The overdoor is usually architectural in form, but may take the form of a cartouche in Rococo settings, or it may be little more than a moulded shelf for the placement of ceramic vases, busts or curiosities.
12.
However, here, as in the majority of the rooms, the carved putti, flowers and books on the overdoor reliefs were the work of Glume, and the ceiling paintings emphasise the rococo spirit of the palace.
13.
After undergoing a major renovation in 1994, Meridian House's principal rooms retain their architectural detail as well as some of the original decorative features, such as the 18th century European overdoor paintings and antique brass hardware and lighting fixtures.
14.
This may have included the work of Jan van Sant Voort, a Dutch carver known to have been living in Leith, who supplied Bruce with a carved heraldic overdoor in 1679 and who worked on Bruce's rebuilding of Holyrood Palace.
15.
The house features large windows with two-over-two panes, common in old houses, as well as wide moldings, overdoor panels and even transoms, once popular for increasing air circulation when air-conditioning for most was just a dream.
16.
It was purchased for the museum for 60, 000 francs in 1869 . The wall paintings of this sumptuous room came from the hand of Rousseau de la Rotti�re; the overdoor and part of the ceiling were executed by Lagrene le jeune; the architect was Clodion; the mounts of the chimneypiece are apparently from the chisel of Gouthire.
17.
On the first floor we can also see a complex of classicist reception rooms created for the Duchess, among those the most noteworthy two-storey Ballroom, ornamented with honey-coloured, polished wood carvings, and white engravings in the overdoor and frieze parts, all by Bauman; the Great Dining Room and chapel were all designed by Chrystian Piotr Aigner and Bauman.
18.
From the end of the 16th century, at first in interiors such as the Palazzo Sampieri, Bologna, where Annibale Carracci provided overdoor paintings, they developed into a minor genre of their own, in which the " trompe l'oeil " representations of stone bas-reliefs, or vases of flowers, in which Jean-Baptiste Monnoyer specialized, were heightened by " sotto in su " perspective, in which the light was often painted to reproduce the light, diffused from below, that was entering the room from its windows.
