[1] Light pastel colors, including shades of blue, green, and pink, replaced the darker elements characteristic of Baroque architecture such as exposed limestone and extensive gilding.

[5] Eighteenth-century architecture was profoundly influenced by classical ideals of symmetrical design, prominently featuring elements such as columns, capitals, pediments, architraves, statuary, and other exterior ornamentation.

The principles outlined in Andrea Palladio's Quattro Libri dell'Architettura (Four Books on Architecture), published in Italy in 1570, remained influential throughout the latter half of the millennium.

[6] During the Rococo period, architects adapted these classical templates to include asymmetrical forms, whimsical curves, and bright colors, creating more dynamic and engaging designs.

[8] These architectural styles consistently incorporated allegorical motifs, such as acanthus leaves, cupids, putti, and figures of Greek and Roman deities, to convey an image of sophistication and moral stability.

Notable examples include the Hôtel de Soubise in France and the Catherine Palace in Russia, where the extensive use of mirrors and large windows, surrounded by gilt frames with arabesques, created spacious, bright interiors in areas such as ballrooms, antechambers, and state dining rooms.

Contrasting with the large, dark, gold-framed wooden chairs of the earlier Baroque period, Rococo furniture typically featured upholstery with bright cushions and was built for moderately heavy use.

In large Rococo buildings, ceilings, often referred to as plafonds, were painted and gilded with scenes depicting ancient Greek and Roman myths, along with other classical and allegorical motifs.

Rather than employing hallways or corridors for room access, these palaces were designed around one or more grand staircases, in addition to service stairwells and lifts, which led to a central point on the upper floors.

On the ground level, functional spaces such as butlers' pantries, guardrooms, ancillary offices, porcelain and silver cabinet rooms, and warming kitchens were positioned with easy access to outdoor outbuildings and service entries.

This separation was strategic, primarily to mitigate the heat and odors from cooking permeating the main living areas, and to decrease the risk of fire spreading to the palace if an incident occurred in the kitchen.

These structures provided a more intimate setting away from the main palace, which often included a large circulation of family members, government officials, servants, and guests.

Beyond the primary cooking kitchen and the carriage house, these included structures such as the scullery, where vegetables were prepared and dishes were washed, and the smokehouse, used for preserving meats through smoking over hot coals to extend their freshness and usability.

They were regarded as highly private outdoor areas ideal for discussing confidential matters, as the low height of the vegetation ensured that anyone within earshot was also visible, thus reducing the risk of eavesdropping.