Chapter 9 - Pearson

CHAPTER 9 

Exoticism 

1830s–1920s 

Inspired by revivalism, eclecticism, and a quest for novelty 

in the second half of the 19th century, Exoticism 

looks to non-Western cultures for inspiration and borrows 

their forms, colors, and motifs. International expositions, 

books, periodicals, travel, and advances in 

technology acquaint Europeans and Americans with 

other cultures while creating a romantic image of faraway 

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 Americans 

(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 architecture 

and decorative arts of other cultures. Although 

exotic-style public and private buildings, interiors, and 

212 

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 purplishred 

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, Harper’s New Monthly Magazine, April 1882, describing 

the salon in the George Kemp House, New York City 

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 widespread 

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 increase 

interest in and create design resources for exotic 

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. 

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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 traditions 

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 structures—pyramids, tombs, and temples— 

are associated with spirituality, death, and rebirth. Noteworthy 

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 Piranesi’s creation and publication of 

Egyptian style interiors in the Caffeè degli Inglese (English 

Coffee House) in Rome and his prints of Egyptian style 

details. At the same time, Neoclassical architects, influenced 

by French theories, adopt the forms, geometric volumes, 

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 following 

Napoleon’s conquest of Egypt in 1798–1799. 

Napoleon’s scientists, cartographers, engineers, and artists 

study and record tombs, temples, and other buildings, and 

the newly established Insitut d’Egypte examines all aspects 

of Egyptian civilization. These sources provide a wealth of 

information about Egypt, ancient and modern, and acquaint 

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 developments 

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 displays 

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. 

EXOTICISM 213 

A new wave of Egyptian Revival begins in the 1870s, 

inspired by the opening of the Suez Canal in 1869, Giuseppe 

Verdi’s opera Aida of 1871 with its colorful Egyptian-style 

sets, and the installation of Egyptian obelisks in London in 

1878 and New York’s Central Park in 1879. The revival continues 

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 calligraphy 

that is integrated into decoration of nearly all objects 

and structures. 

Europeans are somewhat acquainted with Turkey, Persia, 

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 intricate, 

stylized, and colorful designs and motifs of the 

Middle East and promote them in their work and publications. 

Panoramas, a popular form of entertainment; 

photographs; travel books; and stereo views depict 

Cairo, Jerusalem, Paestum, Karnak, and Pompeii along 

with other exotic sights. 

� 9-1. Woman’s costume showing 

paisley underskirt; published in 

Bloomingdale’s catalog, 1886. 


Published by Prentice Hall. Copyright © 2009 by Pearson Education, Inc.

214 VICTORIAN REVIVALS 

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 successful 

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, cafés, and entertainment 

pavilions at successive expositions provide places 

for shopping, eating, and amusement. Not to be outdone, 

department stores and warehouses, such as Macy’s in New 

York and Liberty’s in London, import goods from the Middle 

East and display them in bazaars or use them in tearooms 

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 Egyptian 

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 

IMPORTANT TREATISES 

■ L’art arabe d’après les monuments du Caire, 

1869; Emile Prisse d’Avennes. 

■ Atlas de l’histoire de l’art égyptien, 1870; Emile 

Prisse d’Avennes. 

■ 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, 1824–1825; Owen Jones. 

■ Voyage dans la basse et la haute égypte, 

1802; Baron de Denon. 

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 cultures 

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, column 

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 buildings 

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 architecture. 

European and American designers sometimes strive 

to use forms and motifs more correctly, although still copying 

and reinterpreting them. Access to more information 

enables them to develop greater archaeological correctness. 

In architecture, fully Turkish or Moorish expressions 

are extremely rare, but many buildings display some architectural 

details. Similarly, interiors also have Moorish 

architectural details combined with other styles. Mostly 

limited to particular types, such as smoking rooms, interiors 

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 typical 

of Egyptian architecture, columns and other architectural 

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). 



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� 9-2. Turkish, Persian, Indian, and Egyptian designs published in The Grammar of Ornament, 1856, by Owen Jones. 

ARCHITECTURE 

Examples of Exoticism in architecture are uncommon 

when compared to other styles. Rare in residences, designers 

apply exotic styles to particular public building types. In 

the 19th century, the idea that a building’s design should 

convey its purpose governs stylistic choices, making certain 

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 

EXOTICISM 215 

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 century’s belief in Egypt’s advanced medical 

knowledge and practices. Freemasons, secret societies, and 

fraternal lodges see Egypt’s 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. 




� 9-3. Porch, wall elevation, and door detail, mid-19th century. Islamic influence. 

� 9-4. Philadelphia County Prison, Debtors’ Wing, 1836; Philadelphia, Pennsylvania; Thomas U. Walter. Egyptian Revival. 



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IMPORTANT BUILDINGS AND INTERIORS 

■ Antwerp, Belgium: 

—Elephant Pavilion, Antwerp Zoo, 1855–1856; 

Charles Servais. Egyptian Revival. 

