#forms to apex

[conneqtion]

Common Challenges in Oracle Forms to APEX Migrations—and How to Solve Them

Migrating from Oracle Forms to Oracle APEX is not just a technology shift—it's a transformation of how your business applications work, look, and scale. While Oracle Forms has served enterprises reliably for decades, it's built on a client-server architecture that doesn't align with modern, web-first expectations.

Oracle APEX, on the other hand, offers a low-code, browser-based environment with rich UI capabilities, tight PL/SQL integration, and excellent support for modern development practices.

But let’s be honest—Forms to APEX migration isn't a plug-and-play process. It comes with real-world challenges that, if not addressed properly, can lead to delays, frustration, or missed opportunities.

In this post, we'll explore the most common challenges in migrating Oracle Forms to APEX—and, more importantly, how to solve them.

Challenge 1: Understanding the Legacy Code and Business Logic

📌 The Problem:

Many Forms applications have evolved over decades, often with minimal documentation. The logic is tightly bound to the UI, buried in triggers, program units, and PL/SQL blocks.

✅ The Solution:

Perform a full inventory of all Forms modules.

Use tools like Oracle Forms2XML or third-party scanners to extract and analyze code.

Identify reusable business logic and move it to database packages, separating logic from UI.

Document core workflows before rewriting in APEX.

Pro tip: Establish a “Forms-to-APEX Reference Map” to track where each legacy feature is being re-implemented or redesigned.

⚠️ Challenge 2: UI/UX Differences Between Forms and APEX

📌 The Problem:

Forms applications often use canvases, blocks, and modal windows—none of which translate 1:1 into APEX. Users familiar with old-school layouts may resist change.

✅ The Solution:

Focus on functionality parity, not screen-by-screen cloning.

Reimagine the UI with APEX Interactive Reports, Dialogs, and Faceted Search.

Use the Redwood Light theme in APEX to deliver a clean, modern experience.

Conduct end-user workshops to involve them early in the redesign process.

Remember: This is a chance to improve UX, not just replicate the past.

⚠️ Challenge 3: Handling Triggers and Built-in Events

📌 The Problem:

Forms relies heavily on triggers like WHEN-VALIDATE-ITEM, PRE-INSERT, or KEY-NEXT-ITEM. These don't exist in APEX in the same way.

✅ The Solution:

Move data validation logic into database triggers or packages.

Use Dynamic Actions, Process Handlers, and Validations in APEX to simulate similar behaviors.

Create custom JavaScript where necessary for field-level interactions.

Keep business logic in PL/SQL, and use APEX to handle client-side workflows.

⚠️ Challenge 4: List of Values (LOVs) and Pop-Ups

📌 The Problem:

Oracle Forms uses LOVs and pop-up windows extensively. These may not behave the same in APEX without thoughtful redesign.

✅ The Solution:

Replace Forms LOVs with APEX’s popup LOV or select list components.

Use shared LOVs to centralize list management.

For cascading LOVs, use Dynamic Actions to update values based on selections.

APEX provides more flexibility—but you may need to rethink the user flow.

⚠️ Challenge 5: State Management and Navigation

📌 The Problem:

Forms is stateful; APEX is stateless. In Forms, navigation and state retention happen automatically. In APEX, every action reloads a page or region.

✅ The Solution:

Use session state variables and hidden items to manage state across pages.

Apply branching logic and URL parameters for navigation control.

Embrace modal dialogs for maintaining context.

Design with the web in mind—shorter tasks, fewer clicks, intuitive flow.

⚠️ Challenge 6: Training & Developer Mindset Shift

📌 The Problem:

Developers accustomed to Forms development need to shift from procedural to declarative, low-code development in APEX.

✅ The Solution:

Provide hands-on training and access to APEX learning resources.

Create internal sandboxes for experimenting with APEX features.

Promote code reusability, templates, and UI best practices.

APEX is powerful—but it takes time to shift the mindset from "Form triggers" to "Dynamic Actions and page processes."

✅ Conclusion

Oracle Forms to APEX migration is a rewarding journey—but like any transformation, it comes with technical and cultural challenges. The key is to approach it methodically:

Analyze and document before you migrate.

Modernize, don’t just replicate.

Train your team, and embrace the new development model.

Done right, the migration leads to modern, maintainable, and scalable applications that align with today’s business and user expectations.

[skunkes]

i did a pretty good job i think

[kaiserouo]

Outsider's view v.s. Insider's view

[transgenderdoctorwhomst-old]

Wonderfully terrible idea. :)

Fobwatch!eleven + apex predator Time Lords.

Oliver Smith would not understand, it would hit him like brick. It would be so bad, but also so so yes.

oliver fucking chasing someone down the street late at night and then going ???? why did i do that. what the fuck. why did i do that.

he keeps going "wow that person looks tasty" and then getting upset at himself like "hello?? not a cannibal??? what's wrong with me??"

oliver trying to overcorrect and just becomes vegetarian. Can't Think About Eating People If You're Not Eating Meat!

