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diff --git a/40367-h/40367-h.htm b/40367-h/40367-h.htm index 0fb3ee7..939c7c3 100644 --- a/40367-h/40367-h.htm +++ b/40367-h/40367-h.htm @@ -3,7 +3,7 @@ <html xmlns="http://www.w3.org/1999/xhtml"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Decoration of Houses, by Edith Wharton and Ogden Codman Jr. @@ -163,47 +163,7 @@ td { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The Decoration of Houses, by -Edith Wharton and Ogden Codman Jr. - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Decoration of Houses - -Author: Edith Wharton - Ogden Codman Jr. - -Release Date: July 29, 2012 [EBook #40367] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DECORATION OF HOUSES *** - - - - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40367 ***</div> <div class="tnbox"> <p class="center"><b>Transcriber's Note:</b></p> @@ -238,11 +198,11 @@ Ogden Codman Jr.</p> <img src="images/logo.jpg" width="50" height="58" alt="Printer's Logo" /> </div> -<p class="blockquot p4">"<i>Une forme doit être belle en elle-même et on -ne doit jamais compter sur le décor appliqué pour +<p class="blockquot p4">"<i>Une forme doit être belle en elle-même et on +ne doit jamais compter sur le décor appliqué pour en sauver les imperfections.</i>"</p> -<p class="left25"><span class="smcap">Henri Mayeux</span>: <i>La Composition Décorative</i>.</p> +<p class="left25"><span class="smcap">Henri Mayeux</span>: <i>La Composition Décorative</i>.</p> <h3 class="p4">TABLE OF CONTENTS</h3> <p><span class="pagenum"><a name="Page_VII" id="Page_VII">vii</a></span></p> @@ -349,7 +309,7 @@ en sauver les imperfections.</i>"</p> <tr> <td class="tdr">XVI</td> -<td><span class="smcap">Bric-à-Brac</span></td> +<td><span class="smcap">Bric-à -Brac</span></td> <td class="tdr"><a href="#Page_184">184</a></td> </tr> @@ -413,13 +373,13 @@ en sauver les imperfections.</i>"</p> <tr> <td class="tdr">VII</td> -<td><span class="smcap">French</span> <i>Bergère</i>, <span class="smcap">Louis XVI Period</span></td> +<td><span class="smcap">French</span> <i>Bergère</i>, <span class="smcap">Louis XVI Period</span></td> <td class="tdr"><a href="#plate_7">20</a></td> </tr> <tr> <td class="tdr">VIII</td> -<td><span class="smcap">French</span> <i>Bergère</i>, <span class="smcap">Louis XVI Period</span></td> +<td><span class="smcap">French</span> <i>Bergère</i>, <span class="smcap">Louis XVI Period</span></td> <td class="tdr"><a href="#plate_8">24</a></td> </tr> @@ -530,13 +490,13 @@ Mantua</span></td> <tr> <td class="tdr">XXVI</td> -<td><span class="smcap">Ceiling in the Style of Bérain</span></td> +<td><span class="smcap">Ceiling in the Style of Bérain</span></td> <td class="tdr"><a href="#plate_26">100</a></td> </tr> <tr> <td class="tdr">XXVII</td> -<td><span class="smcap">Ceiling in the Château of Chantilly</span></td> +<td><span class="smcap">Ceiling in the Château of Chantilly</span></td> <td class="tdr"><a href="#plate_27">102</a></td> </tr> @@ -560,7 +520,7 @@ Mantua</span></td> <tr> <td class="tdr">XXXI</td> -<td><span class="smcap">Staircase, Hôtel de Ville, Nancy</span></td> +<td><span class="smcap">Staircase, Hôtel de Ville, Nancy</span></td> <td class="tdr"><a href="#plate_31">112</a></td> </tr> @@ -626,7 +586,7 @@ Mantua</span></td> <tr> <td class="tdr">XLII</td> -<td><i>Salon à l'italienne</i></td> +<td><i>Salon à l'italienne</i></td> <td class="tdr"><a href="#plate_42">136</a></td> </tr> @@ -675,7 +635,7 @@ Louis XV Periods</span></td> <tr> <td class="tdr">L</td> -<td><span class="smcap">Dining-room, Palace of Compiègne</span></td> +<td><span class="smcap">Dining-room, Palace of Compiègne</span></td> <td class="tdr"><a href="#plate_50">154</a></td> </tr> @@ -725,11 +685,11 @@ Louis XV Periods</span></td> <p> <span class="smcap">Androuet du Cerceau, Jacques.</span></p> -<p class="i2">Les Plus Excellents Bâtiments de France. <i>Paris, 1607.</i></p> +<p class="i2">Les Plus Excellents Bâtiments de France. <i>Paris, 1607.</i></p> <p><span class="smcap">Le Muet, Pierre.</span></p> -<p class="i2">Manière de Bien Bâtir pour toutes sortes de Personnes.</p> +<p class="i2">Manière de Bien Bâtir pour toutes sortes de Personnes.</p> <p><span class="smcap">Oppenord, Gilles Marie.</span></p> @@ -737,13 +697,13 @@ Louis XV Periods</span></td> <p><span class="smcap">Mariette, Pierre Jean.</span></p> -<p class="i2">L'Architecture Françoise. <i>1727.</i></p> +<p class="i2">L'Architecture Françoise. <i>1727.</i></p> -<p><span class="smcap">Briseux, Charles Étienne.</span></p> +<p><span class="smcap">Briseux, Charles Étienne.</span></p> -<p class="i2">L'Art de Bâtir les Maisons de Campagne. <i>Paris, 1743.</i></p> +<p class="i2">L'Art de Bâtir les Maisons de Campagne. <i>Paris, 1743.</i></p> -<p><span class="smcap">Lalonde, François Richard de.</span></p> +<p><span class="smcap">Lalonde, François Richard de.</span></p> <p class="i2">Recueil de ses Œuvres.</p> @@ -751,109 +711,109 @@ Louis XV Periods</span></td> <p class="i2">Cours d'Architecture. <i>1760.</i></p> -<p><span class="smcap">Blondel, Jacques François.</span></p> +<p><span class="smcap">Blondel, Jacques François.</span></p> -<p class="i2">Architecture Françoise. <i>Paris, 1752.</i></p> +<p class="i2">Architecture Françoise. <i>Paris, 1752.</i></p> <p class="i2">Cours d'Architecture. <i>Paris, 1771-77.</i></p> -<p class="i2">De la Distribution des Maisons de Plaisance et de la Décoration -des Édifices. <i>Paris, 1737.</i> +<p class="i2">De la Distribution des Maisons de Plaisance et de la Décoration +des Édifices. <i>Paris, 1737.</i> <span class="pagenum"><a name="Page_XIII" id="Page_XIII">xiii</a></span></p> <p><span class="smcap">Roubo, A. J., fils.</span></p> <p class="i2">L'Art du Menuisier.</p> -<p><span class="smcap">Héré de Corny, Emmanuel.</span></p> +<p><span class="smcap">Héré de Corny, Emmanuel.</span></p> -<p class="i2">Recueil des Plans, Élévations et Coupes des Châteaux, Jardins -et Dépendances que le Roi de Pologne occupe en Lorraine. +<p class="i2">Recueil des Plans, Élévations et Coupes des Châteaux, Jardins +et Dépendances que le Roi de Pologne occupe en Lorraine. <i>Paris, n. d.</i></p> <p><span class="smcap">Percier et Fontaine.</span></p> -<p class="i2">Choix des plus Célèbres Maisons de Plaisance de Rome et +<p class="i2">Choix des plus Célèbres Maisons de Plaisance de Rome et de ses Environs. <i>Paris, 1809.</i></p> -<p class="i2">Palais, Maisons, et autres Édifices Modernes dessinés à Rome. +<p class="i2">Palais, Maisons, et autres Édifices Modernes dessinés à Rome. <i>Paris, 1798.</i></p> -<p class="i2">Résidences des Souverains. <i>Paris, 1833.</i></p> +<p class="i2">Résidences des Souverains. <i>Paris, 1833.</i></p> <p><span class="smcap">Krafft et Ransonnette.</span></p> -<p class="i2">Plans, Coupes, et Élévations des plus belles Maisons et Hôtels -construits à Paris et dans les Environs. <i>Paris, 1801.</i></p> +<p class="i2">Plans, Coupes, et Élévations des plus belles Maisons et Hôtels +construits à Paris et dans les Environs. <i>Paris, 1801.</i></p> <p><span class="smcap">Durand, Jean Nicolas Louis.</span></p> -<p class="i2">Recueil et Parallèle des Édifices de tout Genre. <i>Paris, 1800.</i></p> +<p class="i2">Recueil et Parallèle des Édifices de tout Genre. <i>Paris, 1800.</i></p> -<p class="i2">Précis des Leçons d'Architecture données à l'École Royale +<p class="i2">Précis des Leçons d'Architecture données à l'École Royale Polytechnique. <i>Paris, 1823.</i></p> -<p><span class="smcap">Quatremère de Quincy, A. C.</span></p> +<p><span class="smcap">Quatremère de Quincy, A. C.</span></p> -<p class="i2">Histoire de la Vie et des Ouvrages des plus Célèbres Architectes -du XI<sup>e</sup> siècle jusqu'à la fin du XVIII siècle. <i>Paris, +<p class="i2">Histoire de la Vie et des Ouvrages des plus Célèbres Architectes +du XI<sup>e</sup> siècle jusqu'à la fin du XVIII siècle. <i>Paris, 1830.</i></p> <p><span class="smcap">Pellassy de l'Ousle.</span></p> -<p class="i2">Histoire du Palais de Compiègne. <i>Paris, n. d.</i></p> +<p class="i2">Histoire du Palais de Compiègne. <i>Paris, n. d.</i></p> <p><span class="smcap">Letarouilly, Paul Marie.</span></p> -<p class="i2">Édifices de Rome Moderne. <i>Paris, 1825-57.</i> +<p class="i2">Édifices de Rome Moderne. <i>Paris, 1825-57.</i> <span class="pagenum"><a name="Page_XIV" id="Page_XIV">xiv</a></span></p> -<p><span class="smcap">Ramée, Daniel.</span></p> +<p><span class="smcap">Ramée, Daniel.</span></p> -<p class="i2">Histoire Générale de l'Architecture. <i>Paris, 1862.</i></p> +<p class="i2">Histoire Générale de l'Architecture. <i>Paris, 1862.</i></p> -<p class="i2">Meubles Religieux et Civils Conservés dans les principaux -Monuments et Musées de l'Europe.</p> +<p class="i2">Meubles Religieux et Civils Conservés dans les principaux +Monuments et Musées de l'Europe.</p> -<p><span class="smcap">Viollet le Duc, Eugène Emmanuel.</span></p> +<p><span class="smcap">Viollet le Duc, Eugène Emmanuel.</span></p> -<p class="i2">Dictionnaire Raisonné de l'Architecture Française du XI<sup>e</sup>e au -XVI<sup>e</sup> siècle. <i>Paris, 1868.</i></p> +<p class="i2">Dictionnaire Raisonné de l'Architecture Française du XI<sup>e</sup>e au +XVI<sup>e</sup> siècle. <i>Paris, 1868.</i></p> <p><span class="smcap">Sauvageot, Claude.</span></p> -<p class="i2">Palais, Châteaux, Hôtels et Maisons de France du XV<sup>e</sup> au -XVIII<sup>e</sup> siècle.</p> +<p class="i2">Palais, Châteaux, Hôtels et Maisons de France du XV<sup>e</sup> au +XVIII<sup>e</sup> siècle.</p> -<p><span class="smcap">Daly, César.</span></p> +<p><span class="smcap">Daly, César.</span></p> <p class="i2">Motifs Historiques d'Architecture et de Sculpture d'Ornement.</p> <p><span class="smcap">Rouyer et Darcel.</span></p> -<p class="i2">L'Art Architectural en France depuis François I<sup>er</sup> jusqu'à +<p class="i2">L'Art Architectural en France depuis François I<sup>er</sup> jusqu'à Louis XIV.</p> <p><span class="smcap">Havard, Henry.</span></p> -<p class="i2">Dictionnaire de l'Ameublement et de la Décoration depuis le -XIII<sup>e</sup> siècle jusqu'à nos Jours. <i>Paris, n. d.</i></p> +<p class="i2">Dictionnaire de l'Ameublement et de la Décoration depuis le +XIII<sup>e</sup> siècle jusqu'à nos Jours. <i>Paris, n. d.</i></p> <p class="i2">Les Arts de l'Ameublement.</p> <p><span class="smcap">Guilmard, D.</span></p> -<p class="i2">Les Maîtres Ornemanistes. <i>Paris, 1880.</i></p> +<p class="i2">Les Maîtres Ornemanistes. <i>Paris, 1880.</i></p> <p><span class="smcap">Bauchal, Charles.</span></p> -<p class="i2">Dictionnaire des Architectes Français. <i>Paris, 1887.