such as amber glass windows overlaid by cut-paper patterns and carved teak woodwork by Lockwood de Forest's workshops in Ahmadabad, India. With no architectural adviser, Church designed and built the studio wing at the west end of the house, which included guest rooms and a glassed-in observation room in the tower. Describing his house to a newspaper reporter, Church characterized it as "Persian, adapted to the Occident". The furnishings Frederic and Isabel acquired over the course of their lives remain in the house. There are paintings by Frederic Church as well as artwork by his mentor Thomas Cole and friends Martin Johnson Heade and Erastus Dow Palmer. The dining room houses a collection of Old Master paintings. The eclectic assortment of furniture and decorative arts includes carpets, metalwork, ceramics and costumes from the Middle East, folk art and fine art from Mexico, and high-style American and Oriental furniture. The main residence at Olana has been described as a prime example of the Aesthetic Movement in America. Exterior views Interior views Artworks created Frederic Church executed some of his most famous works at Olana, in a studio that stood on the hill above the Cosy Cottage. Throughout his life but especially in the 1850s, Church traveled throughout North and South America, making oil and pencil sketches that served as notes for the artwork to come. Although Church's major artworks appear to be transcriptions of the landscape, they are, as Church called them, "compositions"—composed from his sketches and his own artistic intentions. In the 1860s and 1870s this process occurred at Olana, and also at Church's Tenth Street Studio Building in New York City. Typically, Church did the bulk of his work in the studio at Olana, then finished the painting in New York. Church also made vibrant sketches of the Olana landscape; he framed a few and hung them in the main residence. In the studio at Olana he made hundreds of pencil and oil technical drawings for stencils, mantels, banisters, and other architectural elements of the main house. With the onset of rheumatism in the 1870s, Church's painting became severely curtailed. Increasingly, he turned his attention to Olana itself, improving the landscape, buying artwork for the house, and building the studio wing. Olana was one of several grand artist's homes in the Hudson River valley, comparable to Albert Bierstadt's Malkasten in Irvington (destroyed by fire in 1882) and Jasper Francis