[nyotasaimiri]

Gosh this project has been collecting dust forever; I started her in the Before Times. But I finally finished my Nyota plushie!

[thatonefunnyfella]

Only real ones still have Apex Mobile installed despite it going offline

[inutaffy]

this is how chris argent looks to me

[taranza69]

Hey kirby I heard about what happened. Sorry your friends keep doing weird anime shit in front of you :(

[agent4justice]

Scammers sophistication technique have reached a new apex, making Banking Fraud just like a walk in the park to this crime syndicates with richer background helter-skelters depositors and has been keeping most retirees that reinvested most of their retirement plan sleepless after words of the threat that swept the streets does not seem to have not weakened at all.

Masses are appealing for a more stringent countermeasure to be in place as soon as possible, such are adding more authentication request. Although retina scanner can slow down the process with the amount or rather the size of the data, but it also gives us an opportunity of having time to lockout perpetrators. The size of the data makes it at least 70% better than an iris scan and many more folds multiplied compared to a fingerprint.

Several years ago, I foresaw that the mCommerce (mobile commerce) would be ruled out as the mainstay of electronic processing for the sole reason that it is the most affordable business appliance that can serve the majority, representing the poor to medium class and the trending plot of global economic structure just like a triangle.

Having mCommerce | Mobile Technology as our economic transport offers the possibility of catering and adding the biggest chunk of our global population to pitch in the global trade for us to achieve having reserves and surplus will be more conceivable.

To make it a little impenetrable and globally under tighter scrutiny, I proposed that we adopt the universal identification system. We will integrate every other form of identity attached to it using our mobile number as the key index that will permanently our lifetime phone number. In the event of loss, the telco will make a SIM based on a secret code given to the subscriber upon the receipt of your subscription and issuance, which will be honored and will be service by other Telcos if subscriber opt to change carrier. The number coding of telcos should also compliment tracking effort, narrowed down within the radius and range of a few kilometers apart where the last signal was received or transmitted. The succeeding successful connection recorded by cell sites would enable us to speculate the linear direction as it trends.

We will enable the mobile technology to be a conduit of payment gateways or as a payment gateway itself. Our objective is to open the global trade and cover a larger scope and as far-reaching it could service most specially the marginalized poor a chance to lift their social status getting connected and finally be able to join our bandwagon to the brighter future. The fact can't be denied that they have been left without an adequate means to tap the convenience and business opportunity through eCommerce. Through the mobile payment gateway, even in the absence of a banking system in their region, they can now fulfill the checkout process by loading or charging it from your telco which is even less intricate than having a debit card or as to many known financial credibility.

#mobilepaymentgateway

#mobiletechnology

#mCommerce

#onlinefraud

#RetinaScan

Scammers sophistication technique have reached a new apex, making Banking Fraud just like a walk in the park to this crime syndicates with richer background helter-skelters depositors and has been keeping most retirees that reinvested most of their retirement plan sleepless after words of the threat that swept the streets does not seem to have not weakened at all.

Masses are appealing for a more stringent countermeasure to be in place as soon as possible, such are adding more authentication request. Although retina scanner can slow down the process with the amount or rather the size of the data, but it also gives us an opportunity of having time to lockout perpetrators. The size of the data makes it at least 70% better than an iris scan and many more folds multiplied compared to a fingerprint.

Several years ago, I foresaw that the mCommerce (mobile commerce) would be ruled out as the mainstay of electronic processing for the sole reason that it is the most affordable business appliance that can serve the majority, representing the poor to medium class and the trending plot of global economic structure just like a triangle.

Having mCommerce | Mobile Technology as our economic transport offers the possibility of catering and adding the biggest chunk of our global population to pitch in the global trade for us to achieve having reserves and surplus will be more conceivable.

To make it a little impenetrable and globally under tighter scrutiny, I proposed that we adopt the universal identification system. We will integrate every other form of identity attached to it using our mobile number as the key index that will permanently our lifetime phone number. In the event of loss, the telco will make a SIM based on a secret code given to the subscriber upon the receipt of your subscription and issuance, which will be honored and will be service by other Telcos if subscriber opt to change carrier. The number coding of telcos should also compliment tracking effort, narrowed down within the radius and range of a few kilometers apart where the last signal was received or transmitted. The succeeding successful connection recorded by cell sites would enable us to speculate the linear direction as it trends.

We will enable the mobile technology to be a conduit of payment gateways or as a payment gateway itself. Our objective is to open the global trade and cover a larger scope and as far-reaching it could service most specially the marginalized poor a chance to lift their social status getting connected and finally be able to join our bandwagon to the brighter future. The fact can't be denied that they have been left without an adequate means to tap the convenience and business opportunity through eCommerce. Through the mobile payment gateway, even in the absence of a banking system in their region, they can now fulfill the checkout process by loading or charging it from your telco which is even less intricate than having a debit card or as to many known financial credibility.

