CORNELL UNIVERSITY LIBRARY
FINE ARTS LIBRARY
IHNH
I
UNIvrH'.irv
I
lEiHARV
924 063 909 604
DATE DUE
CA YLORO
P-niNTrO IN U
A.
Jntertnra BY C.
J.
CHARLES
THIRD EDITION
1919
JOHN LANE COMPANY
NEW YORK
MtnxatB DEDICATED TO
MY FATHER
THE AUTHOR ''"'"/, 1
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INTRODUCTION ,HE
I
and
furniture
in
,
true artistic value of English design interior
acknowledged,
freely
decoration
and
of every lo\er of
art,
Catholicity
and so
and the publication oi
far as
any
work may
this
characteristic
is
effort
of mine
assist in
an even
keener appreciation of English design, one
lessen
that
the
every art-lo\er
The measure
it
people.
Its
in
may
rest
will
not
nationality
extended
to
such
by
efforts
the world over.
history of the interior decoration
said to be that
when,
all
of
question
welcome
the
work
any
dealing with the subject has been widely
welcomed.
assured
is
of domestic architecture.
manners
the
reflects
development
the lonely
is
and
may be
In a large
dress
of the
continuous from the time
Keep and the
desolate
Castle,
a few trophies of the chase and the men's weapons, or
the
women's needlework, hung on
walls, to the
rough
time when, with the aid of carved oak,
stained glass, panelled
walls,
splendid pictures the lordly
mansions
the
beautiful
tapestries
and
manor houses and princely of magnificence
and
reached
the
height
comfort of which
the
many remaining examples
all
parts
of the country serve to remind
which we have cause to
feel justly
us,
proud.
in
and of
Noteworthy examples, Hardwick
such
H addon
as
Moat and Warwick
hope they
be for a long tune to
will
and
their
another, manN' others ha\
became
I
ago,
years
this
being placed
that
in
broken once
Time was when be offered all
that
me
with
so
up
^
to
attention
feeling,
unequalled
in
for
knowledge, that
many models worthy of
beyond
things
price,
never
they can
lost
be
the
in
replaced.
they were so lightly reoarded as to
We I
have changed
secured
then
have
be of inestimable value.
its
is
to be
to
the
as
it
sought, and, above
and although
purity,
Elizabethan
work (which was perhaps most and
housebreaker,
for a few shillings.
the best style in
art
many
art
our national museums were thrown
Purity of st)le
special
decoratue
little
now, but the models
now proxed
one reason or
for
The
\aluable material and
sense
their
the ruthless sacrifice of
in
description.
was gifted
or
we
was impressed by the almost criminal
I
work of
away
m
interested
which resulted
much
as
been remo\ed or destroyed.
e
Ignorance
instance,
but,
sucessors,
Castle
— come — by
ha\ e been carefully preserxed and maintanied
When
and
Halls, Sutton Place, Longleat, Hatfield
Burghle\ Houses, Ightham
owners
and
was
in
I
other
our national history),
have given
period
characteristic
in
this
of English
respects an
my
all,
interest in
age
and
admiration of other periods are not lessened, and these
it
my
be
will
which
pleasure to discuss
subsequent volumes
hope to publish
I
The
niHuence of the
Ens>land
felt in
in
attained
its
represented
e\erN
respect
Nexer
ad\enture and commercial
art, literature,
enterprise been in
of Henry VIII., and
rei(>n
/enith during the reio-n ok Elr/zabeth.
ha\e science,
indeed,
the
diirini^
Renaissance bet>an to be
greater ability, and,
ith
\\
Elizabethan age remains
the
an unequalled example of a nation's prosperity.
The
Drake, the
adventures of
incursions into
the Spanish Main, the seizing of the Spanish treasure
and
ships,
and, not
least,
greatest works of literature the
the
world has known, were
whose
walls
of the great Armada,
the defeat
finall\-
and
all
symptomatic of a generation chairs
staircases,
and
tables
were
constructed of English Oak. I
know of no
finer
such purposes than its
staunch
the nation's strength,
its
and
Material
Oak.
English
solid
character security.
—
very genius
durability,
its
Used, as
it
represents in
It
the
features
the world for
in
feeling,
its
of its
has been, from
the earliest period of England's history,
it
is
essentially
English.
The
drawings
many rooms
I
I
ha\e
America from old sought and carefully
am
illustrating here are
carried
material
out
that
collected.
I
in I
of the
England
have
and
sedulously
have been engaged
in
work
of this description
during which time It
when
IS,
making
restorations,
tone
lacking
IS
all
study,
and the that
in
easy
additions
and
true
of
there
that
result
It
a
to
is
and
satisfaction
work
only by long and
is
on good and inventive
attention
and
feeling
mind only when
the
detail.
its
grafted
closest
the
sense
m
v\hich arises
complete
careful
with
indefinable
know how
necessary
the suhtlet\,
original,
that
harmony
the
miss
to
the
oi
lia\e learned to
1
twenty years,
for the last
taste,
the most minute detail,
mistakes can be avoided.
Amongst
mv own work
these drawings of
one or two others which have been
and prepared
book
for this
of
characteristic
the
specially designed
to illustrate
some examples of
periods
earliest
are
English
decoration. It
not
IS
my
purpose
ambition
or
the subject exhaustively or to discuss the
different
st)les
of English
reason for favouring the
the fine
of home
feeling
tone
and
Oak
and
quality-
is
the
unrivalled
assistance
gives in attaining any real dignity and
any scheme of
In
of colour
Oak I
will
find
is
of
vital
always hold
but
me,
that, to
is
treat
merits of
the
decoration,
and
life,
to
it
for
my has its
which
it
proportion.
interior decoration the question
importance, and its
own.
such subtle colour,
f)r
In
in
this
respect
no other wood do
one that blends so well
with
its
equals
its
a
as
effectiveness
tapestries,
delicate
Oak
surroundings, as
age.
Nothing
background.
Armour,
mezzotint
embroideries,
rich
water-colour
with
drawings, or the
of Velasquez or Titian are
assisted
all
engravings,
work
robust
by the quiet
may
Like a Persian carpet, one
tones of old Oak.
say that "it goes with e\erything."
It
the
like
is
subdued radiance of old gold or the mellow
qualities
of good wine. It
should always be remembered
tion
of a room,
that
these
over
elaboration
—
that
admired
be
to
on the
better to err
far
of any decorative object,
or, indeed,
qualities
are
the decora-
in
side
—that
it
is
of simplicity than of
misplaced
"decoration"
"worse than waste" and merely an offence
to
is
good
taste.