</i></p> +<p class="i2">Dictionnaire des Architectes Français. <i>Paris, 1887.</i></p> <p><span class="smcap">Rouaix, Paul.</span></p> <p class="i2">Les Styles. <i>Paris, n. d.</i></p> -<p><span class="smcap">Bibliothèque de l'Enseignement des Beaux Arts.</span></p> +<p><span class="smcap">Bibliothèque de l'Enseignement des Beaux Arts.</span></p> <p class="i2">Maison Quantin, <i>Paris</i>. <span class="pagenum"><a name="Page_XV" id="Page_XV">xv</a></span></p> @@ -971,7 +931,7 @@ Century.</p> <p><span class="smcap">Ebe, Gustav.</span></p> -<p class="i2">Die Spät-Renaissance. <i>Berlin, 1886.</i></p> +<p class="i2">Die Spät-Renaissance. <i>Berlin, 1886.</i></p> <p class="hanging"><span class="smcap">La Villa Borghese, fuori di Porta Pinciana, con l'ornamenti che si osservano nel di lei Palazzo.</span> <i>Roma, 1700.</i></p> @@ -1006,7 +966,7 @@ of every house, inside as well as out.</p> <p>In the middle ages, when warfare and brigandage shaped the conditions of life, and men camped in their castles much as they did in their tents, it was natural that decorations should be portable, -and that the naked walls of the mediæval chamber should be +and that the naked walls of the mediæval chamber should be hung with arras, while a <i>ciel</i>, or ceiling, of cloth stretched across the open timbers of its roof.</p> @@ -1080,7 +1040,7 @@ of adornment; but it must be remembered that the results attained will be of greater decorative value than were an equal expenditure devoted to surface-ornament. Moreover, the great decorators, if scrupulous in the observance of architectural principles, were ever -governed, in the use of ornamental detail, by the <span class="greek" title="sôphrosynê">σωφροσύνη</span>, the +governed, in the use of ornamental detail, by the <span class="greek" title="sôphrosynê">σωφροσύνη</span>, the "wise moderation," of the Greeks; and the rooms of the past were both simpler in treatment and freer from mere embellishments than those of to-day.</p> @@ -1186,14 +1146,14 @@ century.</p> <p>Thus it was that many needs arose: the tall keep of masonry <span class="pagenum"><a name="Page_3" id="Page_3">3</a></span> where the inmates, pent up against attack, awaited the signal -of the watchman who, from his platform or <i>échauguette</i>, gave +of the watchman who, from his platform or <i>échauguette</i>, gave warning of assault; the ponderous doors, oak-ribbed and metal-studded, with doorways often narrowed to prevent entrance of two abreast, and so low that the incomer had to bend his head; the windows that were mere openings or slits, narrow and high, far out of the assailants' reach, and piercing the walls without regard to symmetry—not, as Ruskin would have us believe, because -irregularity was thought artistic, but because the mediæval +irregularity was thought artistic, but because the mediæval architect, trained to the uses of necessity, knew that he must design openings that should afford no passage to the besiegers' arrows, no clue to what was going on inside the keep. But @@ -1242,7 +1202,7 @@ was. There were, of course, private houses in Renaissance Italy, but these were occupied rather by shopkeepers, craftsmen, and the <i>bourgeoisie</i> than by the class which in France and England lived <span class="pagenum"><a name="Page_5" id="Page_5">5</a></span> -in country houses or small private hôtels. The elevations of +in country houses or small private hôtels. The elevations of these small Italian houses are often admirable examples of domestic architecture, but their planning is rudimentary, and it may be said that the characteristic tendencies of modern house-planning @@ -1264,14 +1224,14 @@ certain very high-studded saloons and of lowering the ceiling of the adjoining rooms. This created an intermediate story, or rather scattered intermediate rooms, which Bramante was among the first to use in the planning of his palaces; but Bramante did -not reveal the existence of the mezzanin in his façades, and it was +not reveal the existence of the mezzanin in his façades, and it was not until the time of Peruzzi and his contemporaries that it became, both in plan and elevation, an accepted part of the Italian palace. It is for this reason that the year 1500 is a convenient point from which to date the beginning of modern house-planning; but it must be borne in mind that this date is purely arbitrary, and represents merely an imaginary line drawn between -mediæval and modern ways of living and house-planning, as +mediæval and modern ways of living and house-planning, as exemplified respectively, for instance, in the ducal palace of Urbino, <span class="pagenum"><a name="Page_6" id="Page_6">6</a></span> built by Luciano da Laurano about 1468, and the palace @@ -1313,7 +1273,7 @@ were still preserved. Even the most enthusiastic admirer of the French Renaissance would hardly maintain that the houses of that period are what we should call in the modern sense "convenient." It would be impossible for a modern family to occupy with any -degree of comfort the Hôtel Voguë at Dijon, one of the best examples +degree of comfort the Hôtel Voguë at Dijon, one of the best examples (as originally planned) of sixteenth-century domestic architecture in France.<a name="FNanchor_2" id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> The same objection applies to the furniture of the period. This arose from the fact that, owing to the unsettled @@ -1327,7 +1287,7 @@ Chairs and cabinets that had to be carried about on mule-back were necessarily somewhat stiff and angular in design. It is perhaps not too much to say that a comfortable chair, in our self-indulgent modern sense, did not exist before the Louis XIV arm-chair -(see <a href="#plate_4">Plate IV</a>); and the cushioned <i>bergère</i>, the ancestor +(see <a href="#plate_4">Plate IV</a>); and the cushioned <i>bergère</i>, the ancestor of our upholstered easy-chair, cannot be traced back further than the Regency. Prior to the time of Louis XIV, the most luxurious people had to content themselves with hard straight-backed @@ -1340,14 +1300,14 @@ se traduisait par un coffre." The unvarying design of the cabinets is explained by the fact that they were made to form two trunks,<a name="FNanchor_3" id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> and even the chairs and settles had hollow seats which could be packed with the owners' wardrobe (see <a href="#plate_2">Plate II</a>). The -king himself, when he went from one château to another, carried +king himself, when he went from one château to another, carried all his furniture with him, and it is thus not surprising that lesser people contented themselves with a few substantial chairs and cabinets, and enough arras or cloth of Douai to cover the draughty walls of their country-houses. One of Madame de -Sévigné's letters gives an amusing instance of the scarceness of +Sévigné's letters gives an amusing instance of the scarceness of furniture even in the time of Louis XIV. In describing a fire in -a house near her own hôtel in Paris, she says that one or two +a house near her own hôtel in Paris, she says that one or two of the persons from the burning house were brought to her for shelter, because it was known in the neighborhood (at that time a rich and fashionable one) that she had <i>an extra bed</i> in @@ -1370,9 +1330,9 @@ conditions were everywhere producing. It is certain that at this time houses and rooms first began to be comfortable. The immense cavernous fireplaces originally meant for the roasting of beeves and the warming of a flock of frozen retainers,—"les -grandes antiquailles de cheminées," as Madame de Sévigné called +grandes antiquailles de cheminées," as Madame de Sévigné called them,—were replaced by the compact chimney-piece of modern -times. Cushioned <i>bergères</i> took the place of the throne-like seats +times. Cushioned <i>bergères</i> took the place of the throne-like seats of Louis XIII, screens kept off unwelcome draughts, Savonnerie <span class="pagenum"><a name="Page_9" id="Page_9">9</a></span> or moquette carpets covered the stone or marble floors, and @@ -1441,7 +1401,7 @@ social conditions, and have been preserved in obedience to that instinct that makes people cling to so many customs the <span class="pagenum"><a name="Page_11" id="Page_11">11</a></span> meaning of which is lost. In other cases they have been revived -by the archæologizing spirit which is so characteristic of the +by the archæologizing spirit which is so characteristic of the present time, and which so often leads its possessors to think that a thing must be beautiful because it is old and appropriate because it is beautiful.</p> @@ -1510,7 +1470,7 @@ the whirl of incoherent curves.</p> <div class="figcenter p4"><a name="plate_4" id="plate_4"></a> <img src="images/plate_4.jpg" width="450" height="333" alt="French Sofa" /> <p class="caption">FRENCH SOFA AND ARMCHAIR, LOUIS XIV PERIOD.<br /> -FROM THE CHÂTEAU DE BERCY.</p> +FROM THE CHÂTEAU DE BERCY.</p> <p class="caption"><i>PLATE IV.</i></p> </div> @@ -1543,7 +1503,7 @@ room, the decoration and furniture should harmonize. Most people will admit the necessity of harmonizing the colors in a room, because a feeling for color is more general than a feeling for form; but in reality the latter is the more important in decoration, -and it is the feeling for form, and not any archæological +and it is the feeling for form, and not any archæological affectation, which makes the best decorators insist upon the necessity of keeping to the same style of furniture and decoration. Thus the massive dimensions and heavy panelling of a seventeenth-century @@ -1690,7 +1650,7 @@ more closely we follow this rule the easier our rooms will be to furnish and the pleasanter to live in.</p> <p>People whose attention has never been specially called to the -<i>raison d'être</i> of house-furnishing sometimes conclude that because +<i>raison d'être</i> of house-furnishing sometimes conclude that because a thing is unusual it is artistic, or rather that through some occult process the most ordinary things become artistic by being used in an unusual manner; while others, warned by the visible results @@ -1765,7 +1725,7 @@ off the upper light of the windows by day, while it is impossible to drop them at night: curtains that have thus ceased to serve the purpose for which they exist. Close to the curtains stands <span class="pagenum"><a name="Page_21" id="Page_21">21</a></span> -the inevitable lamp or jardinière, and the wall-space between the +the inevitable lamp or jardinière, and the wall-space between the two windows, where a writing-table might be put, is generally taken up by a cabinet or console, surmounted by a picture made invisible by the dark shadow of the hangings. The writing-table @@ -1776,8 +1736,8 @@ either banished or put in some dark corner, where it is little wonder that the ink dries unused and a vase of flowers grows in the middle of the blotting-pad.