#mobilepaymentgateway

#mobiletechnology

#mCommerce

#onlinefraud

#RetinaScan

#FraudAlert

#FraudAlert

[oedonchapeldweller]

sweetpea definitely is someone who shows love thru wrestling i know she wrestles rev whenever the feeling strikes her but i think she tries to do it w everyone else with varying degrees of acceptance

[unintentionalseductress]

How they position their fingers

Just some thoughts I have. Might expand on these later. Warnings: MDNI, pussy eating

Zayne:

Makes an upwards facing 'V' with his fingers, so that the apex is at your core and his fingertips part your folds near your clit. It forms an arrow for him to follow, his tongue dipping into your core and brushing all that slick upwards onto your swollen bud. Does precise, delicate strokes, and it's so arousing when you feel the mix of his saliva and your arousal fluids pooling at the back of your core, dribbling onto the sheets.

Rafayel:

Spreads apart both sides of your sex using his thumbs, revealing nothing to the imagination. They're held apart as he dives in, no questions asked, the push of his fingertips leaving you vulnerable and exposed to his eager mouth. He's noisy, slurping it all, suctioning your bud and dipping down to get into your hole. There's strings of spit between his lips and your cunt by the time he's finished.

Xavier:

Uses his thumb and index, resting his hand on your mound at the top of your clit to spread you open. He teases, giving you smooth licks on your clit before suctioning his lips around your core to slurp down your liquidy arousal, the contrast keeping you on your toes. And oh, how he watches you from between your legs, those beautiful blue eyes never leaving your face.

Sylus:

Doesn't use his fingers. His hands are too busy looping around the tops of your thighs to hold you in place. Besides, he loves smelling you, so he gets into your folds using his nose, inhaling that sweet scent of need from your pussy before dragging it upwards, followed by his tongue. Your clit is always hit twice when he's eating you out, first by his nose, then his tongue trailing closely behind. His face is a mess when he's done but he can't help himself.

© unintentionalseductress original work | no copying, plagiarizing or translating

[osachiyo]

“ B-BODY SEARCH? ”

# pairing: mean!colonel caleb x fem!reader

# tws: n/sfw content, 0.7k+ wc, dub-con, pussy inspection (?), rough s.ex, fingering, edging, orgasm denial, mean!caleb, body search, his mechanical arm vibrates bc why tf not, degradation, might be ooc 😭 + not proofread so i apologize for any errors/mistakes.

# note: can you guys tell I love mean!caleb… wrote this almost being half asleep at 3 am so this might suck ass idk ✌🏽

Caleb's eyes are hard and unyielding as he pins you with a stern glare, his jaw clenched tight. He's done playing nice. Done with your constant defiance and reckless disregard for your own safety. If you won't take this seriously, then he'll just have to get serious for you.

"Strip," he commands, his voice brooking no argument. "Now."

He stands over you, arms crossed over his broad chest as he waits for you to comply. When you hesitate, his patience snaps like a frayed rope. In a flash, he's on you, gripping your wrists and pinning them above your head.

"Don't test me, pipsqueak," he growls, eyes flashing with warning. "I'm not in the mood for games."

His hands make short work of your clothes, practically tearing them from your body in his haste. Button by button, zipper by zipper, he strips you bare until you're left with nothing but the chill of the air and the heat of his gaze.

His eyes rake over your naked form, searching for any sign of contraband. They linger on your tits, your stomach, your hips... pausing for a long moment as they reach the apex of your thighs. A cruel smirk tugs at the corner of his mouth.

"Spread these pretty legs f’me, baby" he orders, voice dripping with condescension. "Let's see if you're hiding anything... down there."

He punctuates his command with a harsh squeeze to your inner thigh, fingers digging into your soft flesh. When you don't move fast enough to suit him, he grips your knee and wrenches your leg to the side, exposing you completely.

"Fuckin' hell," he mutters, eyes glinting with a wicked light as he takes in the sight of your exposed pussy. "You're dripping already, aren't you? Dirty girl, getting turned on by a search. I should've known you'd be a little slut."

He reaches out, fingers brushing against your folds with a feather-light touch. A shudder wracks your body at the contact, a gasp escaping your lips. Caleb just grins, a wicked curve to his mouth as he parts your lower lips with his gloved fingers.

"Let's see what we have here," he taunts, voice low and mocking. "Just a messy little cunt, so wet and ready for my attention. Is this really turning you on right now?"

Caleb's smirk grows wider, crueler, as he takes in the debauched sight of your dripping pussy. He can't resist reaching out, running a single finger along your slit, feeling the slick heat that coats his skin. A dark chuckle rumbles in his chest at the sensation.