There have been many books written of
late
on the subject of English Decorative Art, and one
may have ducing a
not
this
too
much of
work
I
hope
a I
good
thing, but in pro-
have succeeded
in
making
unwelcome addition to what has been done
by the knowledge, industry and
who have
preceded
me
in
this
versatility
branch of
of those art.
o 5
o I <
CHAPTER OMFL
attempt
house
ment of be
of
the
at
of
history
may
building
a
reasonable
a
as
as
I.
a
be regarded
preliminary to treatdecoration.
interior
to
interest
trace
It
will
briefly
the
continuous changes and developments which, during the course of a few centuries, have transformed the
rude
gaunt
stronghold, the
keep of our
extent,
but,
man was nomadic
such a climate as ours,
in
he could not have survived shelter
times
later
days of our history
first
to a certain
some
the princely mansion
earlier ancestors into
and the comfortable home of In the
and the desolate
castle
if
he had not obtained
from the weather such
received from
is
the probability that
Of
or buildings were erected. conjectural, as
no
he may have
Con-
caves or hollow trees.
natural
sequently, there
as
wooden huts
course, this
is
purely
trace
of any such perishable building
until
the
remains. It
was not
i
ith
century that
stone
or permanent buildings of any description were built,
and
the
remain of
was
that
few this
of
remnants
existing
period
go
military
to
show
of
antiquity
that
that their purpose
strongholds
and
defensive
o I
o z <
of domestic dwellings or com-
than
rather
shelters
fortable homes.
Huge
earthworks were the "castles" which the
Conqueror and
These works were strengthened by stone
land. for
found scattered over the
his followers
the
purposes
of
projectmg towers, so advantage, and
it
was
more as
far
the
in
defence,
effective
walls
with
might prove an
these
midst of these earth-
works that many of the stone keeps of that time were for the
built,
domestic use of the owner, his family
and immediate attendants, tion
of the
\-assals
and
who
retainers
the towers and the keep, temporary
overflowed from
wooden
were regarded as forming an adequate
The keep built
in
angular varying
is
in size
usually
It
from 30 to 80
much
as
shelter.
was a massive
several
m
stories
16 or 20 feet
less
rect-
height,
The
feet square.
were of ereat strength and seldom often as
structures
the earliest form of English house
permanent fashion. structure
accommoda-
whilst, for the
walls
than 8 feet and
in thickness.
With
but one room on each floor, these walls were honey-
combed with mural chambers and contained many recesses
places
which
were
used
by the family and
most instances a
as
sleeping
principal
and
guests,
circular stair connected
one
retiring
whilst
in
floor with
the other.
The rooms
were indifferently lighted by means
^^
!^'!!<f -W
VXCC^-.*'^ fels""~=
I
THE AUTHOR'S ELIZABETHAN KITCHEN.
of narrow
slits in
made
for a
mere
recess
and no which
fire.
m
flue as
the walls and In
such
we know
it,
was
the fireplace was a
cases
the wall, with no ornamental
to a small
led
cases pro\ ision
in
feature
but a funnel was pro\ided
opening
\ertical
the face of
in
the wall through which part of the smoke, or e\en the whole of
it,
could find
its
way
This might
out.
not ha\e been so objectionable as one would imagine, for there
are
smoke of
the
These as
more unpleasant odours than those of a pine or
fireplaces,
oak
log.
however, were of generous
size,
they might well be, considering that the windows
were unglazed and large enough to make the room cold whilst they were not large
room
enough
to light the
well.
There was no attempt
The
structure.
floors
at decoration in the
whole
were of wood, rough, stout
and substantial, whilst the doorways were small and of the simplest description.
There
Conqueror,"
the
some size
are but few remains
fine
and
but
examples.
of these " Castles of
of the " keep " First
historical interest,
we
still
and foremost, both
have for
we have the White Tower
of the Tower of London, which was begun by order of William the Conqueror near the end of the iith century and which measures
The
ii8
feet
keep of Rochester Castle was
by 107
built
feet.
about the
IS I- cc
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sent;;
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u.
oo
1130 and measures 70
year
Dover Castle (about worth,
Peak Castle,
feet
the
54
rooms
number and badly
in
a
whilst
and
plan,
smaller one,
only some 40 feet by
is
immense thickness of the
tor the
were
Kenil-
feet square.
oblong
is
feet,
Derbyshire,
in
Allowing
2,6 feet.
11 80,
b)'
90
is
54)
i
dating about
measures 87
walls
i
That of
square.
feet
although
spacious,
lighted.
few
in
This type of building
was continued during the 13th and 14th centuries,
and much
later in the
of the countr\-,
North and other disturbed
as instanced
by Tattershall Castle
Lord Treasurer Cromwell
Lincolnshire, built by
15th century, Cocklaw Tower near 1
6th century, with
as
late
as
many
the accession of
in
in stone,
and
Hexham
in in
in
the
the
others on the Scottish border
James
Later on there
I.
were built what may be described as houses
parts
fortified
manor-
probable that these embodied
it is
permanent material the plans which had prevailed
less
in
durable form.
The keep was and one room
planned and contrived for defence,
piled
on top of the other, but
Manor House,
as
more and more
settled
the
state
in
the
of the country became
and defence not so imperative,
the rooms were placed alongside of each other on the
ground, and the keep type with comfort
fell
into disuse,
on the contrary, survived.
its
particular lack of
and the Manor House type, It is
the old
Manor House
I- (r =1 LU I-
<
>-"
which has developed through the centuries into the house of modern times
The
fortified
we know
it.
Manor House,
in
as
addition to
strong outer walls, was usually surrounded
its
by a deep
ditch or moat, across which a drawbridge was placed,
which could be
raised or lowered as occasion
and which
to
led
required,
a strongly defended gateway.
where moats were impossible, advantage
hilly districts
was taken oi any precipitous ground which afford side
natural
protection on perhaps principal
was a central
houses
when
lived
indoors.
sleeping place for a
The
of the building.
fortified
In
room or rooms
It
hall,
was the
Adjoining
all.
for the master,
would
more than one feature
of these
where everyone
living,
this at
dinmg and one end was
which was
called the
"Solar," and at the other end a kitchen or a culinary
department,
which
formed
headquarters of the
the
ser\ants.
The
hall,
or principal room, was necessarily of
large size, lofty
and of one story, with an open timber
roof,
sometimes
freely decorated.
Its
importance was
so pronounced that the house itself was called "
Hall," a in
name which
is
applied to the principal house
the parish to this day.
The
entrance door was at
the servants' end, and, for the sake of privacy
some degree of comfort, which
also
The
a screen
and
was usually placed
formed a corridor between the
hall
and
AN ELIZABETHAN DOORWAY.
This screen was not usually
the kitchen. the
height of the room, but arranged
full
manner
to
as
show
shall
The
days.
a
hall
in
one of the principal decorative
of the Elizabethan and Jacobean
kitchen was generally oi
In the
mans
cellars
some importance
for
and the
stores,
cases, included a chapel.