</p> <div class="figcenter p4"><a name="plate_7" id="plate_7"></a> -<img src="images/plate_7.jpg" width="450" height="584" alt="French Bergère" /> -<p class="caption">FRENCH BERGÈRE, LOUIS XVI PERIOD.</p> +<img src="images/plate_7.jpg" width="450" height="584" alt="French Bergère" /> +<p class="caption">FRENCH BERGÈRE, LOUIS XVI PERIOD.</p> <p class="caption"><i>PLATE VII.</i></p> </div> @@ -1900,9 +1860,9 @@ eye than one in which gilded consoles and cabinets of buhl stand side by side with cheap machine-made furniture, and delicate old marquetry tables are covered with trashy china ornaments.</p> <div class="figcenter p4"><a name="plate_8" id="plate_8"></a> -<img src="images/plate_8.jpg" width="450" height="633" alt="French Bergère" /> +<img src="images/plate_8.jpg" width="450" height="633" alt="French Bergère" /> -<p class="caption">FRENCH BERGÈRE, LOUIS XVI PERIOD.</p> +<p class="caption">FRENCH BERGÈRE, LOUIS XVI PERIOD.</p> <p class="caption"><i>PLATE VIII.</i></p> </div> @@ -2194,7 +2154,7 @@ is to truckle to one of the meanest forms of artistic hypocrisy. The master who has taught this strange creed, in words magical enough to win acceptance for any doctrine, has also revealed to his generation so many of the forgotten beauties of early art that -it is hard to dispute his principles of æsthetics. As a guide +it is hard to dispute his principles of æsthetics. As a guide through the byways of art, Mr. Ruskin is entitled to the reverence and gratitude of all; but as a logical exponent of the causes and effects of the beauty he discovers, his authority is certainly open @@ -2422,7 +2382,7 @@ the term <i>panelling</i> has become almost synonymous with <i>wood-panelling</i>, and in some minds there is a curious impression that any panelling not of wood is a sham. As a matter of fact, wood-panelling was used in northern Europe simply because it -kept the cold out more successfully than a <i>revêtement</i> of stone or +kept the cold out more successfully than a <i>revêtement</i> of stone or plaster; while south of the Alps its use was avoided for the equally good reason that in hot climates it attracts vermin.</p> @@ -2484,7 +2444,7 @@ in some of the smaller rooms of the hunting-lodge of Stupinigi near Turin, and in the casino of the Villa Valmarana near Vicenza, where the frescoes are by Tiepolo; while in France a pleasing instance of the same style of treatment is seen in the small octagonal -pavilion called the Belvédère, frescoed by Le Riche, in the +pavilion called the Belvédère, frescoed by Le Riche, in the gardens of the Petit Trianon at Versailles.</p> <p>As regards panelling, it has already been said that if the effect @@ -2544,7 +2504,7 @@ heightened dado, has been revived by modern decorators; and it is not unusual to see the walls of a room treated, as regards their base-board and cornice, as part of an order, and then panelled up to within a foot or two of the cornice, without apparent regard -to the true <i>raison d'être</i> of the dado (see <a href="#plate_12">Plate XII</a>).</p> +to the true <i>raison d'être</i> of the dado (see <a href="#plate_12">Plate XII</a>).</p> <p>If, then, the design of the wall-panelling is good, it matters little whether stone, stucco, or wood be used. In all three it is @@ -2663,7 +2623,7 @@ that in a room of average size the intervening wall-spaces may be tinted in a uniform color and left unornamented. If the fundamental lines are right, very little decorative detail is needed to complete the effect; whereas, when the lines are wrong, no overlaying -of ornamental odds and ends, in the way of pictures, bric-à-brac +of ornamental odds and ends, in the way of pictures, bric-à -brac and other improvised expedients, will conceal the structural deficiencies.</p> @@ -2678,7 +2638,7 @@ fireplaces, and stairs—been pursued with the same relentless animosity by architects and decorators, we should no longer be living in houses at all. First, the door was slid into the wall; then even its concealed presence was resented, and it was unhung -and replaced by a portière; while of late it has actually +and replaced by a portière; while of late it has actually ceased to form a part of house-building, and many recently built houses contain doorways <i>without doors</i>. Even the front door, which might seem to have too valid a reason for existence to be @@ -2736,7 +2696,7 @@ circumstances, doors should always be kept shut; it is only, as Ware points out, when two adjoining rooms are used for entertaining that it is necessary to leave the door between them open. Now, between two rooms destined for entertaining, a double door -(<i>à deux battants</i>) is always preferable to a single one; and as an +(<i>à deux battants</i>) is always preferable to a single one; and as an <span class="pagenum"><a name="Page_50" id="Page_50">50</a></span> opening four feet six inches wide is sufficient in such cases, each of the doors will be only two feet three inches wide, and therefore @@ -2868,7 +2828,7 @@ were often painted with landscapes and out-of-door architectural effects, and when this was done the doorways were combined with these architectural compositions, and were not treated as part of the room, but as part of what the room <i>pretended to be</i>. -In the suppressed Scuola della Carità (now the Academy of Fine +In the suppressed Scuola della Carità (now the Academy of Fine <span class="pagenum"><a name="Page_54" id="Page_54">54</a></span> Arts) at Venice, one may see a famous example of this treatment in the doorway under the stairs leading up to the temple, in @@ -2965,11 +2925,11 @@ was in many cases a plain rectangle.<a name="FNanchor_16" id="FNanchor_16" href= <p>During the Louis XV period the panelling of doors was frequently enriched with elaborate carving; but such doors are to be -found only in palaces, or in princely houses like the Hôtels de +found only in palaces, or in princely houses like the Hôtels de Soubise, de Rohan, or de Toulouse (see <a href="#plate_18">Plate XVIII</a>). In the most magnificent apartments, moreover, plain panelled doors were as common as those adorned with carving; while in the -average private hôtel, even where much ornament was lavished +average private hôtel, even where much ornament was lavished on the panelling of the walls, the doors were left plain.</p> <p>Towards the close of this reign, when the influence of Gabriel @@ -3064,16 +3024,16 @@ in height, that they do not "compose."</p> <p>The architrave of the modern door has been neglected for the same reasons as the window-architrave. The use of the heavy sliding door, which could not be opened or shut without -an effort, led to the adoption of the portière; and the architrave, +an effort, led to the adoption of the portière; and the architrave, being thus concealed, was no longer regarded as a feature of any importance in the decoration of the room.</p> -<p>The portière has always been used, as old prints and pictures +<p>The portière has always been used, as old prints and pictures show; but, like the curtain, in earlier days it was simply intended to keep out currents of air, and was consequently seldom seen in well-built houses, where double sets of doors served far better to protect the room from draughts. In less luxurious rooms, where -there were no double doors, and portières had to be used, these +there were no double doors, and portières had to be used, these were made as scant and unobtrusive as possible. The device of draping stuffs about the doorway, thus substituting a textile architrave for one of wood or stone, originated with the modern @@ -3081,7 +3041,7 @@ upholsterer; and it is now not unusual to see a wide opening with no door in it, enclosed in yards and yards of draperies which cannot even be lowered at will.</p> -<p>The portière, besides causing a break in architectural lines, +<p>The portière, besides causing a break in architectural lines, <span class="pagenum"><a name="Page_60" id="Page_60">60</a></span> has become one of the chief expenses in the decoration of the modern room; indeed, the amount spent in buying yards of @@ -3089,11 +3049,11 @@ plush or damask, with the addition of silk cord, tassels, gimp and fringe, often makes it necessary to slight the essential features of the room; so that an ugly mantelpiece or ceiling is preserved because the money required to replace it has been used in the -purchase of portières. These superfluous draperies are, in fact, +purchase of portières. These superfluous draperies are, in fact, more expensive than a well-made door with hinges and box-lock of chiselled bronze.</p> -<p>The general use of the portière has also caused the disappearance +<p>The general use of the portière has also caused the disappearance of the over-door. The lines of the opening being hidden under a mass of drapery, the need of connecting them with the cornice was no longer felt, and one more feature of the room @@ -3102,18 +3062,18 @@ or, as he might more fitly be called, the house-dressmaker.</p> <p>The return to better principles of design will do more than anything else to restore the architectural lines of the room. -Those who use portières generally do so from an instinctive feeling +Those who use portières generally do so from an instinctive feeling that a door is an ugly thing that ought to be hidden, and modern doors are in fact ugly; but when architects give to the treatment of openings the same attention they formerly received, it will soon be seen that this ugliness is not a necessity, and -portières will disappear with the return of well-designed doors.</p> +portières will disappear with the return of well-designed doors.</p> <p>Some general hints concerning the distribution of openings have been given in the chapter on walls. It may be noted in addition that while all doorways in a room should, as a rule, be of one height, there are cases where certain clearly subordinate -openings may be lower than those which contain doors <i>à deux +openings may be lower than those which contain doors <i>à deux battants</i>. In such cases the panelling of the door must be carefully modified in accordance with the dimensions of the opening, <span class="pagenum"><a name="Page_61" id="Page_61">61</a></span> @@ -3135,7 +3095,7 @@ be so hung that they screen that part of the room in which the occupants usually sit. In small rooms, especially those in town houses, this detail cannot be too carefully considered. The fact that so many doors open in the wrong way is another excuse -for the existence of portières.