■ Atlanta, Georgia: 

—Yaarab Temple Shrine Mosque (Fox Theater), 

1927–1929; 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: 

—Templeton’s Carpet Factory, 1889–1892. 

Exotic/Byzantine Revival. 

■ Hudson, New York: 

—Olana, 1870–1872 house, 1888–1891 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. 


—Los Angeles Public Library, 1922–1926; 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, 1848–1851; William 

Strickland. Egyptian Revival. 

EXOTICISM 217 

■ 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), 1835–1838; John 

Haviland. Egyptian Revival. 

■ Paris, France: 

—Palais de Justice, 1857–1868; Joseph-Louis Duc. 


■ Philadelphia, Pennsylvania: 

—Pennsylvania Academy of Fine Arts, 1871–1876; 

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), 1844–1845; Thomas S. Stewart. 


—Millhiser House, 1891–1894; William M. 

Poindexter. Turkish/Exotic Revival. 

■ Sag Harbor, Long Island, New York: 

—First Presbyterian Church, 1843–1844; 

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), 

1848–1884 (built); Robert Mills. 





DESIGN SPOTLIGHT 

Architecture: New York City Halls of Justice and House 

of Detention (The Tombs), 1835–1838; 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 characteristics 

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 façade emphasizes symmetry, volume, simple 

geometric forms, and minimal ornament. Two wings 

� 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 patterns 

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 details 

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 building 

types possessing romantic ideals, some tie to the Middle 

East, amusement, or entertainment. 

Public and Private Buildings 

■ Types. Appropriate building types for Egyptian Revival 

include cemetery gates and other funerary structures, prisons, 

courthouses, commercial buildings, fraternal lodges, 

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 several 

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 

Cavetto cornice 

Cornice or lintel 

Plain, rounded molding on corners 

Battered or canted plain wall 

Egyptian columns define entry and portico 

Slanted columns frame windows 

Symmetrical composition 

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 buildings 

(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 associated 

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, particularly 

in America. Brick may be stuccoed to render the 



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� 9-6. Temple Mill, 1842; Leeds, England; Joseph Bonomi, Jr. 


� 9-7. Egyptian Hall, c. 1840s; Picadilly, London, England. 


EXOTICISM 219 

� 9-8. First Presbyterian Church, 1843–1844; Sag Harbor, Long 

Island, New York; to the design of Minard LaFever. Egyptian 

Revival. 

� 9-9. Grove Street Cemetery Entrance, 1845; New Haven, 

Connecticut; Henry Austin. Egyptian Revival. 




� 9-10. Egyptian Building, Medical College of Virginia (now a 

part of Virginia Commonwealth University), 1844–1845; 

Richmond, Virginia; Thomas S. Stewart. Egyptian Revival. 

� 9-11. Isaac M. Wise Temple, 1866; Cincinnati, Ohio; James K. 

Wilson. Turkish/Exotic Revival. 

smooth walls desirable in Egyptian Revival. Details such as 

columns or domes may be in cast iron, terra-cotta, or ceramic 

tiles. Turkish or Moorish structures have brightly 

colored tiles, details, and intricate patterning composed of 

stars, flowers, or arabesques (Fig. 9-17). Common colors include 

neutrals, blues, turquoises, greens, purples, oranges, 

and reds. 

� 9-12. Templeton’s Carpet Factory, 1889–1892; Glasgow, 

Scotland. Byzantine and Exotic Revival. 

� 9-13. India Building, World’s Columbian Exposition, 1893; 

Chicago, Illinois; construction by Henry Ives Cobb. 

� 9-14. Corn Palace, 1921; Mitchell, South Dakota; Rapp and 

Rapp. Turkish/Exotic Revival. 

■ Façades. Façades 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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� 9-15. Yaarab Temple Shrine Mosque (Fox Theater), 

1928–1929; Atlanta, Georgia; Marye, Alger, and Vinour. Art 

Deco/Egyptian Revival. 

� 9-16. Willis Bristol House, 1846; New Haven, Connecticut; 

Henry Austin. Exotic/Islamic Revival. 

EXOTICISM 221 

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 gateway 

or pylon is a common form for entrances or entire 

DESIGN PRACTITIONERS 

■ Joseph Bonomi, Jr. (1796–1878) is the curator of 

Sir John Soane’s 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 (1792–1852) 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 Builder’s Assistant in 1818, 

which is the first American publication to 

illustrate the Greek orders. 

■ Owen Jones (1809–1874) 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. 




� 9-17. Olana, 1870–1872 house, 1888–1891 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. 

façades. 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 

façade 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 

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 carried 

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 features 

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 



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� 9-19. Nave, First Presbyterian Church, 1848–1851; 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 particular 

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 interior 

or interiors in the same style, particularly in fraternal 

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 

EXOTICISM 223 

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 identified 

by curtains and/or a canopy of Turkish fabrics or 

rugs, divans or built-in seating with piles of pillows, Oriental 

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 associations 

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 usually 

seen against a neutral, often beige or earth-toned 

background. 