Manor House origin
direct
such a
in
and de\eloped, as we
galler)',
rooms above and
"Solar,"
the
lorm
later, into
features of the
with
carried to
those early days
of
of the house of to-day.
we
find
All the
changes which ha\e taken place ha\e tended towards Progress was naturally
increased comfort and prixac)'.
slow, but, by degrees, as settled,
attention
became
rather than on defence.
concentrated
on
comfort
Drawbridges and moats were
no longer required, the surrounding great strength, needed
became more
the country
no
walls,
though of
towers, houses
defensive
were planned with courtyards, more expansive windows were introduced, sheltered gardens and terraces became possible,
home and
and
with
increased
national
reHected the growing wealth the
house became
merely
not
defence against enemies, but a
real
The
wider
opportunities
for
of the a
home
and even a place of entertainment trade
security,
country,
shelter for
for
and
the
its
his
or
a
owner
friends.
adventure
enabled the trader to become rich and the nobles more powerful.
There was added
to the great hall, wherein
?1-
d5
the
Norman Baron had
and guests
in
sat at the table
patriarchal
serxino men, the lon^
lady might seek from
affected
i
entertainment and
for
and prixacy uhicli the lord and
for the retirement
end oi the
rommon
the
his
By the
throng.
6th century these changes had materially
e\en
the
size
and
plan
the house, and
of
ultimate^ led to the extinction of the
hall as a
room, and
refinement
a
height
reached indicated
in
of
and
luxury
strong
was
such noble examples as Burghley,
Hatfield and Audle\ End, whilst
we mark the
ment of comfort and convenience
in
as Ockwells
and
to his retainers
relation
o^allcr\
with his family
Manor, Berkshire, Speke
such
lesser
attain-
houses
Hall, Lancashire,
and Bramall Hall, Cheshire.
The
general appearance of the houses of those
times \aried
houses
were
different
in
built
abundant, varying material.
the
cashire,
plain In
In
parts
of stone,
in detail
is
wherever
stone
The was
according to the nature of
Derbyshire,
where the stone
of the country.
Yorkshire and
Lan-
hard, the work was of a
and severe type, the colour grey and sombre.
the west, Somersetshire, Wiltshire and Midlands,
Oxfordshire, Gloucestershire, Northampton and Lincoln,
the
delicate,
easily
worked material was both
and
and under the influence of time and weather
has acquired a soft grey tion
rich
of many hued
tint
lichens. 12
enlivened by the incrustaIn the Eastern Counties
—
> 1 ^
if
^..
'jj iy
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y
t^
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f'
o u z — _l
^^ <
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to
z —
.
=> ,
^V ^ o£q: 5 < u H z UJ Q-
_]
liJ
was
brick for
employed, stone being used only
chiefly
"quorns," cornices, parapets and
some mstances, where stone was used to imitate
it.
was
In Cheshire, Worcestershire
and
and what are known
Of
in
various
parts
examples, with
as
half-timbered
used,
freely
houses were
method of construction we
this
of England
much
in
plaster
scarce,
Hereford timber and plaster were more
general.
and,
pilasters,
plainer
most
the
find
ornamental
work of the same kind
in
Kent, Surre\, and Sussex.
formed
work
half-timbered
In
of stout
interspaces structural
filled
main
the
timber framed in
with
timbers were
left
lath
and
too-ether
and
visible,
were
walls
the
The
plaster.
giving the house
an ornamental appearance and satisfying the eye as to
The
finest
Bramall
Hall,
the strength and stability of the fabric.
specimen of a half-timbered house near Stockport, Cheshire. quaint
This house
and picturesque, but approaches
stateliness as
is
possible with such
House-building energies Civil
War,
century
is
homely
is
only
not
as
near to
materials.
were diverted
by
the
and, consequently, the middle of the 17th
was
architecture,
not with
prolific
the
in
examples
of domestic
added misfortune that many
buildings were destroyed.
How-
ever, with the Restoration, matters improved,
and the
ancient houses and
arts received
more recognition
m
high places than had
tc
UJ CO
CO
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LiJ
<3
< X ^ < O
HI
.
_1< ir
<
.
CO
I O3 .
accorded
been
The
before.
pursuit
of architecture
became an elegant accomplishment.
men of
bei>an
culture
somewhat new point became completeK at
Whitehall
is
of
\
building
studN
to
iev\
Amateurs and
The Banqueting
Italianised.
detail.
It
architecture
The
completed.
of the
1
was designed It
II.
classic influence
William,
Burlington, Earl
Cambridge
have
and
as
trace
of
part of the
a great loss to
scheme was not
remained to the end
it.
Earl
of
Pembroke,
Dean Aldrich and Dr.
Sir
James
good claim
designers of distinction.
to
be
Burroughs
at
recognised
as
Indeed, the amateur architect
8th century had a long and even illustrious
Vanburgh, the poet,
ancestry.
Castle
Henry,
Fitzwilliam,
Oxford,
at
1
least
8th and the beginning of the 19th century,
Lord
of the
is
that the whole
where we must be content to leave
Clark
Hall
quite the most classical building of the
Palace to be built for James British
a
English architecture
.
17th centur\-, and one that shows the Elizabethan
from
Howard.
E\en
the
built
great
Blenheim and
Wren
was
an
amateur
in
the sense that he had received no early
trainino-
in
architecture and was a scientist before he
turned his attention to It
was
house were
was devoted
art.
at this time that the
altered.
to the
arrangements of the
The whole of the ground floor family, who were provided with a
o^ '^
o
C3 cc
m <
_i a.
N < _1 I uo
of rooms, dining and drawing rooms,
suite
parlours,
leadmg
and the
then became a large \estibule
hall
The
to them.
and
library
serxants were rclerated to the
basement.
The
long gallery and the grand chamber went
out of fashion and
it
became the custom
to devote
the upper floors to the sleeping accommodation of the
The
household. style
were the absence of gables and the substitution
of sash windows for the old muUioned form. took awav the picturesque treatment which teristic of-
decorati\'e
window was not
as the old
picturesque
artistic effects. artistic
literature.
susceptible to so
details
efforts
gave
way
had
much
to be
The
variation
The dormers
whether
and
in
cold,
to
not
classical spirit
Stateliness
charac-
is
and not to the wall
arrangements
The
This
chimney disappeared.
to the roof
spacing and other
all
sky-line
muUioned form had been.
now belonged fact,
The
the earlier houses.
and the
plain
sash
new
distinctn e characteristics of the
;
in
careful
conducive
to
seemed to pervade
painting, sculpture or
noble
proportions
were
achieved at the expense of picturesqueness and com-
and truth gave place to
fort,
distinction
home
Blenheim
Persons of
seemed content to forego the comforts of
for the opportunity
This
artificiality.
period
causing
is,
of
living the stately
perhaps,
Pope, when
best it
life.
represented
by
was described to
hi a:
a3
> cc
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^ < <I oo
him, to sav " that
'tis
the
Brothers
of
flights
restrained
them
later,
and,
proportions
careful
in
from
sec
house and not
a
pre\ailed
I
a
ol
the whilst
imparted
refinement
you ha\c been telhng
dwelling."
whilst
Adam, fancN,
all
which
still
Less se\erity
conforming to
classic
indulging an will
men
styles,
no
in
indi\iduality
e\er
the like
great
and
distinguish
the annals of English architecture.
-. -'
^hfri*
J
CHAPTER
II.
