, Moorish, and Indian Styles.

Motifs. Characteristic motifs are geometric forms typ-

Lart arabe daprs les monuments du Caire,

Atlas de lhistoire de lart gyptien, 1870; Emile

Domestic Architecture, 1841; Richard Brown.

Grammar of Ornament, 1856; Owen Jones.

Manners and Customs of the Ancient

Plans, Elevations, Sections and Details of the

Voyage dans la basse et la haute gypte,

Hudson, New York:

Los Angeles, California:

Mitchell, South Dakota:

New Haven, Connecticut:

New York City, New York:

Sag Harbor, Long Island, New York:

San Francisco, California:

Santa Fe, New Mexico:

Types. Appropriate building types for Egyptian Revival

Site Orientation. No particular site orientation is associ-

Floor Plans. There is no typical Egyptian Revival or

Materials. Materials include stone, brick, or wood, par-

Faades. Faades reveal Egyptian influence through

Joseph Bonomi, Jr. (17961878) is the curator of

John Haviland (17921852) comes to the United

Owen Jones (18091874) is a noted designer and

Doors. Doorways feature slanted sides and Egyptian

Roofs. Roofs usually are flat or low pitched on Egyptian

Later Interpretations. Egyptian and Turkish design fea-

Windows. Windows have slanted sides or surrounds on

Types. Egyptian Revival buildings usually have an in-

Relationships. Often, there is little or no relationship

Color. Rich, highly saturated colors (Fig. 9-2) are

Lighting. Lighting fixtures exhibit forms and motifs com-

Floors. Wood floors with Oriental rugs are common in

Walls. Walls feature motifs of the style chosen. In public

Windows Treatments. Lavish, layered window treatments

Doors. Egyptian doorways (Fig. 9-19) may have slanted

Textiles. Egyptian motifs mixed with flowers and foliage

Ceilings. Ceilings may have wallpapers or painted or

Later Interpretations. Occasional examples of Exotic influ-

Types. The Turkish-style overstuffed upholstery has no

Distinctive Features. Egyptian Revival furniture displays

Relationships. Exotic rooms have the same style of furni-

Materials. Egyptian Revival and Turkish furniture

Seating. Egyptian Revival chairs and parlor sets have

Tables. Egyptian Revival tables exhibit Egyptian

Storage. Wardrobes, cupboards, and commodes may

Beds. Egyptian-style beds are very rare. Beds for children,

Upholstery. Textiles for upholstery include damasks, vel-

Decorative Arts. Egyptian Revival decorative arts, such as

Later Interpretations. Furnishings and decorative arts re-

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