The known history of decorative lattices goes back 4,000 years with a rich and diverse background. It incorporates worldwide cultural, religious and functional aspects of life and art, applied to a range of different media including, wood, clay, stone and metal. Luna Piena has embarked upon the study and revival of this ancient and wonderful tradition, chronicling some of the highlights of its journey through time.

Decorative lattice origins can be traced back to early Egyptian architecture. An example of the first identified sample still stands in its original location at the temple of Amun in Karnak (built between 1991 B.C. and 1786 B.C.) They were used prevalently in larger homes and temples in the form of carved stone grilles placed high above the center or courtyard room. Known as clerestories, they were a source of light and air for the entire building. Modern recreations of the Amun temple show how the stone grilles permeated the richly painted columns and floors with shadow patterns, and created a stunning and mystical effect.

Since their origin, lattice designs were imbued with religious and sometimes even spiritual properties. This is demonstrated by the Egyptian sandstone window displayed at the Metropolitan Museum of Arts, which depicts two open wing falcons paying tribute to the sun god. Religious scriptures suggest that lattice use was widespread during biblical times. In one Old Testament passage - Judges 5:28 - the word 'eshnabh is used to describe a type of window or a parapet lattice used to screen women from the gaze of neighbors.

Records indicate that around the 8th century, churches and mosques began incorporating lattice elements into their architecture. Arched windows known as chemmassiats (from the Arabic root chems - sun) can be found in Mosques and Riads throughout the Middle East. Chemmassiats make use of the gebs technique, in which plaster is carved through with intricate motifs and occasionally inlaid with stained glass. Additional religious application is found with the use of mousharabies - wooden carved motifs that incorporated sophisticated geometrical designs. These ornate pieces served to separate the men from the women during prayer. Similar to mousharabies were the mashrabiyyas, which were used within palaces, again, to shield women from visitors' wondering eyes.

Early East Asian cultures also enjoyed a rich and extensive relationship with decorative lattices. Chinese archeology traces their use back as far as 3,000 years ago based on pictographs found on ancient sacrificial bronzes of the Zhou dynasty (1000 B.C. to 206 B.C.) This is the same period during which the practice of Feng Shui began to develop. Feng Shui, which encourages people to live in harmony with their surrounding environment, makes extensive use of lattices to capture "good energy", or what the Chinese refer to as "the Dragon's cosmic breath" (Sheng Chi). Feng Shui practitioners harness and encourage these positive energy lines to meander in rooms by placing latticework on windows and between open spaces within the home.

Influenced by Chinese designs created during the Ch'ing dynasty (1644 A.D. to 1911 A.D.), lattice use gained in sophistication and worldwide popularity. In Nepal, Buddhists incorporated them into their architecture, along with certain aspects of their spiritual beliefs. One such belief involved the use of carved holes known as nasapuah (ghost holes), which served to provide for both privacy and an unobstructed exit for evil spirits. Further west in Rajasthan, the stone carving center of India, China's art inspired the jali - an intricately carved lattice used for ventilation or the screening of the zenanas (women's quarters.) Even as far west as America we can find the influence of this Chinese traditional art, as illustrated in the second edition of Chippendale's catalogue "The Director", published in 1755.

Marco Polo is credited with bringing Chinese design to Europe, which resulted in the huge wave of chinoiserie (fretting, oriental motifs, lattices and pagodas) in 17th century European design. The influx of oriental motifs merged with the existent arabesque geometric and floral patterns to create a varied and magnificent array of creations found in elements of many European buildings. This work was primarily cast in cement, stone and iron due to the advances in metallurgy and masonry that took place during the late 18th and early 19th century.

Luna Piena has endeavored to bring back this almost forgotten art by combining the talents of artists and an innovative manufacturing process that makes use of the latest in natural composite materials. In the course of our travels and research to uncover the rich history of latticework, we have gathered a portfolio of breathtaking designs from around the world. Today we are pleased to introduce the Tableaux™, a unique expression of this time-honored art and invite you to enjoy our latest collection.