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diedoverahat · 5 months

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A Small Favor.

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part one!

pairing: mike schmidt x afab!reader

summary: the stress of his new job is taking a toll on mike. he did such a good job helping you out, so you decide to repay the favor.

word count: 2.5k+

warnings: 18+! MDNI! oral sex (m!receiving), vaginal fingering, handjobs, heavy on the praise, munch!mike always.

authors note: the heavily heavily HEAVILY requested part two is finally done. (quite literally wrote this instead of listening to my bio lecture) i still can't believe that fic has gotten so much traction, i hope this one measures up! it got waaaay more angsty near the end than i thought it would hehe also i decided to include everyone commenting under part one requesting part two in the taglist of this fic so you're welcome lol mwah <3

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It had been one week and three days since the couch incident, which is what you’ve lovingly taken to calling whatever happened between you and Mike. One week and three whole days of Mike dancing around you and the elephant in the room.

The morning after the couch incident he practically ran out the door taking Abby to school when you tried to bring it up. The next time you attempted to have “the talk” he stuttered out an excuse before retreating to the safety of his bedroom, so you gave up.

You know that there’s something between Mike and you that crosses the line of just friends, you both felt something change that night, but getting him to face his feelings and actually admit that will take work.

It's another night of sitting on Mike's couch mulling over what to do about the whole situation when you hear the front door open. You're shocked at first, usually you're asleep by the time Mike gets home. Sure enough when you check the clock it reads 6:33 in bulky red characters. Apparently, time flies when you're obsessing over how to get your friend turned complicated-accidental-one-night-stand to admit they have feelings for you.

You try (and fail) not to listen in on every move Mike makes in the kitchen, fighting to keeping your gaze trained on the TV as he makes his way to the living room.

In your eyes peripheral vision you see him begin to make his way to the couch, but he hesitates when his eyes fall on you. He awkwardly hovers between the two rooms for a few seconds until he takes a breath and walks over to the couch.

Mike sits next to you on the couch with a soft grunt. You wrestle with the need to look at him fully, but you can see out of the corner of your eye he's taken off his work boots and vest. His hair is sticking out at weird angles, curls frizzy and unruly. Your hand twitches against your thigh with the want to run your fingers through them.

You can feel your heart beat faster, struggling to sit still in the thick tension surrounding the two of you. You flick your eyes back to the TV in a vain attempt to focus on anything other than Mike.

Eventually, you lose the fight with your screaming inner monologue and chance a sideways glace in his direction. You're beyond surprised to find him already looking at you.

You stare back, a deer caught in headlights. The dim light coming from the TV highlights his eyes. Mike opens his mouth to seemingly break the silence but he stops himself short of actually speaking. You can see him fiddling nervously with the hem of his shirt.

It’s silent for a beat before you decide to speak up.

“Hi.” You say, it's a whisper but you might have well just yelled with how it cuts into the air between the two of you. Mike lets out what might be laugh, it sounds forced. "Hi." He replies stiffly.

"Home later than usual." You point out, fidgeting with your nail. Mike's home a little after 6: everyday, him being home 30 minutes late is odd.

Mike nods, he lets his head fall onto the back of the couch allowing his eyes to slip closed as he does. "Yeah," He replies, the position of his head allows you to get your greedy fill of his sharp jawline. "Jobs been hell."

You don't respond, but you know. Mike's been haggard recently, and not just because of the couch incident. The bags under his eyes have gotten worse, he's been forgetful, not to mention how much more neurotic and paranoid he's been.

Mike has been a wreck these past couple of days, and you want nothing more than to help him feel good. If not for just a few minutes.

You take a chance, and move to let your hand rest over his jean clad thigh. Mike tenses up immediately but doesn’t move to run or push your hand off.

"I could help you,” You say quietly, forcing yourself to keep eye contact. Mike's wide eyes flit rapidly between your eyes and lips. “Help you relax…” You trail off, voice barely above a whisper.

Your offer hangs heavy in the silence that settles. Mike just stares at you, after a while you start to regret making such a bold move. There’s an apology’s on the tip of your tongue, but when you start taking your hand off Mikes thigh he quickly grabs your wrist.

Your eyes snap back up to meet Mikes. His pupils are blown out, black encompassing warm brown. His tongue comes out to swipe across his bottom lip.

“You can...” Mike says simply, guiding your hand back to his thigh. Only he places it much higher up, high enough that you can feel the rough metal of his zipper brushing against the tip of your pinkie. "I need it." He breathes out desperately, eyes big and pleading. You allow yourself a second to just watch Mikes face before you start to move with a purpose.