"Just look at you—so fuckin’ desperate," he taunts, circling your clit with a maddeningly slow rhythm. "Desperate for attention, for release. Buuuut—you've been a bad girl, haven’t you, sweetheart? So you don't get to cum until I say so."

His eyes glint with a wicked promise as he raises his mechanical hand, the metal fingers glinting under the harsh light. Your eyes widened in half shock—half horror as his fingers started vibrating. A sadistic grin spreads across his face as he positions the buzzing fingertips at your entrance.

"Let's see how long you last, slut," he growls, pressing the vibrations against your aching core.

He starts slow, teasing, the buzzing sensation sending sparks of pleasure shooting up your spine. Your hips buck against his hand, seeking more of that delicious friction, but he holds you down, pinning you in place.

"Thaaaat’s it—fuckin’ grind on it," he snarls, watching your face contort with pleasure. "Fuckin’ take it like the desperate little whore you are."

He increases the intensity, the vibrations growing stronger, more insistent. Your walls clench around the buzzing tip, your body coiled tight as a bowstring, ready to snap at any moment.

"C-caleb, ohh—fuck!" you cry out, back arching off the bed as you teeter on the brink of ecstasy.

"That's right, scream for me," he egged, voice dripping with cruel amusement. "Let everyone know what a dirty slut you are."

He can feel you tightening, gooey walls fluttering around his fingers as your orgasm builds to a crescendo. He knows you're right on the edge, ready to fall over into sweet oblivion.

But at the last possible second, he rips his hand away—leaving you empty and aching, teetering on the razor's edge of climax. A frustrated sob tears from your throat at the sudden loss of stimulation, “nonono please—I was s’close—wanna cum s’bad!”

"Well that’s too damn bad, isn’t it, sweet girl?" Caleb taunts, a wicked grin on his face as he watches you squirm and beg, wiping the slick-soaked metal on your thigh. "Brats don't get to cum—you only cum when I allow it. We’re just getting started and let’s just say… you’re not cumming anytime soon.”

++ LADS M.LIST

[homunculus-argument]

Hey what if the ghosts of some haunted places with no record of anything horrible happening there are just scarecrows?

What if there are entities utterly beyond human comprehension, who have decided to take this specific area for their own use, and want to keep humans out. By now they've figured out that the most efficient way to keep out vertebrates is set out sufficiently convincing effigies representing their natural predators, with a focus on senses that this specific beast uses most to perceive threats. Apex predators are best kept out by a copy of its own kind - a bear will not wander through an area where another bear appears to hold territory.

This method didn't seem like something that would deter humans, who are, despite of everything, also social animals that do not necessarily avoid other humans unfamiliar to them. But somehow, it does seem to work reliably. Humans, who mainly rely on sight and sound, are far more likely to avoid an effigy that appears, moves and sounds like another human being, than they would avoid other real humans.

While creating sensory illusions of any sort is easy to these entities, they have no reason to fixate on particularly small details. A thing that looks, sounds and smells enough like a bear will frighten anything that naturally avoids bears. They do not bother to stop and investigate whether this potential threat is really a bear or not. But humans are very, very keen on details, particularly in the appearances of their own, and they can tell, on the spot, that something that looks almost human, walks almost like a human being, and makes sounds that almost sound like a human voice forming garbled mimicry of words in no recognisable human language, is decidedly not human.

So they get the fuck out of there. Fast.

The entities don't know what uncanny valley is. It doesn't matter to them why their fake human approximations deter humans more efficiently than actual humans would. They just know that it works as it should.

[tojisun]

simon riley x john price x f!reader prev

tags: d/s (dom john, switch simon, sub reader); smut; binding and gag; hinted daddy kink; objectification kink; authority kink (& issues)

The yawning used to escape him, trickling into streams unchecked. That is then; it is an estuary now. It is something delicate. Vulnerable. Simon wonders when did his desires become visible and rippling. When did they form tendrils swimming past the noose he’s got on them?

Terrifying. Simon's desires are terrifying. He cannot map the exact moment that they began, just that they did, and now he finds himself crumbling at the slightest look. At the barest of touch.

Simon wants his captain. 

He dreams of John. He dreams of how he will take the older man with hot lips and scalding prayers. He dreams of a pleasure so great, it leaves his captain shaking. Stuttering with quiet tears and swollen lips tugged up in a satisfied grin.

“C’mere, boy,” his captain—this version of him that plagues Simon’s dreams—says, all soft and sweet and coy in that way that will leave Simon’s throat aching like it is clogged with caramel and taffy, and he falls to his captain with a whimper.