</p> +for the existence of portières.</p> <p>A word must also be said concerning the actual making of the door. There is a general impression that veneered doors or furniture @@ -3248,7 +3208,7 @@ properly applied, will produce far more effect than ten times its amount used in the wrong way; and it will be found that when decorators rely for their effects on the treatment of openings, the rest of the room will require little ornamentation. The -crowding of rooms with furniture and bric-à-brac is doubtless +crowding of rooms with furniture and bric-à -brac is doubtless partly due to an unconscious desire to fill up the blanks caused by the lack of architectural composition in the treatment of the walls.</p> @@ -3360,8 +3320,8 @@ sash windows, both arrangements have certain advantages. In houses built in the French or Italian style, casement windows are best adapted to the general treatment; while the sash-window is more in keeping in English houses. Perhaps the best -way of deciding the question is to remember that "les fenêtres -sont intimement liées aux grandes lignes de l'architecture," and +way of deciding the question is to remember that "les fenêtres +sont intimement liées aux grandes lignes de l'architecture," and to conform to the rule suggested by this axiom.</p> <p>The two common objections to French windows—that they @@ -3412,7 +3372,7 @@ eighteenth centuries the inside shutters and embrasures of the windows were decorated with a care which proves that they were not meant to be concealed by curtains (see the painted embrasures of the saloon in the Villa Vertemati, <a href="#plate_44">Plate XLIV</a>). -The shutters in the state apartments of Fouquet's château of +The shutters in the state apartments of Fouquet's château of Vaux-le-Vicomte, near Melun, are painted on both sides with exquisite arabesques; while those in the apartments of Mesdames de France, on the ground floor of the palace of Versailles, are @@ -3424,15 +3384,15 @@ was really a universal custom until the beginning of the present century. It is known, of course, that curtains were used in former times: prints, pictures and inventories alike prove this fact; but the care expended on the decorative treatment of windows -makes it plain that the curtain, like the portière, was regarded +makes it plain that the curtain, like the portière, was regarded as a necessary evil rather than as part of the general scheme of decoration. The meagreness and simplicity of the curtains in old pictures prove that they were used merely as window shades or sun-blinds. The scant straight folds pushed back from the tall windows of the Prince de Conti's salon, in Olivier's charming -picture of "Le Thé à l'Anglaise chez le Prince de Conti," are as +picture of "Le Thé à l'Anglaise chez le Prince de Conti," are as obviously utilitarian as the strip of green woollen stuff hanging -against the leaded casement of the mediæval bed-chamber in Carpaccio's +against the leaded casement of the mediæval bed-chamber in Carpaccio's "Dream of St. Ursula."</p> <p>Another way of hanging window-curtains in the seventeenth @@ -3463,7 +3423,7 @@ treatment of a room than the inside of the chimney.</p> <p>The modern use of the lambrequin as an ornamental finish to window-curtains is another instance of misapplied decoration. -Its history is easy to trace. The mediæval bed was always enclosed +Its history is easy to trace. The mediæval bed was always enclosed in curtains hanging from a wooden framework, and the lambrequin was used as a kind of cornice to conceal it. When the use of gathered window-shades became general in Italy, the @@ -3486,7 +3446,7 @@ not make straight-backed wooden chairs because they were incapable of imagining anything more comfortable, but because the former were better adapted than cushioned arm-chairs to <span class="pagenum"><a name="Page_72" id="Page_72">72</a></span> -the <i>déplacements</i> so frequent at that period. In like manner, the +the <i>déplacements</i> so frequent at that period. In like manner, the decorator who regarded curtains as a necessity rather than as part of the decoration of the room knew (what the modern upholsterer fails to understand) that, the beauty of a room depending @@ -3547,8 +3507,8 @@ fireplace always descended from the springing of the vaulted roof, and the monumental chimney-pieces of the Renaissance followed the same lines (see <a href="#plate_20">Plate XX</a>). The importance of giving an architectural character to the chimney-piece is insisted on by -Blondel, whose remark, "Je voudrais n'appliquer à une cheminée -que des ornements convenables à l'architecture," is a +Blondel, whose remark, "Je voudrais n'appliquer à une cheminée +que des ornements convenables à l'architecture," is a valuable axiom for the decorator. It is a mistake to think that this treatment necessitates a large mantel-piece and a monumental style of panelling. The smallest mantel, surmounted by a picture @@ -3674,7 +3634,7 @@ simpler and more coherent in design. The caryatides supporting the entablature above the opening of the earlier mantels, and the full-length statues flanking the central panel of the over-mantel, are replaced by massive and severe mouldings of the kind which -the French call <i>mâle</i> (see mantels in Plates <a href="#plate_5">V</a> and <a href="#plate_36">XXXVI</a>). +the French call <i>mâle</i> (see mantels in Plates <a href="#plate_5">V</a> and <a href="#plate_36">XXXVI</a>). Above the entablature there is usually a kind of attic or high concave member of marble, often fluted, and forming a ledge or shelf just wide enough to carry the row of porcelain vases with which @@ -3838,7 +3798,7 @@ so common in England and America that even where the mantel is made of marble or stone it is set back in the same way; so that it is unusual to see a modern fireplace in which the architrave defines the opening. In France, also, the use of an inner -facing (called a <i>retrécissement</i>) has become common, probably +facing (called a <i>retrécissement</i>) has become common, probably because such a device makes it possible to use less fuel, while not disturbing the proportions of the mantel as related to the room.</p> @@ -3849,7 +3809,7 @@ and the latter soon spread from the tables to the mantel, especially in England and America, where the absence of the architectural over-mantel left a bare expanse of wall above the chimney-piece.</p> -<p>The use of the mantel as a bric-à-brac shelf led in time to the +<p>The use of the mantel as a bric-à -brac shelf led in time to the lengthening and widening of this shelf, and in consequence to the enlargement of the whole chimney-piece.</p> @@ -3954,7 +3914,7 @@ background.</p> <div class="figcenter p4"><a name="plate_22" id="plate_22"></a> <img src="images/plate_22.jpg" width="450" height="470" alt="French Fire-Screen" /> <p class="caption">FRENCH FIRE-SCREEN, LOUIS XIV PERIOD.<br /> -FROM THE CHÂTEAU OF ANET.</p> +FROM THE CHÂTEAU OF ANET.</p> <p class="caption"><i>PLATE XXII.</i></p> </div> @@ -4077,10 +4037,10 @@ of concealing the anatomy of any part of a building, troubled the Renaissance architect no more than it did his Gothic predecessor, <span class="pagenum"><a name="Page_91" id="Page_91">91</a></span> who had never hesitated to stretch a "ciel" of cloth or tapestry -over the naked timbers of the mediæval ceiling. The duty of exposing +over the naked timbers of the mediæval ceiling. The duty of exposing structural forms—an obligation that weighs so heavily upon the conscience of the modern architect—is of very recent -origin. Mediæval as well as Renaissance architects thought first +origin. Mediæval as well as Renaissance architects thought first of adapting their buildings to the uses for which they were intended and then of decorating them in such a way as to give pleasure to the eye; and the maintenance of that relation which @@ -4223,7 +4183,7 @@ the walls of which are panelled in wood.<a name="FNanchor_28" id="FNanchor_28" h <p>Stucco and fresco-painting are adapted to every variety of decoration, from the light traceries of a boudoir ceiling to the dome -of the <i>salon à l'Italienne</i>; but the design must be chosen with +of the <i>salon à l'Italienne</i>; but the design must be chosen with strict regard to the size and height of the room and to the proposed treatment of its walls. The cornice forms the connecting link between walls and ceiling and it is essential to the harmony @@ -4347,9 +4307,9 @@ lines of the design affords good training in the true principles of composition.</p> <p>Equally well suited to modern use are the designs in arabesque -with which, in France, Bérain and his followers painted the ceilings +with which, in France, Bérain and his followers painted the ceilings of small rooms during the Louis XIV period (see <a href="#plate_26">Plate XXVI</a>). -With the opening of the eighteenth century the Bérain arabesques, +With the opening of the eighteenth century the Bérain arabesques, animated by the touch of Watteau, Huet and J.-B. Leprince, blossomed into trellis-like designs alive with birds and monkeys, Chinese mandarins balancing umbrellas, and nymphs and shepherdesses @@ -4378,7 +4338,7 @@ possible will doubtless lead in time to the use of brick, stone or marble floors. These floors, associated in the minds of most Americans with shivering expeditions through damp Italian palaces, are in reality perfectly suited to the dry American climate, -and even the most anæmic person could hardly object to brick or +and even the most anæmic person could hardly object to brick or marble covered by heavy rugs.</p> <p>The inlaid marble floors of the Italian palaces, whether composed @@ -4422,8 +4382,8 @@ since the introduction of aniline dyes are so discordant that these rugs are inferior to most modern European carpets.</p> <div class="figcenter p4"><a name="plate_26" id="plate_26"></a> -<img src="images/plate_26.jpg" width="450" height="531" alt="Bérain Style Ceiling" /> -<p class="caption">CEILING IN THE STYLE OF BÉRAIN.<br /> +<img src="images/plate_26.jpg" width="450" height="531" alt="Bérain Style Ceiling" /> +<p class="caption">CEILING IN THE STYLE OF BÉRAIN.<br /> LOUIS XIV PERIOD.</p> <p class="caption"><i>PLATE XXVI.</i></p> </div> @@ -4501,7 +4461,7 @@ of decoration.