DECORATION. N
Ages
the Middle
the manners and
customs of the people were crude
in
the extreme, and education so confined the
to
priesthood
culture
that
of the
taste could hardly be expected
Medie\al
masses.
art
was to be found
and the Church, but can
scarcely
in
Abbey
the
be said to have
touched the home, which, as we have shown
With became
in
the
was more a place of safety and
previous chapter, shelter than
and
of pleasure and delight. further
national
and
available,
as
security larger
comforts
commercial enterprise with the trader and wealth was
other countries enriched
accumulated, so also arose the desire for something
more at
than
bare
walls
and boarded
the beginning of the
development took
floors.
i6th century that
place,
and
especially
It
was
this rapid
during
the
second half was the extraordinary advance particularly noticeable.
a vast prise.
The whole
awakening
New
in
all
century marks the
departments of
time of
human
enter-
countries were discovered and explored, 17
v^
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CO .
DO uo
rH
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O O a:
new ways were followed and
religion
art
in
in
and
;
science,
the
in
learning, in
knowledge
ways was distributed by the invention of and
of these printing,
by the greater intercourse with the nations
also
of Europe.
Another cause was
to be found in the dissolution
of the monastries, which transferred into private and
much of
secular hands
the valuable property hitherto
held by the church, and mansions, instead of monastries,
became the scene of
centres in country
themselves erected
The
in
late
and
culture
conditions of social
the stately
the
in
life.
new
All these
1
homes and
ability
which remain to
this
day
a comfortable English
Be
in
it
the
1
7th centuries.
a
who fought
the stone
in
still
rooms
still
serves
and oak
home.
Manor House of
suffices,
the
monument and example of
the Squire or the
magnificent Mansion of the Noble, the tion
expressed
of the statesmen, and the
found an echo
foe,
life
princely mansions
6th and early
courage and endurance of the men nation's
and the principal
hospitality
accommoda-
and the actual decoration of the as
a
model
for
imitation
and
reproduction.
The
strength
and
stability,
elegance or refine-
ment, unrest and waywardness of the times are found in
the
art
of
its
period, and
the
Elizabethan era,
<
< o
which witnessed beheld
succeeded
led
which
and
\t
of science and
birth
subhme
the
gain
poetry
Shakespeare
new
this
and indi\idual
effort
indeed, equalled
During
in
this
built
Burghley, Long-
as
for picturesque detail
have never been surpassed, or
if,
the history of England.
remarkable period were some of the
which England ever possessed.
houses built
Holdenby,
quite
reaching again, also produced architecture
in
and Hatfield remain, which
largest
which
to
never
has
it
and decoration, and such houses leat
heights
art,
1580, so
in
the house
as
far
itself
went, was larger than the great palaces at Blenheim
and Castle Howard.
224
feet, as against
and that
at
fronts were
Its
320
feet
and 220
Howard 324
Castle
for
first
state
of the mansions
feet
built
on so large a
conceived
house was sold and most of
feet at
feet
and
Blenheim,
by 210
feet.
of Hampton Court,
Holdenby, with the exception
was the
360
it
for pleasure
and
The
big
scale.
pulled
down
in
the
time of the Commonwealth, and only a very small
now
portion
of the
added
good many rooms
form
a it
is
a
original
in
exists.
1890, and
Lord Clifton in its
present
house of which any owner may
feel
proud.
The most
characteristic feature
and Jacobean houses window.
Previous
to
is
of the Elizabethan
the square-headed mullioned this
time the windows were
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always arched or pointed, and this can always be taken
Tudor and
between the
as a distinguishing feature later styles.
The
window,
large
bay
bus>-
patterned
sometimes
quaint
and
glazing, also formed
one
of the most important features the occasional
enhanced
introduction
with
its
of the facade, and
of stained
glass
further
its effect.
The
simplicity oi the doorways, chimneypieces,
roof and ceilings was the most striking feature of the
and
Medie\al contrast
Gothic
styles,
and
forms
strong
upon them
the elaboration bestowed
to
a
in
later periods.
The
earliest
type of door was a cross stretcher
on the back of a few boards case,
like the lid
of a packing-
and was generally strengthened by wrought iron
The
straps.
simple construction was followed by an
obviously better method, namely, that
as
panels.
We
have some
really
fine
and Tudor doors constructed on both these these
were
and
hinges internal
Gothic
lines,
but
generally the outer ones, and their iron fittings
are
and
the
door
worthy of attention.
doorway
first
important feature during the Elizabethan earlier
the
and introducing the thinner
thickest pieces together
wood
of framing
The
became an era.
The
simply moulded surround gave place to doors
flanked by pilasters
;
the door-heads were sometimes
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ornamented,
lavishly
moulded, car\ed or
the
doors
themselves
freely
and much fancy displayed
inlaid,
embellishment.
in their
This rather
free treatment
more sober
led to the
and calculated method of such trained architects as
With
Inigo Jones and others.
and
N'anbrough,
the advent of
were superseded
pilasters
massue almost detached columns supporting and cornice, with sometimes a
frieze
Wren
by more a
bolder
straight, broken,
or semi-circular pediment enclosing a shield or similar
decoration of more or
The
importance.
less
Adam
Brothers
introduced
the
discreetly
enriched and car\ ed architraves, friezes and cornices so often evoked by their names. Until the i6th century the staircase remained an
unimportant feature.
plan contrived
the spiral
even
nothing
times
at
served
to
connect
development of the
The
was usually
It
width
now
one
in
less
of stone on
the solid masonry, and primitive
floor
staircase,
built
with
than a ladder another.
The
however, was very rapid.
increased enormously,
and
has, in fact,
never been exceeded, and the whole staircase became, in short,
one,
house.
The
between
it
if
not the most decorative feature
handrail
and the stout
became
massive,
the
string course filled in
in the
space
with
stout turned or square-shaped balusters, or, as occasionally
happened, with carved and fretted woodwork. 21
WALNUT CHIMNEYPIECE THE RESIDENCE OF HERBERT PRATT, ESQ., LONG ISLAND,
A
FINE
IN L. U.
S.
A.
t
'i
The
newel posts were important and carried up well
above the handrail, with their tops either wrought into shapes
striking
crowned
or
Frequently a gate was placed as
is
seen at Hatfield
with
heraldic
at the foot
animals.
of the
stairs,
House and elsewhere, with
the
intention of preventing the dogs and other domestic
animals from wandering into the upper chambers. In the late 17th
and during the i8th century the
one exception to the making of everything bolder and heavier was the staircase.
The
massive newels were reduced
balustrade and handrail
made
in
height, the
lighter, the string-course
dispensed with, and the end of the steps shown.
A
notable feature again was that the handrail, which had
from newel to newel, was
previously been
straight
ramped, that
curved upwards at each turn of the
stair to
is,
obtain a proper
A
little
level.
carving was judiciously introduced
turned balustrade and the end of the steps, and
toward the close of the century came the and the iron balustrading of the
staircase
in
the
finally
elliptical *'
Adam
Hall."