You snake your hand lower, finding the already hard length of his cock through the rough material of his jeans. Mirroring what he did to you those ten days ago, you start to grind the heel of your hand against him.

Mike shudders, eyes fluttering shut at your touch. You can physically see tension slowly exit his body, leaving him slack and relaxed enough to sink deeper into the couch cushions.

The sight of him at ease and comfortable lights a fire in you. You feel a deep primal need to care for him, to make him feel good.

Patience wearing thin, you reach for the button of his jeans. Even in your arousal induced haste, you take a beat to appreciate the swell of Mike's cock pressing up against the denim. If this was any other time, you'd want to draw it out. To tease Mike until he can't take it anymore, but now is not any other time.

You pop the button to Mike's jeans, dragging the zipper down swiftly and pulling the flaps of his jeans open to frame his lewdly tented boxers. You can hear Mikes breath hitch, unable to keep from squirming under your intense gaze. The thin material leaves nothing to the imagination, the length and girth of him on display. There's a growing wet patch near the tip that's turned the light blue fabric dark and slick. An ache starts deep in your core, anticipation making you feel warm all over.

Slowly, you tug his boxers down enough for his cock to spring free and smack up against his stomach. "Ah! Shit," He hisses, hands balling up into fists by his sides.

Mike's dick is perfect. A nice length and girth you know will have your jaw aching in the best way later. The tip a soft pink color, and steadily leaking a stream of pre-come.

"I want to blow you," You say softly, getting close to Mike so your lips brush over his ear with every word. He shivers, mouth dropping open in a quiet moan. "Will you let me?"

Mike nods his head frantically. "Please," He pants, chest rising and falling quickly. "Please, I want it."

His begging is music to your ears.

You slide off the couch, kneeling between Mike's spread thighs. His straining cock makes your mouth water in anticipation. Holding the base in your hand, you lean forward to lick a board stripe from root to tip. Moaning at the heady taste and velvety feel of him on your tongue.

"God." Mike groans at the feel of your tongue.

You pull off with a slick pop, breaking a small thread of saliva trailing from the head of Mike's dick to your lips with your tongue. You lave over the tip, looking up to find Mike staring at you flushed and dark-eyed. You keep the eye contact as you sink back down, beginning to build up a rhythm.

Out of the corner of your eye, you can see Mike raise his hands before hesitating, and dropping them back down to the couch cushion. You can tell he wants to touch you, but he’s unsure of himself. You take his hands in yours, and place them on the top of your head.

At first he just sort of holds your head, overthinking what to do even with your permission. You’d laugh if you weren’t so busy preening over the feel of his unfairly big hands holding your head delicately, like he might break you.

“Fuck, your mouth…” Mike whispers, his words trailing off as he watches your lips work over his throbbing cock. His confidence grows, finally allowing himself to run his fingers through your hair and gather it in a loose fistful. Your moan of encouragement has him tightening his grip just a touch.

“Jesus,” Mike breathes quietly, you give him a lick underneath the head of his cock in response. "Fuck. Feels so good.”

You hum in response, working Mike's cock faster to draw out more of those whimpers that he can't hold in. Hollowing your cheeks and sinking down towards the circle of your fist still holding the base of his cock with wet, slick slurping sounds.

Mike's noises have gotten progressively louder by the second, you can feel his pulse beating wildly against your tongue through the vein running up his cock. You know he's close, and you're desperate to make him come.

You give him one long languid suck, swirling your tongue over the head as you pull off. His cock is slick with your spit, pulsing warningly. You use the wetness of your saliva as a makeshift lube to start stroking over him slowly.

"How's it feel, Mike?" You purr sensually,

When you sink back down, you don't break eye contact. Mike's eyes roll back into his head, the way his lips part on a sharp gasp, how his back arches off the couch, how his fist tightens even more around your hair.

Above you, Mike grunts, "Oh fuck, baby," His back arches, a rough gasp torn from his throat. The hand in your hair tugs sharply as he chokes out, "Gonna come, shit, gonna fucking come."

Mike shouts hoarsely, hips stuttering as he starts to come. His cock gives one final twitch in your mouth before he pumps load after load of warm come into your mouth. You moan loudly at the taste of his release coating your taste buds, swallowing what pools on your tongue routinely.

You continue to work your mouth over his cock, bringing Mike through the aftershocks of his orgasm, reveling in the broken sounds he keeps making. You lave your tongue over him savoring the taste of him, until he's tugging at your hair to pull you off his sensitive cock.