He strips his cock with his rough hands when he wakes up, teeth biting into the flesh of his lips to muffle his moans. He thinks of the slope of his captain’s neck, the bend of it when he drops his head when he is exhausted. He thinks of his captain’s beard, how it felt on his skin in the burst of moments when the older man would turn to brush close to Simon in whispered conversations. He thinks of the soot on his captain’s boots; he thinks how he will not care—he will lick it clean if John asks.

Cum sprays in his hands, shooting across his stomach to land on his chest. Simon groans, his eyes shut close as he savours the moment. He waits for the shame to lick past the desire, for clarity to wash away the hunger, but his need grows.

It settles.

Ah, Simon thinks, peeling his eyes open. That’s how it’d be.

There is something different in Johnny’s gait, and Simon stalks close like an apex predator stalking the wounded prey. He expected shame or even denial from his friend, but what he sees instead blinds him with envy.

Johnny’s been claimed; he’s been moulded into Kyle and his darling girl’s doll. In a moment of weakness, he unleashes his jealousy and bares his teeth to the mutt. 

When his captain finds him, he takes one look at Simon and laughs. It is loud and booming, the kind that rumples the corners of his chest, and he is struck; frozen in time like he is young once more, wilting under his—

Under his father’s gaze.

“Ye’ jealous boy,” John says, his grin too sharp to be a friendly tease, then he leaves.

Simon watches him go with his lips pursed.

Something changes within his captain, after that. He is always stalking close, always a breath away. His eyes are sharp and knowing, heavy as they trace over Simon’s body. For his part, Simon doesn’t try to shake him off, rather, he basks in the attention. 

It is not warm or fluffy. It is burning, almost accusing, but Simon takes what he can get and this is his for however long his captain wants him. 

It is Kyle, greedy man that he is, who breaks the facade. 

“He’s testin’ you, LT,” the younger man says, bringing the flickering fire of his lighter to Simon’s stick. Simon doesn’t reply but he turns, head jutted to hear Kyle better. He meets Simon’s eyes head-on.

“He’s got a bird,” Kyle begins, the admission coming out so smoothly from him like it is some sort of retribution. Simon supposes it is—he did taunt his puppy, after all. “Cap’n’s about to leave ‘er for a mission, an’ I think that he wants to leave ‘er to you.” 

Smoke leaves Simon’s lips in stuttered wisps. Kyle shoots him a crinkled smile. “He’s not doin’ that—” the weighted attention, the obsessive hovering, “f’r you, sir.”

Simon doesn’t give him a reply. He knows that it is nothing but an attempt at hiding. 

When Kyle leaves, Simon begins his hunt.

Names, relationships, places last visited—Simon finds them with ease, bypassing encrypted and locked accounts as he sinks his teeth further into the tender acres of his captain’s secret. A bird, one that Kyle knows of before Simon could. 

He doesn’t know what to name the taste lingering in the back of his tongue but it makes him angrier. Greedier. 

He realizes he’s found her when he sees you. 

And, oh. The ease, the way each code that he tried had worked—his captain wanted him to find you. Shivers rack his body, making him twitch and his mind grows heady because he takes this for what it is.

A reward. 

Or, better yet, his invitation. 

John introduces the two of you, waxing poetry about Simon, promising you that he will be kind. That he will be here to protect you. And you laugh through it all, bright and bubbly, thanking your boyfriend’s colleague for volunteering to help. Neither John nor Simon corrected your assumptions.

Boyfriend. 

It is such a juvenile term but John had looked so proud, his chest puffing up and his lips wobbling as you bulldozed through your words, fluttering about how you didn’t need protection, bee-tee-dubs. Simon watches as John pulls you into his arms, whispering in such a soft voice that Simon feels—

Stilted. 

This isn’t the John that he knew. 

This isn’t the John that he wanted. 

The jealousy that threatened to burst in his veins petered into a soft ripple, calming down at the sight before him. Because you can have this John, the one that is too soft and too gentle and too human, but Simon has the one he wants. 

The one hardened by the war; the one who smells of cigars and soot and ozone; the one who barks out orders; the one whose gaze is hard, sharp, edged like every narrowed gaze is a slashing. Simon has the John that matters. 

Simon wilts into himself then, distancing himself from the two of you. The domesticity, the cozy flat, the lined books and art-nouveau-style mirrors and bookshelves—yes, you can have this. Simon isn’t envious of this. 

Before he leaves, John turns to Simon, his warm hand cupping Simon’s jaw. Warm eyes stare at him. “Well, then. Take care of y’rself too, ‘kay?”

He asks like he did not just strip the layers of reassurances that Simon cloaked himself in, leaving him bare and vulnerable before John’s callused touch. He is too startled to reply, and John finally makes himself scarce, leaving two yearning souls waiting for his return.

Simon didn’t intend to overstep beyond the morning check-ins and the nightly tuck-ins, but routine takes root and he finds himself unwinding in the little corner of your flat. 