</p> <div class="figcenter p4"><a name="plate_27" id="plate_27"></a> <img src="images/plate_27.jpg" width="450" height="350" alt="Chinoiserie Style Ceiling" /> -<p class="caption">CEILING IN THE CHÂTEAU OF CHANTILLY.<br /> +<p class="caption">CEILING IN THE CHÂTEAU OF CHANTILLY.<br /> LOUIS XV PERIOD.<br /> (EXAMPLE OF CHINOISERIE DECORATION.)</p> <p class="caption"><i>PLATE XXVII.</i></p> @@ -4724,7 +4684,7 @@ force</i>,—something perfect in itself, but not essential to the organism of the whole.</p> <p>Viollet-le-Duc, in his dictionary of architecture, under the heading -<i>Château</i>, has given a sympathetic and ingenious explanation +<i>Château</i>, has given a sympathetic and ingenious explanation of the tenacity with which the French aristocracy clung to the obsolete complications of Gothic house-planning and structure long after frequent expeditions across the Alps had made them @@ -4836,13 +4796,13 @@ placed in an open staircase. The balustrade was usually of stone or marble, iron being much less used than in France.</p> <div class="figcenter p4"><a name="plate_31" id="plate_31"></a> <img src="images/plate_31.jpg" width="450" height="568" alt="Staircase of the Hotel de Ville, Nancy" /> -<p class="caption">STAIRCASE OF THE HÔTEL DE VILLE, NANCY.<br /> +<p class="caption">STAIRCASE OF THE HÔTEL DE VILLE, NANCY.<br /> LOUIS XV PERIOD.<br /> -BUILT BY HÉRÉ DE CORNY; STAIR-RAIL BY JEAN LAMOUR.</p> +BUILT BY HÉRÉ DE CORNY; STAIR-RAIL BY JEAN LAMOUR.</p> <p class="caption"><i>PLATE XXXI.</i></p> </div> -<p>In the latter country the mediæval stairs, especially in the +<p>In the latter country the mediæval stairs, especially in the houses of the middle class, were often built of wood; but this material was soon abandoned, and from the time of Louis XIV stairs of stone with wrought-iron rails are a distinctive feature of @@ -5106,7 +5066,7 @@ compositions as Piranesi's, with their bold contrasts of light and shade, Marc Antonio's classic designs, or some frieze-like procession, such as Mantegna's "Triumph of Julius Caesar," are especially appropriate; whereas the subtle detail of the German Little -Masters, the symbolism of Dürer's etchings and the graces of +Masters, the symbolism of Dürer's etchings and the graces of Marillier or Moreau le Jeune would be wasted in a situation where there is small opportunity for more than a passing glance.</p> @@ -5149,7 +5109,7 @@ MUSEUM OF DECORATIVE ARTS, PARIS.</p> <h3>THE DRAWING-ROOM, BOUDOIR, AND MORNING-ROOM</h3> -<p class="p2"><span class="dropcap">T</span>he "with-drawing-room" of mediæval England, to which +<p class="p2"><span class="dropcap">T</span>he "with-drawing-room" of mediæval England, to which the lady and her maidens retired from the boisterous festivities of the hall, seems at first to have been merely a part of the bedchamber in which the lord and lady slept. In time it came @@ -5216,7 +5176,7 @@ family apartment like the English drawing-room.</p> famille</i> had by this time also established itself in England, where the state drawing-room retained its Italian name of <i>salone</i>, or saloon, while the living-apartment preserved, in abbreviated form, -the mediæval designation of the lady's with-drawing-room. +the mediæval designation of the lady's with-drawing-room. <span class="pagenum"><a name="Page_124" id="Page_124">124</a></span></p> <p>Pains have been taken to trace as clearly as possible the mixed @@ -5372,26 +5332,26 @@ gala rooms in palaces: visitors to Versailles or Fontainebleau are <span class="pagenum"><a name="Page_128" id="Page_128">128</a></span> more likely to notice the massive gilt consoles and benches in the state saloons than the simple easy-chairs and work-tables of the -<i>petits appartements</i>. A visit to the Garde Meuble or to the Musée -des Arts Décoratifs of Paris, or the inspection of any collection +<i>petits appartements</i>. A visit to the Garde Meuble or to the Musée +des Arts Décoratifs of Paris, or the inspection of any collection of French eighteenth-century furniture, will show the versatility and common sense of the old French cabinet-makers. They produced an infinite variety of small <i>meubles</i>, in which beauty of design and workmanship were joined to simplicity and convenience.</p> -<p>The old arm-chair, or <i>bergère</i>, is a good example of this combination. +<p>The old arm-chair, or <i>bergère</i>, is a good example of this combination. The modern upholsterer pads and puffs his seats as though they were to form the furniture of a lunatic's cell; and then, having expanded them to such dimensions that they cannot be moved without effort, perches their dropsical bodies on four little casters. Any one who compares such an arm-chair to -the eighteenth-century <i>bergère</i>, with its strong tapering legs, its +the eighteenth-century <i>bergère</i>, with its strong tapering legs, its snugly-fitting back and cushioned seat, must admit that the latter is more convenient and more beautiful (see Plates <a href="#plate_8">VIII</a> and <a href="#plate_37">XXXVII</a>).</p> <p>The same may be said of the old French tables—from desks, -card and work-tables, to the small <i>guéridon</i> just large enough +card and work-tables, to the small <i>guéridon</i> just large enough to hold a book and candlestick. All these tables were simple and practical in design: even in the Louis XV period, when more variety of outline and ornament was permitted, the strong @@ -5485,7 +5445,7 @@ carved wood, sometimes upholstered, but often seated with cane (see <a href="#plate_39">Plate XXXIX</a>). In the latter case it is fitted with a mattress and with a pillow-like cushion covered with some material in keeping with the hangings of the room. Sometimes the <i>duchesse</i>, -or upholstered <i>bergère</i> with removable foot-rest in the shape of a +or upholstered <i>bergère</i> with removable foot-rest in the shape of a <span class="pagenum"><a name="Page_131" id="Page_131">131</a></span> square bench, is preferred to the <i>lit de repos</i>; but the latter is the more elegant and graceful, and it is strange that it should have @@ -5557,7 +5517,7 @@ room of this kind is almost indispensable.</p> <div class="figcenter p4"><a name="plate_40" id="plate_40"></a> <img src="images/plate_40.jpg" width="450" height="557" alt="Painted Wall-Panel" /> -<p class="caption">PAINTED WALL-PANEL AND DOOR, CHÂTEAU OF<br /> +<p class="caption">PAINTED WALL-PANEL AND DOOR, CHÂTEAU OF<br /> CHANTILLY. LOUIS XV.<br /> @@ -5617,7 +5577,7 @@ the modern American dwelling descends from the English middle-class <span class="pagenum"><a name="Page_135" id="Page_135">135</a></span> house, not from the aristocratic country-seat or town residence. The English nobleman's town house was like the -French <i>hôtel</i>, with gates, porter's lodge, and court-yard surrounded +French <i>hôtel</i>, with gates, porter's lodge, and court-yard surrounded by stables and offices; and the planning of the country-seat was even more elaborate.</p> @@ -5656,7 +5616,7 @@ to produce an effect of informality. As a result the room dwarfs the furniture, loses the air of state, and gains little in real comfort; while it becomes necessary, when a party is given, to remove the furniture and disarrange the house, thus undoing the chief <i>raison -d'être</i> of such apartments.</p> +d'être</i> of such apartments.</p> <p>The Italians, inheriting the grandiose traditions of the Augustan age, have always excelled in the treatment of rooms demanding @@ -5664,7 +5624,7 @@ the "grand manner." Their unfailing sense that house-decoration is interior architecture, and must clearly proclaim its architectural affiliations, has been of special service in this respect. It is rare in Italy to see a large room inadequately treated. Sometimes the -"grand manner"—the mimic <i>terribilità</i>—may be carried too far +"grand manner"—the mimic <i>terribilità </i>—may be carried too far to suit Anglo-Saxon taste—it is hard to say for what form of entertainment such a room as Giulio Romano's Sala dei Giganti in the Palazzo del T would form a pleasing or appropriate background—but @@ -5676,9 +5636,9 @@ in stucco, and either a classic severity of treatment or the turbulent bravura style of the saloon of the Villa Rotonda and of Tiepolo's Cleopatra frescoes in the Palazzo Labia at Venice.</p> <div class="figcenter p4"><a name="plate_42" id="plate_42"></a> -<img src="images/plate_42.jpg" width="450" height="575" alt="Salon à l'Italienne" /> +<img src="images/plate_42.jpg" width="450" height="575" alt="Salon à l'Italienne" /> -<p class="caption">SALON À L'ITALIENNE.<br /> +<p class="caption">SALON À L'ITALIENNE.<br /> (FROM A PICTURE BY COYPEL.)</p> <p class="caption"><i>PLATE XLII.</i></p> </div> @@ -5704,22 +5664,22 @@ as in Italy. The saloon in northern Europe was always a stately and high-studded room, generally vaulted or domed, and often circular in plan; but it seldom reached such imposing dimensions as its Italian prototype, and when more than one story high -was known by the distinctive designation of <i>un salon à l'italienne</i>.</p> +was known by the distinctive designation of <i>un salon à l'italienne</i>.</p> <p>The gallery was probably the first feature in domestic house-planning to be borrowed from Italy by northern Europe. It is -seen in almost all the early Renaissance châteaux of France; and +seen in almost all the early Renaissance châteaux of France; and as soon as the influence of such men as John of Padua and John Shute asserted itself in England, the gallery became one of the principal apartments of the Elizabethan mansion. There are several reasons for the popularity of the gallery. In the cold rainy autumns and winters north of the Alps it was invaluable as a sheltered place for exercise and games; it was well adapted to display -the pictures, statuary and bric-à-brac which, in emulation of +the pictures, statuary and bric-à -brac which, in emulation of Italian collectors, the Northern nobles were beginning to acquire; and it showed off to advantage the long line of ancestral portraits and the tapestries representing a succession of episodes from the -<i>Æneid</i>, the <i>Orlando Innamorato</i>, or some of the interminable +<i>Æneid</i>, the <i>Orlando Innamorato</i>, or some of the interminable <span class="pagenum"><a name="Page_138" id="Page_138">138</a></span> epics that formed the light reading of the sixteenth century. Then, too, the gallery served for the processions which were a @@ -5786,7 +5746,7 @@ extremely brilliant.