In the first years of 20th century architect Mihail Eisenstein changed his style and planned more than ten Jugend houses in Riga, most of them in Elizabetes and Alberta streets. The Facades of these buildings are filled with mascarons, from serene Greek faces to medusa figures and huge melancholy profiles flanking the lunette of the building.My purpose is to analyse the mascarons of M. Eisenstein’s buildings according to the theory of montage coined by his son, Sergei Eisenstein. Carnal architecture of M. Eisenstein consists of ”simultaneus co-existence” (S.E) of mascarons and architectural decoration with ”sharp juxtapositions” (S.E) and “contrasts” with “shock cuttings” of details of different pictorial “segments” (S.E.). Mascarons form a certain system of eyes for architecture – and with its découpages (Barthes, dolls) it still refers to the other sign system (with its quadri riportati), architecture.Important aspect is the cephalic dimension of the heads: mostly they are at the top the building and put high (‘monter’ -- > ‘montait’), close to the roof and in this way can be compared to the system of the Greek column orders – and finally to the human body.Faces also represent various mental states and “attractions” (S. E.) which can be distinguished according to thymic categories. A contrast between chthonic and Cephalic dimensions accentuate differences in the thymic signification (low: animal pathos, colere with repulsive accents versus high: sereneity (tranquilité with attractive accents).