It isn’t too difficult—you are a warm host. You know not to ask much or to speak too loud, and Simon wonders how much of this is learned behaviour. Is this John in your form; is it his captain teaching you how to live with someone so torn and so broken that Simon is seeing so much of it in the way you look at him, the way you talk to him?

But it’s too much. Like muscle memory or something natural like breathing. It is like a reflex; your kindness just is. It gives him comfort, how your sweetness is innate. 

It’s two in the morning when he understands why his captain keeps you. 

He hears it by accident; murmured conversations slip through the crack of your door. Simon was just about to close it when John’s voice pierced through the static. 

“Simon treatin’ you well, baby?”

A moan drips from your side, and Simon startles at the following squelch. 

“He—hnn—he is, daddy,” you pant out, sniffling. The bed creaks, the sheets rustling. “I want the two o’you.”

“Shh,” John consoles, all faux worry. “Soon, baby. Be good f’r him, okay?”

Simon doesn’t bother hearing whatever you said next, choosing instead to march back in his room. He drops to the mattress, head falling to his hands. He breathes in, trying to will off the fever, but John’s voice rings in his head, then your quiet mewls, and Simon knows that it is futile now. 

Hunger thrums, it builds. 

His cock is in his hands in the next breath. 

Simon looks into your eyes, trying to see how you could have hidden your desire for him; trying to map out how you managed to lock it up so that he wouldn’t notice. But your furrowed gaze and your confused smile shows him something that is fascinating—you are a fraud. 

You’re not sweet. Well, you are, but not in that wide-eyed way that you and John showed Simon the first day thathe introduced you to him; not in that curling innocence that you shrouded yourself in. You are not John’s shielded bird nor his pampered dove. 

No. 

You have been playing John’s game; your cards are just as hidden, if not sharpened, and your dice are edged. You were cheating, creating all this miasma to reel Simon in. The river to his estuary. 

Cunning girl. 

“Si?”

But Kyle already sent him a curt message: Captain’s back. And Simon knows enough of the game to play it. 

“C’mere,” he grunts and pulls you close. Your squeak is devoured by his lips, and something hums in his chest like he’s finally at the precipice of being full. 

That is how John finds the two of you—you, bound and gagged and spread open in Simon’s room; your cunt is all bruised and leaking and stuffed with a toy; and Simon, smoking close to the window, his ass perched on the windowsill, watching. Waiting. 

John laughs and it is so mean. The howling in Simon’s head screeches to a halt because finally. Finally, he has his captain back. 

“Oh, sweet girl,” John croons as he steps close to you. Your teary eyes gaze up at him, begging, but Simon watches as all that John does is trace his knuckles along your splotchy cheek. “Y’haven’t been good, have y’?”

Your reply is nothing but a muffled complaint. John clicks his tongue. Simon straightens up, back going taut, his cock hardening in his briefs. 

“Stop complaining,” John tuts, flicking at your nipples, making you howl. Gone is his softness, replaced, instead, with someone overpowering. 

Oh. Simon thinks that he is falling in love again. 

John makes Simon fuck you, and it is all parts delicious, and good, and painful. 

Simon’s not allowed to cum—not in you, not on your thighs, or even in his own hands. John forbids it. And Simon knows better than to fool his captain; not only is he stalking close, with a lit cigar propped in his lips and his wandering hands pawing at your heaving chest or cupping Simon’s jaw, but he dictates everything. 

He tells Simon when to pull out, gruff voice barking out orders once again, before reaching over to clamp his hand shut around the length of Simon’s cock like his captain cannot trust him to not cum. Simon feels the stirrings in his gut, pushing and cornering him, and he feels small when his captain uses him this way. 

John’s thumb brushes over his slit and he hisses in his oversensitivity, making his hips twitch. John clamps his hand tighter in warning, a warning growl ripping from his captain’s chest, and Simon stutters out his sorry’s. He doesn’t mean a single one; he doesn’t even want John to loosen his hold because Simon loves it like this. Painful. Humiliating. Him, being reduced to a twitching mess. 

“Look at him, baby,” John murmurs, his voice lilting to a spark of softness, the first of the night. Simon’s eyes fall on you at his captain’s words, and his chest seizes at the teary mess that you make. 

You have been beautiful in your measured sweetness, but like this, sobbing and begging and at their—because John still allows Simon to ruin you—mercy, Simon knows that you have never looked more beautiful. Is this why John is addicted? 

John’s other hand pushes your hair away from your sweaty face. “Isn’t he pretty?”

All you can do is gurgle something behind the gag in your mouth. You’re not even looking at Simon, drawn to the only person in the room who’s still in his clothes, another layer of John’s total control. You are studying John, arching towards his caresses like it didn’t matter how Simon truly looked, you were just giving out a reply for John’s pleasure. 