"C'mere, c'mere." He whines desperately. You’ve barely come up for air before Mike is bodily dragging you into his lap and kissing you like he needs it more than air.

His hand darts down your body and into your sweats. Mike moans in your mouth at the feel of your lacy panties absolutely soaked with your arousal. He wastes no time in finding your clit, rubbing tight circles over it with his thumb drawing a loud moan from your lips.

"Shit," You exclaim, nails digging into Mike's forearm. Your hips buck up into his touch, chasing his touch. "Mike..." You whine, needing him to do more.

"You drive me fucking crazy," He whispers roughly against the side of your face, sliding his pointer finger through the slick wetness of your folds. "I can't stop thinking about you."

“Oh god, Mike.” His fingers feel amazing, rubbing you in all the right places, his words lighting a fire in your stomach.

Mike gathers your wetness before pushing his thick middle finger in your tight heat. Your own moan gets drowned out by his guttural groan at the feeling of you clenching down on his finger.

“Fuck, you’re so wet.” He moans, thrusting his finger in and out of your aching pussy slowly. "You're so perfect, so perfect for me." Mikes lips trail kisses down your jaw as he adds a second finger into your dripping pussy, brushing against the spot inside you that sends white hot sparks of pleasure zinging up your spine.

"How's that feel?" He asks roughly, throwing your earlier teasing back in your face. You moan wantonly, hips moving grinding down as you ride his fingers in earnest.

Mike angles his hand in a way that lets his fingers thrust into you, hitting your g-spot all while the palm of his hand grinds into your clit

“I’m gonna come, Mike,” You whine desperately, hips stuttering as you tip over the edge. “I’m coming.”

"Yes, come for me." Mike whispers, lips brushing over your cheek.

Your chest heaves as you come down from your orgasm, collapsing against Mikes chest. You're an absolute mess, thighs shaking and sweat dripping down your back. A hiss escapes your mouth as Mike eases his fingers out of your twitching pussy. "Sorry." He whispers softly, kissing the top of your head tenderly.

You allow yourself to lay on his chest with his strong arms around your waist, keeping you close. So close you can feel his warm breath puffing out against your neck.

You don't want to let it, but reality sets in. "Are you gonna run away in the morning?" Your voice is so quiet you don't know if Mike even heard, and you can't force yourself to look up at him.

It takes him a second to register your words, you don't have to look at him to know he's wincing. "I," Mike starts, trying to find the right words. "I don't know." He admits, lips brushing against your hair.

The anger mixed with shame and embarrassment is quick to come, you scoff pushing off Mike's chest so you can go home. "Of course." You spit bitterly.

"Wait!" He rushes out, arms tightening on your waist to stop you leaving.

"What?" You bite out bitterly, whipping your head around to stare daggers at Mike. It backfires on you almost immediately, forcing you to stare into his big sad dumb eyes. He falters, mouth opening and closing as he fumbles to say anything.

You can't help that the look in his eyes tames your anger ever so slightly. The way he's silently pleading with you to stay, his brows drawn in concern and lips pulled down in a frown. Your steely resolve crumbles pathetically.

"What?" You repeat quietly. Mike flounders for a second more, before he finally gives in. "Please stay." He exhales softly, hands planting themselves on your hips, giving them a light squeeze..

Maybe it's your shitty resolve, maybe it's the post orgasm afterglow clouding your judgement, maybe it's the earnest look in Mike's eyes that keeps you from pushing out of his grip and out the door, but you just can't bring yourself to leave.

You stare back at him wrestling with your thoughts, but it's a losing game and you know that.

"Okay," You whisper slowly, settling yourself back down into his lap. "I'll stay."

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i could NOT figure out how to end this, but maybe i could do a part three? would literally anyone want that?

taglist!

@ebodebo @yuenity @mfdxz @mikeschmidtgf @lee-inthebox @sunny-deary @ncqari

extra taglist!

@ballorawan740 @slasherluvrrr @importantgalaxyrunaway @iwantsleepplz @theaterhoefornewsies

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inky-duchess · 4 months

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Fantasy Guide to Interiors

As a followup to the very popular post on architecture, I decided to add onto it by exploring the interior of each movement and the different design techniques and tastes of each era. This post at be helpful for historical fiction, fantasy or just a long read when you're bored.

Interior Design Terms

Reeding and fluting: Fluting is a technique that consists a continuous pattern of concave grooves in a flat surface across a surface. Reeding is it's opposite.

