After he’d filled the walls with mosaic, he moved to the ceilings, floors, and even furniture: from the kitchen table and bed, to a sewing machine and side chair. Every corner and object—even the most minute—became encased in ceramic and glass collage or painted patterns, all depicting the most joyous, colorful aspects of nature, everyday life, and biblical scenes. Then, he moved on to the exterior.
As Isidore's his creation grew, some say that he became known by cynical neighbors as Picassiette—a term that’s been interpreted as a derisive portmanteau, joining pique (or steal) with assiette (or plate). But this teasing didn’t deter Isidore from continuing his work, and as his mosaics began to spread across the facade of his house, skepticism turned to awe. The cottage began to shimmer with swans, ships, bees, bursting floral arrangements, and an impressive depiction of the Chartres Cathedral, all pieced together from kaleidoscopic pieces of pottery.