</p> entirely painted (see <a href="#plate_44">Plate XLIV</a>), the plaster walls being covered with a fanciful piling-up of statues, porticoes and balustrades, while figures in Oriental costume, or in the masks and parti-colored -dress of the <i>Comédie Italienne</i>, leaned from simulated +dress of the <i>Comédie Italienne</i>, leaned from simulated loggias or wandered through marble colonnades.</p> <p>The Italian decorator held any audacity permissible in a room @@ -5924,7 +5884,7 @@ architectural treatment may find admirable examples in some of the Italian eighteenth-century rooms decorated with free-hand stucco ornament, or in the sculptured wood-panelling of the same period in France. At Remiremont in the Vosges, formerly the -residence of a noble order of canonesses, the abbess's <i>hôtel</i> contains +residence of a noble order of canonesses, the abbess's <i>hôtel</i> contains an octagonal music-room of exceptional beauty, the panelled walls being carved with skilfully combined musical instruments and flower-garlands.</p> @@ -6020,7 +5980,7 @@ to buy books for the sake of what they contained, less exaggerated importance was attached to their exterior, so that bindings, though perfect as taste and skill could make them, were seldom as extravagantly enriched as in the two preceding centuries. Up -to a certain point this change was not to be regretted: the mediæval +to a certain point this change was not to be regretted: the mediæval book, with its gold or ivory bas-reliefs bordered with precious stones, and its massive jewelled clasps, was more like a monstrance or reliquary than anything meant for less ceremonious use. @@ -6046,7 +6006,7 @@ shelves were no longer concealed, bindings now contributed to the decoration of the room. Movable bookcases were not unknown, but these seem to have been merely presses in which wooden door-panels were replaced by glass or by a lattice-work of brass -wire. The typical French bookcase <i>à deux corps</i>—that is, made +wire. The typical French bookcase <i>à deux corps</i>—that is, made in two separate parts, the lower a cupboard to contain prints and folios, the upper with shelves and glazed or latticed doors—was introduced later, and is still the best model for a movable bookcase. @@ -6060,7 +6020,7 @@ the most decorative, way of housing any collection of books large enough to be so employed. To adorn the walls of a library, and then conceal their ornamentation by expensive bookcases, is a waste, or rather a misapplication, of effects—always a sin against -æsthetic principles.</p> +æsthetic principles.</p> <p>The importance of bookbindings as an element in house-decoration has already been touched upon; but since a taste for good @@ -6069,7 +6029,7 @@ snuff-boxes or <i>baisers-de-paix</i>, it seems needful to point out how obvious and valuable a means of decoration is lost by disregarding the outward appearance of books. To be decorative, a bookcase need not contain the productions of the master-binders,—old -volumes by Eve and Derôme, or the work of Roger +volumes by Eve and Derôme, or the work of Roger Payne and Sanderson,—unsurpassed as they are in color-value. Ordinary bindings of half morocco or vellum form an expanse of <span class="pagenum"><a name="Page_148" id="Page_148">148</a></span> @@ -6207,7 +6167,7 @@ United States contain a library in the serious meaning of the term; but it is to be hoped that the next generation of architects will have wider opportunities in this direction.</p> -<p>The smoking-room proper, with its <i>mise en scène</i> of Turkish +<p>The smoking-room proper, with its <i>mise en scène</i> of Turkish divans, narghilehs, brass coffee-trays, and other Oriental properties, is no longer considered a necessity in the modern house; and the room which would formerly have been used for this special @@ -6219,7 +6179,7 @@ the dignity of a technical term.</p> <p>Whatever extravagances the upholsterer may have committed in other parts of the house, it is usually conceded that common sense should regulate the furnishing of the den. Fragile chairs, -lace-petticoat lamp-shades and irrelevant bric-à-brac are consequently +lace-petticoat lamp-shades and irrelevant bric-à -brac are consequently excluded; and the master's sense of comfort often expresses itself in a set of "office" furniture—a roller-top desk, a revolving chair, and others of the puffy type already described as @@ -6230,7 +6190,7 @@ comfortable, must be ugly. One can picture the derision of the man who is told that he might, without the smallest sacrifice of comfort or convenience, transact his business at a Louis XVI writing-table, seated in a Louis XVI chair!—yet the handsomest desks -of the last century—the fine old <i>bureaux à la Kaunitz</i> or <i>à cylindre</i>—were +of the last century—the fine old <i>bureaux à la Kaunitz</i> or <i>à cylindre</i>—were the prototypes of the modern "roller-top"; and the cane or leather-seated writing-chair, with rounded back and five slim strong legs, was far more comfortable than the amorphous @@ -6306,8 +6266,8 @@ the usual easel or palm-tree behind them, it is surprising to see how much a small room may contain without appearing to be overcrowded.</p> <div class="figcenter p4"><a name="plate_50" id="plate_50"></a> -<img src="images/plate_50.jpg" width="550" height="430" alt="Dining-Room, Palace of Compiègne" />> -<p class="caption">DINING-ROOM, PALACE OF COMPIÈGNE. LOUIS XVI PERIOD.<br /> +<img src="images/plate_50.jpg" width="550" height="430" alt="Dining-Room, Palace of Compiègne" />> +<p class="caption">DINING-ROOM, PALACE OF COMPIÈGNE. LOUIS XVI PERIOD.<br /> (OVER-DOORS AND OVER-MANTEL PAINTED IN GRISAILLE, BY SAUVAGE.)</p> <p class="caption"><i>PLATE L.</i></p> </div> @@ -6323,7 +6283,7 @@ noble and his retainers ate in the hall; then the <i>grand'salle</i>, built for ceremonial uses, began to serve as a banqueting-room, while the meals eaten in private were served in the lord's chamber. As house-planning adapted itself to the growing complexity of life, -the mediæval bedroom developed into a private suite of living-rooms, +the mediæval bedroom developed into a private suite of living-rooms, preceded by an antechamber; and this antechamber, or one of the small adjoining cabinets, was used as the family dining-room, the banqueting-hall being still reserved for state entertainments.</p> @@ -6331,12 +6291,12 @@ the banqueting-hall being still reserved for state entertainments.</p> <p>The plan of dining at haphazard in any of the family living-rooms persisted on the Continent until the beginning of the eighteenth century: even then it was comparatively rare, in France, to see a -room set apart for the purpose of dining. In small <i>hôtels</i> and +room set apart for the purpose of dining. In small <i>hôtels</i> and apartments, people continued to dine in the antechamber; where there were two antechambers, the inner was used for that purpose; and it was only in grand houses, or in the luxurious establishments of the <i>femmes galantes</i>, that dining-rooms were to be found. -Even in such cases the room described as a <i>salle à manger</i> was +Even in such cases the room described as a <i>salle à manger</i> was often only a central antechamber or saloon into which the living-rooms opened; indeed, Madame du Barry's sumptuous dining-room <span class="pagenum"><a name="Page_156" id="Page_156">156</a></span> @@ -6364,7 +6324,7 @@ be easily removed. In the middle ages, people dined at long tables composed of boards resting on trestles, while the seats were narrow wooden benches or stools, so constructed that they could easily be carried away when the meal was over. With the -sixteenth century, the <i>table-à-tréteaux</i> gave way to various folding +sixteenth century, the <i>table-à -tréteaux</i> gave way to various folding tables with legs, and the wooden stools were later replaced by folding seats without arms called <i>perroquets</i>. In the middle ages, when banquets were given in the <i>grand'salle</i>, the plate was @@ -6415,7 +6375,7 @@ treated with an order, niches with statues being placed between the pilasters. Sometimes one of these niches contained a fountain serving as a wine-cooler—a survival of the stone or metal <span class="pagenum"><a name="Page_158" id="Page_158">158</a></span> -wall-fountains in which dishes were washed in the mediæval +wall-fountains in which dishes were washed in the mediæval dining-room. Many of these earlier fountains had been merely fixed to the wall; but those of the eighteenth century, though varying greatly in design, were almost always an organic part of @@ -6565,7 +6525,7 @@ introduction of the "extension."</p> <p class="p2"><span class="dropcap">T</span>he history of the bedroom has been incidentally touched upon in tracing the development of the drawing-room from -the mediæval hall. It was shown that early in the middle ages +the mediæval hall. It was shown that early in the middle ages the sleeping-chamber, which had been one of the first outgrowths of the hall, was divided into the <i>chambre de parade</i>, or incipient drawing-room, and the <i>chambre au giste</i>, or actual sleeping-room.</p> @@ -6692,7 +6652,7 @@ to exclude light and cold, are in nine cases out of ten so hung by <span class="pagenum"><a name="Page_166" id="Page_166">166</a></span> the upholsterer that they cannot possibly be drawn at night. Besides, the patterns of modern chintzes have so little in common -with the <i>toiles imprimées</i> of the seventeenth and eighteenth centuries +with the <i>toiles imprimées</i> of the seventeenth and eighteenth centuries that they scarcely serve the same decorative purpose; and it is therefore needful to give some account of the old French bedroom hangings, as well as of the manner in which they were @@ -6806,7 +6766,7 @@ followed the same sound artistic traditions. In studying the <i>toiles peintes</i> manufactured in Europe previous to the present century, it will be seen that where the design included the human figure or landscape naturalistically treated (as in the -fables of Æsop and La Fontaine, or the history of Don Quixote), +fables of Æsop and La Fontaine, or the history of Don Quixote), the pattern was either printed entirely in one color, or so fantastically colored that by no possibility could it pass for an attempt at a literal rendering of nature. Besides, in all such compositions @@ -6882,7 +6842,7 @@ with silk, it was usual, in the eighteenth century, to provide embroidered cotton covers for use in summer, while curtains of the same stuff were substituted for the heavier hangings used in winter. Old inventories frequently mention these <i>tentures -d'été</i>, which are well adapted to our hot summer climate.</p> +d'été</i>, which are well adapted to our hot summer climate.