The purely
chimneypiece, while no
utilitarian,
architectural
From
assumed
and decorative
the
longer remaining
importance
of
an
feature.
the earliest times the fireplace has always
been an object of
interest.
Originally
it
was placed
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flush with the
wall, with a projecting
hood
the smoke, which was carried out of the short
funnel
when
recesses were
through the
contrived
duced, this hood,
wall,
to catch
room by but
later,
made and chimney-shafts if
used
at
all,
a
intro-
became more an
ornamental feature than a necessity.
Some of tive
and
the Gothic chimneypieces were decora-
interesting, but
it
was not
until
the Eliza-
bethan period, when a greater attention was given
them by that
their designers,
their
dimensions increased,
became the chief feature of the room.
the)
Columns,
and
fantastic
or
pilasters
caryatides
supported
the heavy moulding over the fire-opening, and panels
and
crowned
pilasters,
by a cornice, reached,
apparently supported, the ceiling
were aeneralh' two or three
in
itself.
and
These panels
number, and, as with
the ceilings, heraldry' played an important part in their
The
decoration.
family arms were the chief ornament,
which form of decoration, besides gratifying the family imparted a dignity to the room, and
pride,
excuse
needed
is
sentiment linger
A
for if
this
display,
*'
where
if
any
should
not around the family hearth?"
date was sometimes carved on the chimneypiece,
which has history,
assisted to identify
and
its
builder.
many an
old house,
its
Chimneypieces were originally
more frequently made of stone than of wood, and
many
splendid examples, finely carved, are to be found.
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One
of the illustrations shows
taken out of the Mansion
m
and now
Bristol,
V^alentine.
bethan
It
and
period,
House was
good
a
is
House, Queen's
the
removed
was
when
saved
riots
to
H.
S.
of the Eliza-
representative
was
Sl|u,uc,
Mr.
of
possession
during
fired
chimneypiece
the
chimncypiece
a
the
Mansion This
1831.
in
Clifton,
where
it
remained until 1894.
The two found
W.
R.
those
Compton
Greenfield,
Ma)or of
Bristol in
The
The arms
Hearst.
were
chimneypieces
1685.
were
illustrated
the same house at Bristol, and were bought
in
bv Mr.
chimneypieces
stone
of
Sir
carved on these
Robert Cann, of
who was
Gloucestershire,
the
1662 and 1675, and who died
in
other arms shown are of the Merchant
Adventurers of
Bristol,
The same change treatment of the chimneypiece.
and of the City of that
doors
we have
and
Architects,
Bristol.
described
panelling
in
affected
who had by
this
the the
time
asserted themselves, adopted a larger handling of the
design, and
instead
of the smaller panels above the
fire-opening, this space was treated in the as
the
retained
was
walls its
altered,
of the room.
same fashion
The chimne\piece
still
importance, but the style of decoration
and the insertion of
a portrait, still-life or
landscape, diversified with architectural ruins, replaced
A STONE MANTELPIECE OF THE 17TH CENTURY. (See page 24.)
This
the car\cd panel.
t'orm
of decoration ga\e an
agreeable note of colour and interest to the room.
Through
a
still
treatment, adopted about
later
W'lllth century,
the middle and latter part of the
the
chimnevpiece became an isolated feature independent
of the general scheme of decoration, and reminiscent
the
onl)'
room was the dado
of the panelled
or
dado-rail.
The saw
reigns of
a re\ersion
Queen Anne and
the earh' Georges
The
of the treatment of panelling.
projecting panel ga\e place to a sunken one with the simplest material this
of
mouldings,
employed was
and
many
in
plaster instead
treatment was further simplified
good cornice and
relieved
painted
figured silk
covered
or
with
now imported from
had supplanted
the
Genoese
hardly adaptable to the lighter in
vogue.
Silk
damask,
the
Even
of wood.
crowned with
â&#x20AC;˘
a
by the dado, the doors and
the chimnevpiece, the walls were either
instances
left
unrelieved, and
some of
Venetian
mode of
likewise,
dainty
where they
Frajice,
and
the
velvets
furniture
now
soon became popular
and harmonised well with the gilded woodwork and other objects.
It
and surrounded by
was usually applied a carved
and
gilt
in
flat
wooden
panels
frame.
France also supplied a kind of wall paper for the less
important
damasks and the
apartments, earlier
which
imitated
Utrecht velvets.
these
The custom
STONE MANTELPIECE OF THE 17TH CENTURY. A
(See
page 24.)
co\ cring the walls with paper goes back as hir us
ot
At am'
the X\'lth centurw
of Paperhangers received Pans, and
in
is,
had existed
practice
their charter
from Henri IV.
therefore, to he tor
assumed that the
some time before
this.
Chinese
real
painted
paper was used for the purpose.
printed
made
followed bN a kind
Worms,
but the
owing
called,
1599 the Guild
X\'IIth centur\
the
In
it
in
rate
England b\
Germain'
in
the
that
tact
it
This was
Frankfort and
at
Chinese, or Indian, as
to
and
was often
it
was imported into
Company, alwa)S remained
the East Indian
the most highly appreciated.
The
mural decorations of Cipriani and Pergolese
bear ample testimony to the popularity
Wren
died
some good
for
and
in
first
of
work on
his
personality was
of
his
1754.
in
all
is
in
things
His
rock and
)ear,
Old
and
XV.
different ;
indeed,
measure responsible for the craze
French that
practically
same
work shows
and Louis
infected
middle of the XVIIIth century. is
the
perhaps greater than that of any
contemporaries.
a great
by
1748;
Chippendale pub-
furniture in the
influences, Gothic, Chinese
he
responsible
this time, died in
represented
best
is
Admiralt)' Offices, died lished his
enjoyed.
1723^ Kent, who was
interiors
who
Gibbs,
it
England about the Louis Quinze work
synonymous with rococo, the
shell curves that,
like
for
fanciful
some fungus growth,
invaded
branches of the decorative arts with amazing
all
recklessness
and
Louis
rapidity.
XV.
development of the Louis XIV.
not a direct
is
style,
but owes
its
chief characteristic, namely, an unprecedented freedom,
or
even
the
to
licence,
China and Japan.
of the
intervention
arts
of
Chinese lacquer and porcelain had
been brought to Europe by the Dutch traders
in
the
middle of the XVIIth century, and found their way to
all
the
European
The
courts.
and the
phoenix
dragon triumphed wherever they made
their appear-
Hardly a palace or manor house lacked
ance.
Chinese room with
painted or
work
Martin
Vernis
walls.
its
its
"japanned" lacquer
became
a
fashionable
pastime.
Strangely enough, France, whence fashions emanated, during the centuries
to order
The
all
styles
XVIIth and XVIIIth
was herself destined to be once more
by the
so-called
classic
arts
Louis XVI.
and
called
of Greece and Rome.
style
was nothing more
than a return to the purer, simpler forms of ornament revealed
by
the
discoveries
made
Herculaneum and speedily adapted
and
in
Pompeii
in
the hothouse
of refined taste and elegance of every kind which Paris
had
become.