Simon gets it, he does, because you are just like him, after all. 

He finally cums in John’s hands. He cums to the scene you make, rutting your pussy so desperately on his captain’s face, smothering him with your slick and your folds. John takes it like a fucking champ, his tongue working overtime before sucking at your slit like he will die of thirst if he doesn’t swallow your juices. 

It’s so debauched that all John had to do was pump his hands on Simon’s cock twice before he’s spraying his spunk all over his captain. 

He’ll burn this image in his mind. Fuck. Where’s his phone when he needs it?

“Good?” John asks, gliding his fingertips along the expanse of Simon’s arm. 

Simon grunts, trying his best to stay quiet with you sleeping between them. John huffs a pleased laugh and ducks down to press his lips on the top of your head. 

You grumble, twisting, before cuddling up to Simon. 

“She’s clingy,” he grumbles like he isn’t pulling you closer to him too. 

John fondly rolls his eyes at him before turning to shut the lamp off.

J Mactavish: hypocrite

note: god this didn’t come out the way i wanted but if you stuck until the end, thank you so so much <33

[targaryenrealnessdarling]

Unabashed

Summary: Aemond wonders whether his pretty new wife is as shy in her sleep as she is awake, and intends to find out | Word Count: 1.6~k | Warnings: somnophilia, dubcon, oral (f receiving), feelings of shame

Thank you to @targaryen-dynasty for organising the event! <3 Make sure to check out the others!

The early dawn light filtered through the gossamer curtains, casting a soft glow across the spacious chamber. Aemond stood at the edge of their grand bed. His gaze softened as it fell upon his wife, a gentle and shy creature, who seemed out of place amidst the grandeur of a Targaryen prince's bedchamber.

They had been married but a few weeks, and her timidity was still evident in her every movement. She lay there, her breaths even and soft, her face relaxed in sleep. Aemond's heart swelled with a mixture of affection and protectiveness. He knew she struggled with the expectations placed upon her as his wife, especially when it came to intimacy.

He thought back to their wedding night. She had blushed deeply, her cheeks a rosy hue as she avoided meeting his gaze. Her hands had trembled slightly as she undressed, her shyness palpable. Aemond had taken her hands in his, his touch gentle, hoping to reassure her, but with a deep desire to claim her as his. Her skin had been warm, and he could feel the rapid beat of her pulse under his fingers. He had moved slowly, each touch deliberate, wanting to make her feel safe and cherished. Despite his efforts, she had remained tentative, her actions hesitant and reserved.

Many at court whispered that she was ill-suited for the intensity that came with being bound to a man like Aemond. They said she lacked the fire needed to stand beside him. Aemond had often wondered if there was another side to her, one hidden beneath layers of gentleness and timidity. A side that perhaps only he could reach, given time and patience.

This morning, he found himself wondering again. As she lay there, serene in sleep, he considered the possibility that in her dreams, she might be free from the constraints of her waking shyness. Perhaps, he thought, he could gently coax that hidden side of her into the light.

The sheets framed her form in his plush bed, her hair in somewhat disarray, a few pieces having escaped her careful and perfect braiding the night before. It had been hot in King’s Landing since their wedding night, and so as his eye drifted over her, he could see the gentle rise of her chest, and her perk nipples forming peaks against the near-translucent cotton bedding. A shy thing she was, but most certainly not without allure.

Aemond's breath caught at the sight, a primal part of him stirred by her unintentional seduction. The stark contrast between her modesty and the sensual image she presented tugged at some place usually kept hidden. She was a puzzle he was determined to solve, a delicate flower he was eager to nurture.

Before he knew it, his fingers bunched the sheets in his grasp, watching with deep satisfaction at the way her body was slowly revealed to him, inch by perfect inch. A map of unmarked territory he was determined to explore. The fabric slid against her skin with such ease, as if she were made of water and they were simply a ripple in her perfection, until eventually, once she was bared to him and she gave a quick breath-like shudder, he was able to take his time in forming his plan.

Aemond leaned closer, his breath hot against her skin. His lips pressed gentle, reverent kisses along the smooth expanse of her stomach, moving lower with each caress. Her body trembled slightly beneath his touch, her breath hitching in her sleep, as if her dreams were becoming more vivid and enticing.

When he finally reached the apex of her thighs, he paused, glancing up at her face. Her eyes were still closed, her lips parted slightly, a soft sigh escaping her. Taking a deep breath, Aemond pressed a tender kiss against her inner thigh, feeling the warmth of her skin beneath his lips.

His tongue flicked out, tasting her, a heady mix of sweetness and desire. She stirred, a soft moan escaping her lips as her body responded to his touch. Encouraged, Aemond continued his ministrations, his tongue moving with careful thought, exploring every inch of her glistening slit with the precision he afforded everything else in his life. 