</p> <p>The boudoir should contain a writing-table, a lounge or <i>lit de repos</i>, and one or two comfortable arm-chairs, while in a bedroom @@ -6936,7 +6896,7 @@ with the arrangement of the children's rooms.</p> <p>There is, of course, little opportunity for actual decoration in school-room or nursery; and it is only by stretching a point that -a book dealing merely with the practical application of æsthetics +a book dealing merely with the practical application of æsthetics may be made to include a chapter bordering on pedagogy. It must be remembered, however, that any application of principles presupposes some acquaintance with the principles themselves; @@ -6949,7 +6909,7 @@ senses than one, that in which he receives his education. His whole view of what he is set to learn, and of the necessity and advantage of learning anything at all, is tinged, more often than people think, by the appearance of the room in which his studying -is done. The æsthetic sensibilities wake early in some children, +is done. The æsthetic sensibilities wake early in some children, and these, if able to analyze their emotions, could testify to what suffering they have been subjected by the habit of sending to school-room and nurseries whatever furniture is too ugly or @@ -6965,7 +6925,7 @@ of lesson-learning.</p> <p>There are, of course, many children not naturally sensitive to artistic influences, and the parents of such children often think that no special care need be spent on their surroundings—a curious -misconception of the purpose of all æsthetic training. To +misconception of the purpose of all æsthetic training. To teach a child to appreciate any form of beauty is to develop his intelligence, and thereby to enlarge his capacity for wholesome enjoyment. It is, therefore, never idle to cultivate a child's taste; @@ -6985,7 +6945,7 @@ his growth in other directions, and will at least develop those habits of observation and comparison that are the base of all sound judgments. It is in this sense that the study of art is of service to those who have no special aptitude for any of its forms: its -indirect action in shaping æsthetic criteria constitutes its chief +indirect action in shaping æsthetic criteria constitutes its chief value as an element of culture.</p> <p>The habit of regarding "art" as a thing apart from life is fatal @@ -7013,7 +6973,7 @@ results.</p> <p>The daily intercourse with poor pictures, trashy "ornaments," and badly designed furniture may, indeed, be fittingly compared with a mental diet of silly and ungrammatical story-books. Most -parents nowadays recognize the harmfulness of such a <i>régime</i>, +parents nowadays recognize the harmfulness of such a <i>régime</i>, and are careful to feed their children on more stimulating fare. Skilful compilers have placed Mallory and Chaucer, Cervantes and Froissart, within reach of the childish understanding, thus @@ -7077,7 +7037,7 @@ angels on the thatched roof, or a group of splendid horsemen and strange animals from the wondrous fairy-tale of the Riccardi chapel—the present will give as much immediate pleasure as a "juvenile" book or picture, while its intrinsic beauty and significance -may become important factors in the child's æsthetic development. +may become important factors in the child's æsthetic development. The possession of something valuable, that may not be knocked about, but must be handled with care and restored to its place after being looked at, will also cultivate in the child that @@ -7110,7 +7070,7 @@ color, form the best background for both work and play.</p> <p>Perhaps the most interesting way of decorating the school-room is that which might be described as the rotation system. To -carry out this plan—which requires the coöperation of the children's +carry out this plan—which requires the coöperation of the children's teacher—the walls must be tinted in some light color, such as turquoise-blue or pale green, and cleared of all miscellaneous adornments. These should then be replaced by a few carefully-chosen @@ -7122,7 +7082,7 @@ These subjects might be respectively illustrated by some of the clever Japanese outline drawings of plants and animals, by <span class="pagenum"><a name="Page_179" id="Page_179">179</a></span> Holbein's portrait of Henry VIII, Clouet's of Charles IX and of -Elizabeth of Austria, Dürer's etchings of Luther and Erasmus, and +Elizabeth of Austria, Dürer's etchings of Luther and Erasmus, and views of some of the principal buildings erected in France and England during the sixteenth century.</p> @@ -7239,7 +7199,7 @@ draperies. The windows may be hung with either shades or curtains: it is needless to have both. If curtains are preferred, they should be of chintz, or of some washable cotton or linen. The reproductions of the old <i>toiles de Jouy</i>, with pictures -from Æsop and La Fontaine, or from some familiar myth or story, +from Æsop and La Fontaine, or from some familiar myth or story, are specially suited to children's rooms; while another source of interest and amusement may be provided by facing the fireplace with blue and white Dutch tiles representing the finding of Moses, @@ -7260,7 +7220,7 @@ comparison.</p> <p>To sum up, then: the child's visible surroundings form the basis of the best, because of the most unconscious, cultivation: -and not of æsthetic cultivation only, since, as has been pointed +and not of æsthetic cultivation only, since, as has been pointed out, the development of any artistic taste, if the child's general training is of the right sort, indirectly broadens the whole view of life.</p> @@ -7268,13 +7228,13 @@ of life.</p> <h3 class="p6">XVI</h3> <p><span class="pagenum"><a name="Page_184" id="Page_184">184</a></span></p> -<h3>BRIC-À-BRAC</h3> +<h3>BRIC-À-BRAC</h3> <p class="p2"><span class="dropcap">I</span>t is perhaps not uninstructive to note that we have no English word to describe the class of household ornaments which French speech has provided with at least three designations, each indicating a delicate and almost imperceptible gradation of quality. -In place of bric-à-brac, bibelots, <i>objets d'art</i>, we have only knick-knacks—defined +In place of bric-à -brac, bibelots, <i>objets d'art</i>, we have only knick-knacks—defined by Stormonth as "articles of small value."</p> <p>This definition of the knick-knack fairly indicates the general @@ -7389,7 +7349,7 @@ profitable.</p> <p>Only time and experience can acquaint one with those minor peculiarities marking the successive "manners" of a master, or even with the technical <i>nuances</i> which at once enable the collector -to affix a date to his Sèvres or to his maiolica. Such knowledge is +to affix a date to his Sèvres or to his maiolica. Such knowledge is acquired at the cost of great pains and of frequent mistakes; but no one should venture to buy works of art who cannot at least draw such obvious distinctions as those between old and new @@ -7411,7 +7371,7 @@ all their treasures from contemporary sources! As a matter of fact, the great amateurs of the past were never fettered by such absurd restrictions. All famous patrons of art have encouraged the talent of their day; but the passion for collecting antiquities is -at least as old as the Roman Empire, and Græco-Roman sculptors +at least as old as the Roman Empire, and Græco-Roman sculptors had to make archaistic statues to please the popular fancy, just as our artists paint pre-Raphaelite pictures to attract the disciples of Ruskin and William Morris. Since the Roman Empire, there has @@ -7420,7 +7380,7 @@ not exist.<a name="FNanchor_36" id="FNanchor_36" href="#Footnote_36" class="fnan under his orders, was gathering antiques for the Belvedere <i>cortile</i>; under Louis XIV, Greek marbles, Roman bronzes, cabinets of Chinese lacquer and tables of Florentine mosaic were mingled -without thought of discord against Lebrun's tapestries or Bérain's +without thought of discord against Lebrun's tapestries or Bérain's arabesques; and Marie-Antoinette's collection united Oriental porcelains with goldsmiths' work of the Italian Renaissance.</p> @@ -7439,8 +7399,8 @@ naturally becomes less obvious. Again, a vase or a bust may not be out of scale with the wall-space behind it, but may appear to crush the furniture upon which it stands; and since everything a room contains should be regarded as a factor in its general composition, -the relation of bric-à-brac to furniture is no less to be -studied than the relation of bric-à-brac to wall-spaces. Much of +the relation of bric-à -brac to furniture is no less to be +studied than the relation of bric-à -brac to wall-spaces. Much of course depends upon the effect intended; and this can be greatly modified by careful adjustment of the contents of the room. A ceiling may be made to look less high by the use of wide, low @@ -7449,7 +7409,7 @@ room may be heightened by tall, narrow commodes and cabinets, with objects of art upon the same general lines.</p> <p>It is of no less importance to observe the scale of appropriateness. -A bronze Pallas Athene or a cowled mediæval <i>pleureur</i> +A bronze Pallas Athene or a cowled mediæval <i>pleureur</i> would be obviously out of harmony with the spirit of a boudoir; while the delicate graces of old Saxe or Chelsea would become futile in library or study.</p> @@ -7461,7 +7421,7 @@ more important, is perhaps less often considered—as regards <span class="pagenum"><a name="Page_190" id="Page_190">190</a></span> quality. The habit of mixing good, bad, and indifferent in furniture is often excused by necessity: people must use what they -have. But there is no necessity for having bad bric-à-brac. +have. But there is no necessity for having bad bric-à -brac. Trashy "ornaments" do not make a room more comfortable; as a general rule, they distinctly diminish its comfort; and they have the further disadvantage of destroying the effect of any good piece @@ -7469,7 +7429,7 @@ of work. Vulgarity is always noisier than good breeding, and it is instructive to note how a modern commercial bronze will "talk down" a delicate Renaissance statuette or bust, and a piece of Deck or Minton china efface the color-values of blue-and-white or the -soft tints of old Sèvres. Even those who set down a preference +soft tints of old Sèvres. Even those who set down a preference for old furniture as an affectation will hardly maintain that new knick-knacks are as good as old bibelots; but only those who have some slight acquaintance with the subject know how wide @@ -7500,7 +7460,7 @@ did the same kind of work on simpler lines; just as below the skilled artificer stood the plain artisan whose work was executed more rudely, but by the same genuine processes. This explains the supposed affectation of those who "like things just because -they are old." Old bric-à-brac and furniture are, indeed, almost +they are old." Old bric-à -brac and furniture are, indeed, almost always worthy of liking, since they are made on good lines by a good process.