It
is
difficult
to
say
Louis XVI. ends and Empire begins.
exactly
where
The names of
kings and queens are conveniently used as a means of
denoting
styles,
and the
fact
remains that
in
most
countries society follows the fashion set by the reigning
Let us, ne\ertheless, not forget that to a
so\ereign.
great extent
he himself
and that " Ars lonoa,
With ha\e
finer
amazing
until the
was
been
effects
simple geometrical into an
his
richness,
Beginning
repetition of a design
is
which character they retained
surprising
is
Their variety
how seldom
the
section
in
ceilings
shows the
were somewhat
The
ones.
artist
ones
elaborate
work,
irregular, the effect
is
the
of heavier these
in
the artisan, and
in
in
much
if
softer
old
they
and
more pleasing than the mechanical accuracy which
far is
more
loft)'
a
to be found.
Designs of slight projection were used rooms, and
with
were gradually elaborated
end of the XX'IIth century. it
and never
results,
attained.
ribs, the)'
wonderful, and
lower
time,
regard to the ceilings, here the plasterer's
blossomed out into wonderful
art
of
bre\is."
ita
\
but a child
is
given to them at the present day.
the
ornament
geometrical,
equal
again
floral
artistic
or
heraldic,
it
was
treated
the
While
the
concealed
all
with
the heraldry introduced
if
apparently ser\ ed to gratif) the family pride, theless,
\ariety of
Whether
extraordinary.
is
power, and
The
it
is,
never-
happiest form of decoration conceivable.
Eli/abethan
and
Jacobean
treatment
construction, the Georgian age not only
revealed the same, but used
it
as a basis for the panel
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The
decoration oF their ceilings.
ornament, instead
of being spread o\er the whole surface equally, was
round
concentrated
car\ ing the plaster
The and
and
panels,
wood
the
like
work was gi\en much greater
relief
for
more
than that given by the square structural
lines,
thus obtained
effect
\ariet\
the
caused
to
led
desire
of circular
introduction
the
a
and
oval
panels.
The XVIIIth
century reverted to the old idea of
treatino o the ceiling o as one large o relief
Abraham Swan
ornament.
surface with low
flat
are of the
ceilings
discursne and rococo type, while the brothers
mtroduced
a
more geometrical
design
Adam with
replete
delicacy and refinement. Still
another type which came into vogue must
not be overlooked, namely the painted ones associated
with the names of Verrio, Laguerre, and, afterwards,
Thomhill brought
and o\er
by
Charles
Laguerre,
who was
direction,
and
best
work,^
class
lived
perhaps,
Hospital, died
Kauffmann.
Angelica
in
died
in
pupil, continued in the
his
are
the
The
1707.
same
Thomhill, whose
1721.
until
1733.
and
II.,
was
Verrio
ceilings
in
Greenwich
favourite subject in this
of work was allegory of the heroic type, but
phase of decoration
is
only
buildings and great houses.
to
be
At
painting associated with Angelica
a
found later
in
this
public
period the
Kauffmann's name
o o
was of much more
and more adapted
delicate character
to domestic buildings.
As
the bare stone of the
Keep had
to the plaster walls of the medieval
development the
in
form of wainscot
tapestry.
This
round the
walls as a
panelling
wainscot sort
was
of
but
lining,
this
down
with ease
some other than
accounts
the
One of
rooms.
it
was not
and could
as such, it
all
recorded that
is
the inheritor of the house, and would
down and for
fact,
in
;
carried
would sometimes pass by bequest to
panelling
be taken
upon
in
hanging of
the
or
panelling
necessarily a fixture or looked
be taken
house, a further
decoration took place
interior
its
to give place
set
up
of some old panelled
irregularity
the
This probably
elsewhere.
most
frequent and
successful
forms of panel decoration was that known as the linen-
The
fold.
linen-fold panelling belongs really to the
Gothic and Tudor periods, but,
as
we have
said, the
wainscotmg was sometimes removed from other and earlier buildings,
and we
find
handed on to Eliza-
it
bethan and Stuart houses.
A
fine
example can
be
seen
Magdalen College, Oxford, which brought
from
satisfactory
Readmg
is
Abbey.
said to
was
It
Hall
of
have been a
most
form of treatment, and perhaps one of the
most frequent and popular, and we slightly
the
in
altered
in
/
Italy,
France
find
and
it
only very
Germany.
A
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much
kind 1
7th
favoured
century
panels
or
9
i
mches high,
wood
made
or
any
It.
the
and
a
consisted
of
o
wide,
inches
depending
enriched
contrasted
no way
painted
or
for
pictures.
against
with
restfully
doorways,
introduction
the
was
It
armour,
placed
chimneypieces and with
their
framing.
pictures,
and
18
time
this
at
of
Dutch painting were introduced
Holbeins and
that
of
moulded
b)
late
to
15
beauty
the
pleasingly
interfered
portraits
from
was
generously carved in
and
that
furniture
or
of undecorated
series
on
i6th
early
background
perfect
This
a
surrounded
and
only,
It
the
in
into England.
The
Jacobean by an
distinguished
which
increased
intricacy
which
moulding
and
panelling
was
very
followed
often
of framing ingeniously
The
introduced and varied with inlaid wood.
amount of still
In
panelling
combination
an
played walls,
at
oak
the
the
small
arrangement.
broader
rail
of
universally
part
in
was adopted.
it
panelling,
distance
tapestry
of the
covering
the
treatment as could
coming of the Georges
panels
The
gave
way
large
to
panels
wider and were generally divided a
large
place of carving which
the
as interesting a
With
be desired.
much
with
important
and makes
treatment
how
shows
exists
in
is
of about two
feet
this
much
a
became
by a dado
nine
to
three
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from
feet
the
two or
while
floor,
at
most
three
extended to the height of the room.
The mouldmgs,
now made
framing, they were in
carving was
mstead of bemg treatment,
was
naturalistic
form.
in
bolder, and,
of being merely sunk and scratched on the
instead
ment
much
again, were
treated
m
flat
to
in
m
Fruit,
Enrich-
same way, and
the
and conventional
section
high
project.
and
relief
flowers and
assumed
and were carved with great boldness,
will
The name of
relief.
always be associated with
carving.
XIV.
was, doubtless,
It
objects
motives
military
as
inspired
trophies,
delicate
this class
were
such
hunter's
horn
as
weapons,
which
pastimes of the Court
from
symbolical
Both fine
at
the
of the or
the
expressive
of
the
were
so
in
leisure
Haddon and
of
such
heads,
animals'
its
Louis
where, however,
martial spirit of the age, or the accessories
chase,
finish
of decorative
by the
derived so
walls,
Grinling Gibbons
style then prevalent in France,
decorative
the
a
birds arranged
swags and drops, apparently hung on the
and strong
in
moments.
Hatfield are to be found
specimens of the long gallery, and a description
of these with the
some
illustration
we
give
may convey
idea of the importance attached to this notable
feature of the Elizabethan mansion.
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The
first
wmdows
glorious bay
command
that
landscape and garden.