■ Lighting. Lighting fixtures exhibit forms and motifs common 

to exotic styles (Fig. 9-22, 9-27). Often fixtures acquired 




� 9-20. Nave, Isaac M. Wise Temple, 1866; Cincinnati, Ohio; 

James K. Wilson. Turkish/Exotic Revival. 

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 patterns 

may embellish vestibules, large halls, and conservatories 

(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 patterning, 

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 articulate 

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 

� 9-21. Stair hall and elevation, Pennsylvania Academy of Fine 

Arts, 1872–1876; Philadelphia, Pennsylvania; Frank Furness and 

George W. Hewitt. 

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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EXOTICISM 225 

� 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. 




textiles. Islamic patterns used on walls (Fig. 9-3) influence 

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 

� 9-25. Arab Hall, Lord Leighton House, c. 1865; London, 

England; George Aitchison. Islamic Revival. 


Interiors: Stair hall and chimneypieces, Olana, 1870–1872 

house, 1888–1891 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, Olana’s Islamic design results from 

Church’s 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 

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 displaying 

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 carpets 

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 European 

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, 

Middle Eastern forms and elements to an American 19thcentury 

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 stenciling 

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 

Church’s finest objects, including Persian ceramics, 

brasswares, and sculpture. He uses them to direct attention 

to great past civilizations. 



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�9-26 Stair hall and chimneypieces, Olana; Hudson, New York. 

Stenciling with exotic motifs 

Pointed arches 

Moorish style colors 

Oriental rugs form drapery 

Niche with Buddha 

Persian ceramics 

Exotic floor candlestick 

Moorish style table with ivory inlay 

EXOTICISM 227 

Brassware used throughout as decorative accents 




� 9-27. Salon, George Kemp House; published in Artistic 

Houses, 1882; Louis Comfort Tiffany and Company. 

Exotic/Moorish Revival. 

� 9-28. Oswald Ottendorfer’s Moorish Pavilion; Manhattanville, 

New York; published in Artistic Homes, Vol. 1, 1883. Turkish 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. 

� 9-31. Elsie de Wolfe in her cozy corner, Irving House, 1896; 

New York. Turkish/Exotic Revival. 

9-25, 9-27). Ceilings in public spaces may be compartmentalized 

and decorated with colorful Egyptian motifs or 

Islamic patterning. 

■ Later Interpretations. Occasional examples of Exotic influences 

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”). 



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EXOTICISM 229 

� 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. 




� 9-34. Rugs: Examples from the mid to late 19th century; Turkish, Persian, and Caucasian. Islamic/Exotic Revival. 

� 9-35. Later Interpretation: Living room cozy corner, 1993; 

Charlotte, North Carolina; Huston/Sherman. Modern Historicism. 

FURNISHINGS AND DECORATIVE ARTS 

Egyptian character manifests in furniture as motifs in 

classical styles, as a deliberate revival, or as copies of extant 

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 construction. 

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 England 

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 divan 

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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Furniture: Turkish parlor chairs and sofa, late 19th century; 

United States; by S. Karpen Brothers and Sears, 

Roebuck and Company. Turkish/Exotic Revival. Manufactured 

by S. Karpen Brothers and exhibited at the World’s 

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 

� 9-36 Turkish parlor chairs, late 19th century. 

Tufting 

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 distributed 

similar versions. 

Overstuffed and heavy appearance 

Puffing on edges 

Rounded corners and padding typical 

Fringed and tasseled skirt 



231


� 9-37. Moorish stools and table, c. 1890; Florence, Italy; 

Andre Bacceti. 

Wicker, which carries associations with Exoticism, 

becomes extremely fashionable in the second half of the 

19th century. Known since antiquity, manufacturers experiment 

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 

� 9-39. Horn furniture, late 19th century; Texas and California. 

� 9-38. Slipper chair, c. 1875. Egyptian Revival. 



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� 9-40. Wicker seating, c. 1880s–1910s; United States. 

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, 

EXOTICISM 233 

with slanted sides, columns, obelisks, and hieroglyphs 

(Fig. 9-38). Some pieces are gilded or ebonized with incising. 

Deep tufting and fancy trims distinguish Turkish 

upholstery and give the impression of comfort and opulence 




� 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 furniture 

with the exception of Turkish upholstery, which mixes 

with other styles. Wicker is used on porches and conservatories 

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 combinations 

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. Turkishstyle 

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 

� 9-42. Later Interpretation: Turkish chair, 2003; available 

from Marco Fine Furniture. Modern Historicism. 

(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 relaxation. 

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 men’s 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 buildings, 

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, velvets, 

cut velvets, brocades, satins, silks, Oriental rugs, cottons 

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. 

EXOTICISM 235 

■ 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 Comfort 

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 reflecting 

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.

Chapter 9 - Pearson

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