Embossing: stamping, carving or moulding a symbol to make it stand out on a surface.

Paneling: Panels of carved wood or fabric a fixed to a wall in a continuous pattern.

Gilding: the use of gold to highlight features.

Glazed Tile: Ceramic or porcelain tiles coated with liquid coloured glass or enamel.

Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.

Bay Window: The Bay Window is a window projecting outward from a building.

Frescos: A design element of painting images upon wet plaster.

Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.

Mouldings: ornate strips of carved wood along the top of a wall.

Wainscoting: paneling along the lower portion of a wall.

Chinoiserie: A European take on East Asian art. Usually seen in wallpaper.

Clerestory: A series of eye-level windows.

Sconces: A light fixture supported on a wall.

Niche: A sunken area within a wall.

Monochromatic: Focusing on a single colour within a scheme.

Ceiling rose: A moulding fashioned on the ceiling in the shape of a rose usually supporting a light fixture.

Baluster: the vertical bars of a railing.

Façade: front portion of a building

Lintel: Top of a door or window.

Portico: a covered structure over a door supported by columns

Eaves: the part of the roof overhanging from the building

Skirting: border around lower length of a wall

Ancient Greece

Houses were made of either sun-dried clay bricks or stone which were painted when they dried. Ground floors were decorated with coloured stones and tiles called Mosaics. Upper level floors were made from wood. Homes were furnished with tapestries and furniture, and in grand homes statues and grand altars would be found. Furniture was very skillfully crafted in Ancient Greece, much attention was paid to the carving and decoration of such things. Of course, Ancient Greece is ancient so I won't be going through all the movements but I will talk a little about columns.

Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.

Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.

Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.

Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.

Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column's capital is rather plain. for the capital, with no consistent differences to that above or below the capital.

Ancient Rome

Rome is well known for its outward architectural styles. However the Romans did know how to add that rizz to the interior. Ceilings were either vaulted or made from exploded beams that could be painted. The Romans were big into design. Moasics were a common interior sight, the use of little pieces of coloured glass or stone to create a larger image. Frescoes were used to add colour to the home, depicting mythical figures and beasts and also different textures such as stonework or brick. The Romans loved their furniture. Dining tables were low and the Romans ate on couches. Weaving was a popular pastime so there would be tapestries and wall hangings in the house. Rich households could even afford to import fine rugs from across the Empire. Glass was also a feature in Roman interior but windows were usually not paned as large panes were hard to make. Doors were usually treated with panels that were carved or in lain with bronze.

Ancient Egypt

Egypt was one of the first great civilisations, known for its immense and grand structures. Wealthy Egyptians had grand homes. The walls were painted or plastered usually with bright colours and hues. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds. Woven mats and tapestries were popular decor. Motifs from the river such as palms, papyrus and reeds were popular symbols used.

Ancient Africa

African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.

Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.

Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.

Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world's most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren't for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn't like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal

Japanese Interiors

Japenese interior design rests upon 7 principles. Kanso (簡素)- Simplicity, Fukinsei (不均整)- Asymmetry, Shizen (自然)- Natural, Shibumi (渋味) – Simple beauty, Yugen (幽玄)- subtle grace, Datsuzoku (脱俗) – freedom from habitual behaviour, Seijaku (静寂)- tranquillity.

Common features of Japanese Interior Design:

Shoji walls: these are the screens you think of when you think of the traditional Japanese homes. They are made of wooden frames, rice paper and used to partition

Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.

Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.

Japanese furniture: often lowest, close to the ground. These include tables and chairs but often tanked are replaced by zabuton, large cushions. Furniture is usually carved of wood in a minimalist design.

Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.

Islamic World Interior

The Islamic world has one of the most beautiful and impressive interior design styles across the world. Colour and detail are absolute staples in the movement. Windows are usually not paned with glass but covered in ornate lattices known as jali. The jali give ventilation, light and privacy to the home. Islamic Interiors are ornate and colourful, using coloured ceramic tiles. The upper parts of walls and ceilings are usually flat decorated with arabesques (foliate ornamentation), while the lower wall areas were usually tiled. Features such as honeycombed ceilings, horseshoe arches, stalactite-fringed arches and stalactite vaults (Muqarnas) are prevalent among many famous Islamic buildings such as the Alhambra and the Blue Mosque.