Her hips shifted slightly, a subconscious response to the pleasure building within her. Aemond's hands gently gripped her thighs, holding her in place as he deepened his efforts, his tongue moving in slow, deliberate strokes. Each moan, each soft gasp she made was a testament to the pleasure he was giving her.

There was a deep, primal part that glimmered in his eye at the way she responded, her subconscious sounds and movements a stark contrast to her demeanour when she was awake. Her slumber seemed to lower her carefully built walls, imprisoning her sexuality inside. Her hands gripped the sheets the same way he gripped her thighs, the warm muscle of his tongue dragging over her sex up towards her bud, enclosing his lips around it, the smirk he wore hidden in his actions. 

The sounds were so sweet to his ears he could stay between her plush thighs all day. A part of him was surprised she hadn’t woken yet with the way her hips were chasing his lips and tongue, and her fingers carding through his loose hair and pulling lightly at the roots to ground herself. Her movements were by no means erratic, enough for him to know without looking that she was still in whatever sleep-addled bliss she imagined, but it appeared his little wife was more and more an exciting enigma with every passing day.

Her breathing grew a fraction more erratic, her stomach clenching and unclenching with the warm, numbing climax that was steadily rising. She would blush and apologise profusely if she could see the way she was acting right at this moment, moaning and writhing with her cunt on his mouth. Aemond worked in rhythmic, intoxicating strokes, taking everything she was giving to him, the tartness of her arousal was addictive in a way he had never imagined. 

His little wife’s body arched only slightly off the bed, her grip tightening and thighs trembling, her release washing over her in powerful waves. The only sound she gave was a breathy, elongated moan, too sweet for the carnal, forbidden act he was performing on her sleeping form. Aemond watched with satisfaction as she slowly relaxed, her breathing returning to a more even pace. He placed a final, tender kiss against her sensitive skin before drawing back, his eyes lingering on her peaceful, contented expression.

He found it almost comical that his wife hadn’t woken to her husband devouring her sweet cunt, but that she had woken to the feeling of the mattress dipping as Aemond righted himself, looking down at her bare form, her chest shimmering with a dew of sweat. 

Her eyelids fluttered open, and she blinked up at him, her gaze initially hazy with sleep. As her awareness sharpened, she noticed her state of undress and the lingering warmth between her thighs. Her cheeks flushed a deep crimson, a mix of surprise and realisation dawning on her features.

"Aemond," she whispered, her voice trembling with both shyness and residual pleasure.

He wiped his face, a victorious, cat-like smirk on his features, as if to emphasise her embarrassment. “Good morning, my love.”

She averted her gaze, her hands moving to cover herself instinctively, but Aemond's firm yet gentle touch stopped her.

"There is no need for that," he said softly, his smirk fading into a more tender expression.

She looked up at him, her eyes wide with a mixture of emotions, embarrassment, curiosity, and a budding sense of trust. "Did I... did I embarrass myself?" she asked hesitantly.

Aemond chuckled, a deep, satisfied sound that made her cheeks flush even more. "Not at all," he replied, his voice filled with genuine amusement and pleasure. "You were perfect, and it was a delight to see you respond so…unabashedly"

Her blush deepened, but she managed to meet his gaze, her curiosity overcoming her shyness. "I did not wake up," she murmured, almost to herself. “I thought it was a dream.”

"A dream, perhaps," he said, brushing his fingers gently along her jawline. "But one that I was more than happy to make real."

Feeling her cheeks burn at his brazen behaviour, she tugged the sheets to her chest to cover herself, her expression pleasured but shy. “Such actions will not result in a child.”

"No, it will not," he agreed. "But there are many ways to show my desire. Not all of them are about creating heirs."

“Well I know that.”

His expression took on a predatory gleam, moving swiftly to hold her wrists down to the bed with ease. “You might know,” he murmured, “but you will feel it, every day and every night.”

Her breath hitched, a mixture of fear and excitement. The hardness in his gaze tempered by the affection she saw there. Something shifted in her eyes, a spark of defiance and curiosity he hadn't seen before. She reached up, slipping from his hold, her fingers trailing lightly over his chest, her touch both hesitant and bold. Her lips curved into a small, sweet smile that almost dared him to do more.

His innocent little wife had a hidden fire, one that both intrigued and excited him. He felt his desire flare even stronger, spurred on by the need to explore this new side of her, to see just how far she would go.

“And I intend to make certain you never forget.”

General Taglist: @1lluminaticonfirmed @aemondsfavouritebastard @bellstwd @blackswxnn @blairfox04

@buckybarnesb-tch @castellomargot @eddieslut69 @emmaisafictionwhore @eponaartemisa

@hb8301 @jamespotterismydaddy @justbelljust @minholy223 @mochi-rose

@natty2017 @nenelysian @nixiefics @primonizzutto @qyburnsghost

[inky-duchess]

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.