It
is
floor to ceiling.
The
Italian
and
not
best
in
and
numerous
at
its
an
and
frieze
leaves
much
but
The
feeling.
feature,
gallerv
being
gallery,"
163
no bays, but
The whole of
a
series
deep
of noble
noticeable
indeed
is
"
a
lono-
that at
Haddon
contains
it
of windows along one here,
as,
side.
indeed, in
the
in this gallery are fine architectural
with
separates
it
really
a
shows
Haddon,
but
in
in
Fluted square columns divide
panelling
of the walls
heavy
moulding
shows a
below
from the lower panelling.
panelling
beautiful
moulded panels divided by small
with
columns,
and
proportion
The
gallery. frieze
most
its
in
long by 20 feet wide and
feature
their coloured marbles.
the
Tudor
is
house, are the grand marble chimney-
this
The two
pieces.
feet
pilasters,
a noble apartment.
is
it
like
principal
are
Hatfield
at
16 feet high, and
work
bays
great
the
Geometrical ribbed
ornamentation,
little
and altogether
The
The
The
cornice,
of which, with the carved caps to the
with
panels
them.
divide
detail
ceiling,
from
shown here
is
circular-headed
which
to be desired.
of the
a view
influence
enriched
with
ornately panelled
the
pilasters
carry
pilasters
apartment
magnificent
a
is
the this
same
Italian
instance
the
which
This lower
influence
as
at
circular-headed
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panels and
the pilasters that
good, both
in
are
richly
them
divide
proportion and detail.
moulded
Below, again,
plaster
compared
floor
laid
is
to the
of the
rest
earliest
This type was destined
country.
The
work.
and
pattern,
type of floor seen
inlaid
of a
is
lacking in
little
with a diamond-shaped
probably the
here
ceiling
complex geometrical pattern, and a dignity
really
good specimens of the
panels,
The
Jacobean period.
are
is
in this
to speedily super-
sede the simple boarding.
The whole of the
influence
work
the
of the
the
in
and
renaissance
Italian
shows
gallery
all
its
refinement and delicacy of feeling.
For the
we must
ideal
turn
chamber or
great
to
Hardwick
state
apartment
Sixty-five
Hall.
feet
long, a width of about 30 feet, exclusive of a large
which the chair of
recess in
height of about 24
The
it
is
is
placed, and
worthy of
a
name.
its
decoration of this apartment merely consists of
plaster ceiling
"
feet,
state
and tapestry with but itself
plaster "
is
plain,
and " colour,"
but i
i
little
an feet
The
panelling.
enriched deep,
is
feature and worthy the attention of the
frieze
a
in
unique
student of
English decoration. After the George's, English decoration said, for a time at least, to be
may be
devoid of interest.
development had been continuous
y
taste
Its
may have
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ebbed and
flowed a
furniture and decoration
than
reason
it
the
drapery
much
to
it
doubtful
is
if
in
e\er reached a lower ebb
XlXth
unnecessary to go
is
builder," '*
it
the middle of the
in
but
little,
For what
century.
The
into.
"speculative
"manufacturer of furniture," and the decoration
store
answer
may have
department "
for.
But happily the time has passed when
it
was
considered sufficient to ha\e a knowledge of pictures
The
and sculpture only. to be
sense of pleasure, which
den\ed from proportion and colour, must
is
also
be satisfied by the furniture and interior decoration of a
With such examples
home.
and
contents
their
how
surprising
low as we
find
in
English it
in
as these noble
our
midst,
taste
should
sunk
so
keener appreciation
^
and
shown
is
it
in
may
be said
America
m
for
than
is
found
can no longer be said, as
it
was but twenty or
the It
a
have
the middle of the last century,
and, indeed, at the present time that
indeed,
is,
it
houses
best
of decoration
thirty years ago, that
vulgar, for
them
it
will
England.
the taste of the Americans
is
be proved by working for and with
that they are a people
possessing individuality
and refinement, and the keenest and most sympathetic appreciation
for
the
beautiful,
feverish eagerness to learn
all
and, indeed, show a that
is
to
be
known
of good design when they are once convinced that
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they are
the hands of an able teacher
in
m
appreciation
finds
homes
ha\e been erected
that
United
States
Chicago,
expression
New York
many
the
and
this
beautiful
such parts of the
in
Boston,
Cleveland,
as
;
Philadelphia,
and California.
Furthermore, the Americans place their unreserved
and unbounded confidence to
do
work, and
their
in
the one
they chose
him unfettered and
lea\e
will
man
uninterrupted to carry out his efforts far more so than the English of to-day,
" decoratn e
so-called
(who the
in
exploits,"
"
rudiments of
more
be
artists
not only to
call in several
offer
suggestions
decoration),
on curio-hunting expeditions, or
start
should
will
probability are not e\en conversant with
all
elementary
himself
who
and
incongruous
will
(as
they
termed)
" bargain-hunting
together a
mass of the most
rightly
collect
and
but
irrelevant
objets
d''art^
with
an
ultimate result that his house resembles a bric-a-brac
shop more than a dwelling.
To
feel
oneself the
unreserved confidence to the effort,
artist,
is
possessor
of a
full
and
both refreshing and inspiring
and encourages him to exert
his every
with a result that his work represents the very
essence of his brain and knowledge, and nowhere this confidence so freely
As
we
have
bestowed
previously
is
as in Arherica.
asserted,
the
most
important ingredients of a tastefully treated room are
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proportion, colour and, abo\c tion as applied to the
The
misnomer.
in
Decora-
simplicity.
home
treatment of one's
theatre, or place
room
harmony and repose
should
be
people and objects for the
are essential, but
a
in
it,
suitable
and should ser\e
an
unbroken
and
e\
emploNcd
How
a
detail
is
the
instinctively is
so often
to hide these so-called lesser faults does not
remed)-
often
individual !
the
frame
with
en the o\ er-elaboration which
is
a
but
room
gaud)' finery and
lost
for
as a
association
antique the slightest incorrect
effect
background
effect.
women's gowns.
Through
felt,
a
of assembl)'.
the latter the aim should be brillianc) and
A
is
ht)use should be treated quite distinct
from the public building, In the former,
all,
so
rather
emphasises them
more.
so scintillating with cheap and that
dazzlingly elaborated
beauty of a piece of furniture
is
the
entirely
o I-
.
UJ
.
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on
CHAPTER
III.
COLOUR. HE
decorator, however
his
resources,
periences, to
that
volume
and
^
few
a
has
with
may
wide
his
only two
really
â&#x20AC;&#x201D; form
be ex-
factors
and colour, and
particularly with reference to the
IS
it
latter
deal
however
large
remarks might be added
at the
to
this
same time, texture must not be
forgotten, as texture has an importance which follows closely is
on the
of colour, to which indeed
heels
it
allied.