Byzantine (330/395–1453 A. D)

The Byzantine Empire or Eastern Roman Empire was where eat met west, leading to a melting pot of different interior designs based on early Christian styles and Persian influences. Mosaics are probably what you think of when you think of the Byzantine Empire. Ivory was also a popular feature in the Interiors, with carved ivory or the use of it in inlay. The use of gold as a decorative feature usually by way of repoussé (decorating metals by hammering in the design from the backside of the metal). Fabrics from Persia, heavily embroidered and intricately woven along with silks from afar a field as China, would also be used to upholster furniture or be used as wall hangings. The Byzantines favoured natural light, usually from the use of copolas.

Indian Interiors

India is of course, the font of all intricate designs. India's history is sectioned into many eras but we will focus on a few to give you an idea of prevalent techniques and tastes.

The Gupta Empire (320 – 650 CE): The Gupta era was a time of stone carving. As impressive as the outside of these buildings are, the Interiors are just as amazing. Gupta era buildings featured many details such as ogee (circular or horseshoe arch), gavaksha/chandrashala (the motif centred these arches), ashlar masonry (built of squared stone blocks) with ceilings of plain, flat slabs of stone.

Delhi Sultanate (1206–1526): Another period of beautifully carved stone. The Delhi sultanate had influence from the Islamic world, with heavy uses of mosaics, brackets, intricate mouldings, columns and and hypostyle halls.

Mughal Empire (1526–1857): Stonework was also important on the Mughal Empire. Intricately carved stonework was seen in the pillars, low relief panels depicting nature images and jalis (marble screens). Stonework was also decorated in a stye known as pietra dura/parchin kari with inscriptions and geometric designs using colored stones to create images. Tilework was also popular during this period. Moasic tiles were cut and fitted together to create larger patters while cuerda seca tiles were coloured tiles outlined with black.

Chinese Interiors

Common features of Chinese Interiors

Use of Colours: Colour in Chinese Interior is usually vibrant and bold. Red and Black are are traditional colours, meant to bring luck, happiness, power, knowledge and stability to the household.

Latticework: Lattices are a staple in Chinese interiors most often seen on shutters, screens, doors of cabinets snf even traditional beds.

Lacquer: Multiple coats of lacquer are applied to furniture or cabinets (now walls) and then carved. The skill is called Diaoqi (雕漆).

Decorative Screens: Screens are used to partition off part of a room. They are usually of carved wood, pained with very intricate murals.

Shrines: Spaces were reserved on the home to honour ancestors, usually consisting of an altar where offerings could be made.

Of course, Chinese Interiors are not all the same through the different eras. While some details and techniques were interchangeable through different dynasties, usually a dynasty had a notable style or deviation. These aren't all the dynasties of course but a few interesting examples.

Song Dynasty (960–1279): The Song Dynasty is known for its stonework. Sculpture was an important part of Song Dynasty interior. It was in this period than brick and stone work became the most used material. The Song Dynasty was also known for its very intricate attention to detail, paintings, and used tiles.

Ming Dynasty(1368–1644): Ceilings were adorned with cloisons usually featuring yellow reed work. The floors would be of flagstones usually of deep tones, mostly black. The Ming Dynasty favoured richly coloured silk hangings, tapestries and furnishings. Furniture was usually carved of darker woods, arrayed in a certain way to bring peace to the dwelling.

Han Dynasty (206 BC-220 AD): Interior walls were plastered and painted to show important figures and scenes. Lacquer, though it was discovered earlier, came into greater prominence with better skill in this era.

Tang Dynasty (618–907) : The colour palette is restrained, reserved. But the Tang dynasty is not without it's beauty. Earthenware reached it's peak in this era, many homes would display fine examples as well. The Tang dynasty is famous for its upturned eaves, the ceilings supported by timber columns mounted with metal or stone bases. Glazed tiles were popular in this era, either a fixed to the roof or decorating a screen wall.

Romanesque (6th -11th century/12th)

Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles. The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways. As per the name, Romansque Interiors relied heavily on its love and admiration for Rome. The Romanesque style uses geometric shapes as statements using curves, circles snf arches. The colours would be clean and warm, focusing on minimal ornamentation.

Gothic Architecture (12th Century - 16th Century)

The Gothic style is what you think of when you think of old European cathedrals and probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe. Decoration in this era became more ornate, stonework began to sport carving and modelling in a way it did not before. The ceilings moved away from barreled vaults to quadripartite and sexpartite vaulting. Columns slimmed as other supportive structures were invented. Intricate stained glass windows began their popularity here. In Gothic structures, everything is very symmetrical and even.

