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The exterior is whitewashed. [3] It was designed in the local style and decorated in the European style. [8] [5] The palace floors are laid with blue delftware tiles and the marble walls are decorated with mirrors that are separated by gilded frames. The walls are also decorated with fitted shelves on which glassware and ceramics were displayed.
The earliest azulejos in the 13th century were panels of tile-mosaic known as alicatados (from Arabic: ﻗَﻄَﻊَ, romanized: qata'a, lit. 'to cut'), [6] [7]: 24 known as zellij in Islamic architecture. [8] Tiles were glazed in a single colour, cut into geometric shapes, and assembled to form geometric patterns.
Small mosaic tiles, affixed to flexible fabric, were another option for fitting the product to curved surfaces. [2] In time, manufacturers learned that pigmented structural glass could be carved, cut, inlaid, laminated, sandblasted, and sculpted to create a wide range of finishes and textures.
The panels were not confined to just the walls of a room but were used to decorate doors, frames, cupboards, and shelves also. It was standard for mirrors to be installed and framed by the carved boiseries, especially above the mantelpiece of a fireplace. Paintings were also installed within boiseries, above doorways or set into central panels. [7]
Before the float process, mirrors were plate glass as sheet glass had visual distortions that were akin to those seen in amusement park or funfair mirrors. In 1918 the Belgian engineer Emil Bicheroux improved the plate glass manufacturing by pouring molten glass between two rollers, which resulted in more even thickness and fewer undulations ...
17th century Delft blue and white tile with sea monster. Delftware wall tiles, typically with a painted design covering only one (rather small) blue and white tile, were ubiquitous in Holland and widely exported over Northern Europe from the 16th century on, replacing many local industries. Several 18th century royal palaces had porcelain rooms ...