In this age of mistaken fondness for
polished surfaces, not half
is
made of
reveals unsuspected effects
of warmth and beauty,
and gives an almost unconscious
individuality to a
rough old beam of oak or even an old Still,
the
brick wall.
form and colour are the leading
decorator's
that he
texture.
texture that catches the subtle glints of light
It is
and
enough
smooth and
command.
must produce
It
is
factors at
with these chiefly
his effects, create his illusions,
give apparent height to low walls, turn bareness into
comfort
and
artistic sense,
make
the
habitation
habitable
in
the
but for the accomplishment of satisfactory
CO
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results every detail
of form and colour must be care-
fully studied.
A
scheme of colour, howe\er simple, demands
much thought and ensemble
a definite plan
of campaign, as the
exerything, and form and colour are just
is
instruments after
producing
in
all
Colour has been
a final result.
the Sunshine of Art^ for
called
to every passion and affection of the
and eve
and it
is
mind
it
lends aid
of the
influence, yet considering that the evidence is
superior to that of the ear, and that the science
art
of colours should be easier than that of sounds,
remarkable that music should have made so
more advance, while colour
is
yet
very
much
imperfectly
understood.
How
early
and to what extent colouring may
ha\e attained the easily
rank,
of
a science
is
a question not
answered, but there are wonderful proofs of the
great development in this
Egyptians attained
\
direction
which the early
one of the most notable being the
marvellously fresh and perfect paintings discovered on the walls of the royal mausoleum of the King of Thebes.
The
colours
yellow and
blue,
in
which they are painted are
and
it
is
quite obvious
red,
that they
were worked on a regular system which had for
its
basis
the colours of the rainbow, and the result a delicious
harmony. It
has been said by
many
that a combination of
and yellow
red, blue
disagreeable and gaudy, but
is
the writer a\ers that bright colours are not necessarily
gaudy.
It is
when
due regard to
ment they Take, in
bright colours are combined without
their relati\e quantities, or the arrange-
require that they appear
for instance, the multiplicity
gaudy and
of colours one
the beautiful old needlework of the
early i8th centuries which, in
glaring.
i
finds
6th, 17th and
most instances, are bright,
but, nexertheless, gi\e a peculiarly pleasing and grati-
fvino effect to the enscnihlc. the pictures of the early Italian masters, for
In
example, the same dominant use of the primary colours
may
be remarked.
with
Green
is
many
decorators, but
a colour
that the practice of
green
a
in
which to-day it
is
much
in
favour
must here be remarked
introducing
scheme of decoration
great is
quantities of
an error and to
be avoided.
Although
It
may sometimes
mass, as for instance
but
may
carpet,
in a
people have become
artificial,
of proof to show taste in colour
in
a large
must not dominate,
scheme of decoration when
in
seen
it
in
only be used as a ground for other colours.
Green only abounds
preferred
be allowable
^
all
a
and there
that, in those
is
abundance
bygone periods when
was pure, the three primaries were always
one of the best examples of early heraldry,
which
is
this
may
be
entirely carried out
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in
red, yellow
of sold and
With
and blue, with the addition, of course,
sil\ er.
regard to the beauty of colours individually,
the colours which tend towards light have their greatest
beauty
their brighter
in
tints,
and those which tend
towards shade are most beautiful
of fulness
thus, red
;
is
in their
at its greatest
greater depth
beauty when of
intermediate depth or somewhat inclined to light, whilst blue
is
most beautiful when deep and
rich.
Fine tones of red break and diffuse with white
with peculiar beauty and charm, and the same can be said
of
its
combination with the colour of old English
oak panelling, whilst green has not
this quality,
and
blue only in the fine old rich shades of the Venetian
looms of the
Middle Ages, which, sad to say,
are
almost unobtainable and inimitable. Blue, and blue alone, possesses entirely the quality technically
called
coldness
communicates
addition,
colours with which
it
is
this
colouring,
in
property
compounded
to
scheme
is
entirely
its
influence
cold and
shadowy
rather a sedate than a living colour, in a
of
brilliancy,
other
deadening and inclining to melancholy.
relations in It
its
all
in
or blended, and
the moral expression of effects of blue, or
on the temperament, partake of
and,
decoration,
and
even
when
at night usually loses
and appears black.
in its
its
greatest
colour almost
O O
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Both tendency
a
"
America and
in
neutral "
towards colours
the
schemes
in
termed
are
of decoration,
schemes
are,
in
but
reality,
colour altogether, and the author looks
real
upon them
of what
use
practically in every case these
devoid of
Europe there has been
in
who
by those
as makeshifts
do? not under-
stand or appreciate the meaning of colour, for there a real meaning
colour or a combination of colour.
in a
Everyone with an this
remark and the
who
those
and
result of a fine colour
can create
it
is
these few
colours, and as
sense will
artistic
and
are few
it
they are like great musicians,
fact,
who
far
appreciate
scheme, but
between
;
in
bom, not made, primary
will cling to the great
not resort to the use of such mixtures
mauve, heliotrope, maroon, putty and the
pastel shades, for
attractive
is
although they
novelty,
they
will
may
possess a certain
found
be
so-called
the
in
end
tiresome and unsatisfying.
The colour
is
greatest
secret,
however,
in
the
use
of
to obtain an effect which gives the highest
sense of pleasure and contentment, whether
it
be
in a
cottage or a palace, but at the same time, in such a
way, that apart from the creation of it
should not be unduly remarked
^ould
be
satisfied,
;
this
atmosphere,
in short,
one's eye
without being impressed with any
note of aÂť2ressive domination.
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A
Table showing the date of the different periods of Arcliitec-
ture and Decoration, with the names of the buildings and examples
most
characteristic
bTVLK
of the time
:
S
1
-1
1,1
KHc;\ AN
JACOBEAN Itiigo
Charles
I.,
11
ii,\ ri-:
1625-1649
NOIKS, UUI1.1M\(IS AMI
rl.ACl.s
Banqueting House, Whitehall.
yom-!,
York
Archittcl
Stairs.
Raynham
Inigo "foncs Jitd 1651.
Commonwealth, 1
Charles
649- 1660
1660-1684
11,,
Park, Norfolk,
Thorpe
Hall, Northamptonshire.
Greenwich
Palace.
Cathedral (commenced). Wren, ArchitfCt.
St. Paul's
Chatsworth, Derbyshire.
James
11
.
16S4-1688
Combe Abbey, Warwickshire. Melton Constable, Norfolk.
Grin/mg
William and Marv,
Hampton Court
Greenwich Hospital
Carver
Anne, 1702-1714
St. Paul's (finished).
Castle
GEORGIAN
(principal parts).
1688-1702
Gibbons
George
I.,
1714-1727
Howard, Yorkshire
Blenheim House.
Moor
Park, Hertfordshire.
IVren died 1723.
George
11.,
1727- 760
Woburn Abbey,
Bedfordshire.
Kent, Architect, died 1748.
Chippendale published first -work, 1754. Gibbs, Architect, died 1754.
George
III.,
1760-1820
Admiralty Office.
Lansdowne House.
House
in St. James' Square.
Examples of work by Somerset House.
George IV.,
1
820-1 830
the Bros.
Adams.
Chambers, Architect.