Mediaeval (500 AD to 1500)

Interiors of mediaeval homes are not quite as drab as Hollywood likes to make out. Building materials may be hidden by plaster in rich homes, sometimes even painted. Floors were either dirt strewn with rushes or flagstones in larger homes. Stonework was popular, especially around fireplaces. Grand homes would be decorated with intricate woodwork, carved heraldic beasts and wall hangings of fine fabrics.

Renaissance (late 1300s-1600s)

The Renaissance was a period of great artistry and splendor. The revival of old styles injected symmetry and colour into the homes. Frescoes were back. Painted mouldings adorned the ceilings and walls. Furniture became more ornate, fixed with luxurious upholstery and fine carvings. Caryatids (pillars in the shape of women), grotesques, Roman and Greek images were used to spruce up the place. Floors began to become more intricate, with coloured stone and marble. Modelled stucco, sgraffiti arabesques (made by cutting lines through a layer of plaster or stucco to reveal an underlayer), and fine wall painting were used in brilliant combinations in the early part of the 16th century.

Tudor Interior (1485-1603)

The Tudor period is a starkly unique style within England and very recognisable. Windows were fixed with lattice work, usually casement. Stained glass was also in in this period, usually depicting figures and heraldic beasts. Rooms would be panelled with wood or plastered. Walls would be adorned with tapestries or embroidered hangings. Windows and furniture would be furnished with fine fabrics such as brocade. Floors would typically be of wood, sometimes strewn with rush matting mixed with fresh herbs and flowers to freshen the room.

Baroque (1600 to 1750)

The Baroque period was a time for splendor and for splashing the cash. The interior of a baroque room was usually intricate, usually of a light palette, featuring a very high ceiling heavy with detail. Furniture would choke the room, ornately carved and stitched with very high quality fabrics. The rooms would be full of art not limited to just paintings but also sculptures of marble or bronze, large intricate mirrors, moldings along the walls which may be heavily gilded, chandeliers and detailed paneling.

Victorian (1837-1901)

We think of the interiors of Victorian homes as dowdy and dark but that isn't true. The Victorians favoured tapestries, intricate rugs, decorated wallpaper, exquisitely furniture, and surprisingly, bright colour. Dyes were more widely available to people of all stations and the Victorians did not want for colour. Patterns and details were usually nature inspired, usually floral or vines. Walls could also be painted to mimic a building material such as wood or marble and most likely painted in rich tones. The Victorians were suckers for furniture, preferring them grandly carved with fine fabric usually embroidered or buttoned. And they did not believe in minimalism. If you could fit another piece of furniture in a room, it was going in there. Floors were almost eclusively wood laid with the previously mentioned rugs. But the Victorians did enjoy tiled floors but restricted them to entrances. The Victorians were quite in touch with their green thumbs so expect a lot of flowers and greenery inside. with various elaborately decorated patterned rugs. And remember, the Victorians loved to display as much wealth as they could. Every shelf, cabinet, case and ledge would be chocked full of ornaments and antiques.

Edwardian/The Gilded Age/Belle Epoque (1880s-1914)

This period (I've lumped them together for simplicity) began to move away from the deep tones and ornate patterns of the Victorian period. Colour became more neutral. Nature still had a place in design. Stained glass began to become popular, especially on lampshades and light fixtures. Embossing started to gain popularity and tile work began to expand from the entrance halls to other parts of the house. Furniture began to move away from dark wood, some families favouring breathable woods like wicker. The rooms would be less cluttered.

Art Deco (1920s-1930s)

The 1920s was a time of buzz and change. Gone were the refined tastes of the pre-war era and now the wow factor was in. Walls were smoother, buildings were sharper and more jagged, doorways and windows were decorated with reeding and fluting. Pastels were in, as was the heavy use of black and white, along with gold. Mirrors and glass were in, injecting light into rooms. Gold, silver, steel and chrome were used in furnishings and decor. Geometric shapes were a favourite design choice. Again, high quality and bold fabrics were used such as animal skins or colourful velvet. It was all a rejection of the Art Noveau movement, away from nature focusing on the man made.

Modernism (1930 - 1965)

Modernism came after the Art Deco movement. Fuss and feathers were out the door and now, practicality was in. Materials used are shown as they are, wood is not painted, metal is not coated. Bright colours were acceptable but neutral palettes were favoured. Interiors were open and favoured large windows. Furniture was practical, for use rather than the ornamentation, featuring plain details of any and geometric shapes. Away from Art Deco, everything is straight, linear and streamlined.

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