</p> @@ -7518,7 +7478,7 @@ of art. To the art-lover, as distinguished from the collector, uniqueness <i>per se</i> can give no value to an inartistic object; but the distinction, the personal quality, of a beautiful object is certainly enhanced when it is known to be alone of its kind—as in -the case of the old bronzes made <i>à cire perdue</i>. It must, however, +the case of the old bronzes made <i>à cire perdue</i>. It must, however, be noted that in some cases—as in that of bronze-casting—the method which permits reproduction is distinctly inferior to that used when but one object is to be produced.</p> @@ -7653,11 +7613,11 @@ age of architecture to the gilded age of decoration.</p> <p>Any argument in support of a special claim necessitates certain apparent injustices, sets up certain provisional limitations, and can therefore be judged with fairness only by those who make -due allowance for these conditions. In the discussion of æsthetics +due allowance for these conditions. In the discussion of æsthetics such impartiality can seldom be expected. Not unnaturally, people resent any attempt to dogmatize on matters so generally thought to lie within the domain of individual judgment. -Many hold that in questions of taste <i>Gefühl ist alles</i>; +Many hold that in questions of taste <i>Gefühl ist alles</i>; while those who believe that beyond the oscillations of fashion certain fixed laws may be discerned have as yet agreed upon no formula defining their belief. In short, our civilization has @@ -7666,7 +7626,7 @@ that it may be invoked on both sides of an argument without risk of misunderstanding.</p> <p>This is true at least of those forms of art that minister only to -the æsthetic sense. With architecture and its allied branches the +the æsthetic sense. With architecture and its allied branches the case is different. Here beauty depends on fitness, and the practical requirements of life are the ultimate test of fitness.</p> @@ -7710,7 +7670,7 @@ only by a multiplicity of lines. <p>The supreme excellence is simplicity. Moderation, fitness, relevance—these are the qualities that give permanence to the work -of the great architects. <i>Tout ce qui n'est pas nécessaire est nuisible.</i> +of the great architects. <i>Tout ce qui n'est pas nécessaire est nuisible.</i> There is a sense in which works of art may be said to endure by virtue of that which is left out of them, and it is this "tact of omission" that characterizes the master-hand.</p> @@ -7780,11 +7740,11 @@ and proportion.</p> <li>Bedstead, history of, <a href="#Page_163">163</a></li> -<li>Belvédère, at Versailles, frescoes in, <a href="#Page_42">42</a></li> +<li>Belvédère, at Versailles, frescoes in, <a href="#Page_42">42</a></li> -<li>Bérain, ceiling arabesques of, <a href="#Page_98">98</a></li> +<li>Bérain, ceiling arabesques of, <a href="#Page_98">98</a></li> -<li><i>Bergère</i>, origin of, <a href="#Page_7">7</a>; +<li><i>Bergère</i>, origin of, <a href="#Page_7">7</a>; <ul class="none"> <li>design of, <a href="#Page_128">128</a></li></ul></li> @@ -7794,7 +7754,7 @@ and proportion.</p> <li>Blinds, <a href="#Page_73">73</a></li> -<li>Blois, spiral stairs in court-yard of château, <a href="#Page_109">109</a>; +<li>Blois, spiral stairs in court-yard of château, <a href="#Page_109">109</a>; <ul class="none"> <li><i>cabinet</i> of Catherine de' Medici, <a href="#Page_123">123</a></li></ul></li> @@ -7826,7 +7786,7 @@ and proportion.</p> <li>Breakfast-room, <a href="#Page_160">160</a></li> -<li>Bric-à-brac, definition of, <a href="#Page_184">184</a>; +<li>Bric-à -brac, definition of, <a href="#Page_184">184</a>; <ul class="none"> <li>knowledge of, <a href="#Page_187">187</a>;</li> <li>superiority of old over new, <a href="#Page_190">190</a></li></ul></li> @@ -7909,7 +7869,7 @@ and proportion.</p> <li>Coutant d'Ivry's stair-rail in the Palais Royal, <a href="#Page_113">113</a></li> -<li>Curtains, mediæval and Renaissance, <a href="#Page_69">69</a>; +<li>Curtains, mediæval and Renaissance, <a href="#Page_69">69</a>; <ul class="none"> <li>in XVII and XVIII centuries, <a href="#Page_70">70</a>;</li> <li>muslin, <a href="#Page_72">72</a></li></ul></li> @@ -7928,7 +7888,7 @@ and proportion.</p> <ul class="none"> <li>decoration of, <a href="#Page_153">153</a></li></ul></li> -<li>Dining-chairs, mediæval, <a href="#Page_156">156</a>; +<li>Dining-chairs, mediæval, <a href="#Page_156">156</a>; <ul class="none"> <li>XVII century, <a href="#Page_159">159</a>;</li> <li>XVIII century, <a href="#Page_159">159</a></li></ul></li> @@ -7945,7 +7905,7 @@ and proportion.</p> <li>state, <a href="#Page_160">160</a>;</li> <li>heating of, <a href="#Page_161">161</a></li></ul></li> -<li>Dining-table, mediæval, <a href="#Page_156">156</a>; +<li>Dining-table, mediæval, <a href="#Page_156">156</a>; <ul class="none"> <li>modern, <a href="#Page_161">161</a></li></ul></li> @@ -7955,11 +7915,11 @@ and proportion.</p> <ul class="none"> <li>sliding, origin of, <a href="#Page_49">49</a>;</li> <li>double, <a href="#Page_49">49</a>;</li> -<li>mediæval, <a href="#Page_51">51</a>;</li> +<li>mediæval, <a href="#Page_51">51</a>;</li> <li>in palace of Urbino, <a href="#Page_52">52</a>;</li> <li>in Italy, <a href="#Page_52">52</a>-54;</li> <li>locks and hinges, <a href="#Page_55">55</a>;</li> -<li>in the Hôtels de Rohan, de Soubise, and de Toulouse, <a href="#Page_56">56</a>;</li> +<li>in the Hôtels de Rohan, de Soubise, and de Toulouse, <a href="#Page_56">56</a>;</li> <li>glass doors, <a href="#Page_57">57</a>;</li> <li>treatment in England, <a href="#Page_57">57</a>;</li> <li>mahogany, <a href="#Page_58">58</a>;</li> @@ -8006,7 +7966,7 @@ and proportion.</p> <li>Fireplaces, <a href="#Page_74">74</a>; <ul class="none"> -<li>mediæval, construction of, <a href="#Page_75">75</a>;</li> +<li>mediæval, construction of, <a href="#Page_75">75</a>;</li> <li>in Italy, <a href="#Page_75">75</a>;</li> <li>in France, <a href="#Page_76">76</a>;</li> <li>lining of, <a href="#Page_80">80</a>;</li> @@ -8073,7 +8033,7 @@ and proportion.</p> <li>Giulio Romano's frescoes in the Palazzo del T, <a href="#Page_136">136</a></li> -<li><i>Grand'salle</i>, mediæval, <a href="#Page_110">110</a></li> +<li><i>Grand'salle</i>, mediæval, <a href="#Page_110">110</a></li> <li>Grates, <a href="#Page_81">81</a></li> @@ -8093,7 +8053,7 @@ and proportion.</p> <li>Holkham, over-mantels at, <a href="#Page_81">81</a></li> -<li>Hôtel de Rohan, doors in, <a href="#Page_56">56</a> +<li>Hôtel de Rohan, doors in, <a href="#Page_56">56</a> <ul class="none"> <li>de Soubise, doors in, <a href="#Page_56">56</a></li> @@ -8133,7 +8093,7 @@ and proportion.</p> <li>Lebrun, door-locks in <i>Galerie d'Apollon</i> designed by, <a href="#Page_55">55</a></li> -<li>Le Riche, frescoes of, in Belvédère, Versailles, <a href="#Page_42">42</a></li> +<li>Le Riche, frescoes of, in Belvédère, Versailles, <a href="#Page_42">42</a></li> <li>Library, <a href="#Page_145">145</a>; <ul class="none"> @@ -8200,7 +8160,7 @@ and proportion.</p> <li>Mezzanin, origin of, <a href="#Page_5">5</a>; treatment of, <a href="#Page_6">6</a></li> -<li>Ministère de la Marine, Paris, door in, <a href="#Page_61">61</a> +<li>Ministère de la Marine, Paris, door in, <a href="#Page_61">61</a> <span class="pagenum"><a name="Page_202" id="Page_202">202</a></span></li> <li>Mirrors, use of, in over-mantel, <a href="#Page_79">79</a>; @@ -8256,7 +8216,7 @@ and proportion.</p> <ul class="none"> <li>J. L. N. Durand on, <a href="#Page_10">10</a></li></ul></li> -<li>Over-doors, mediæval treatment of, <a href="#Page_52">52</a>; +<li>Over-doors, mediæval treatment of, <a href="#Page_52">52</a>; <ul class="none"> <li>in Italy, <a href="#Page_53">53</a>;</li> <li>in France, <a href="#Page_55">55</a>;</li> @@ -8337,7 +8297,7 @@ and proportion.</p> <li>Pompeii, wall-frescoes of, <a href="#Page_41">41</a></li> -<li>Portière, use of, <a href="#Page_59">59</a></li> +<li>Portière, use of, <a href="#Page_59">59</a></li> <li>Presses, old English, <a href="#Page_117">117</a></li> @@ -8376,7 +8336,7 @@ and proportion.</p> <li>modern European, <a href="#Page_101">101</a></li></ul></li> </ul> <ul class="none"> -<li><i>Salon à l'Italienne</i>, see <a href="#Saloon">Saloon</a></li> +<li><i>Salon à l'Italienne</i>, see <a href="#Saloon">Saloon</a></li> <li><i>Salon de compagnie</i>, origin and use of, <a href="#Page_123">123</a>, <a href="#Page_125">125</a>; <ul class="none"> @@ -8405,7 +8365,7 @@ and proportion.</p> <li>in rooms of Mesdames de France, Versailles, <a href="#Page_69">69</a>;</li> <li>purpose of, <a href="#Page_72">72</a></li></ul></li> -<li>Sideboard, mediæval, <a href="#Page_156">156</a>; +<li>Sideboard, mediæval, <a href="#Page_156">156</a>; <ul class="none"> <li>in France, <a href="#Page_157">157</a></li></ul></li> @@ -8498,7 +8458,7 @@ and proportion.</p> <ul class="none"> <li>saloon at, <a href="#Page_137">137</a></li></ul></li> -<li>Versailles, frescoes in Belvédère, <a href="#Page_42">42</a>; +<li>Versailles, frescoes in Belvédère, <a href="#Page_42">42</a>; <ul class="none"> <li>windows in rooms of Mesdames de France, <a href="#Page_68">68</a>;</li> <li>shutters in same, <a href="#Page_69">69</a>;</li> @@ -8522,9 +8482,9 @@ and proportion.</p> <li>Viollet-le-Duc, on doorways, <a href="#Page_52">52</a>, note; <ul class="none"> -<li>on mediæval house-planning, <a href="#Page_109">109</a></li></ul></li> +<li>on mediæval house-planning, <a href="#Page_109">109</a></li></ul></li> -<li>Voguë, Hôtel, at Dijon, <a href="#Page_7">7</a> +<li>Voguë, Hôtel, at Dijon, <a href="#Page_7">7</a> <span class="pagenum"><a name="Page_204" id="Page_204">204</a></span></li> </ul> <ul class="none"> @@ -8569,7 +8529,7 @@ these better suited to a cold climate is to be found in the English country hous built in the Palladian manner after its introduction by Inigo Jones. See Campbell's <i>Vitruvius Britannicus</i> for numerous examples.</p> -<p class="footnote"><a name="Footnote_2" id="Footnote_2" href="#FNanchor_2"><span class="label">[2]</span></a> The plan of the Hôtel Voguë has been greatly modified.</p> +<p class="footnote"><a name="Footnote_2" id="Footnote_2" href="#FNanchor_2"><span class="label">[2]</span></a> The plan of the Hôtel Voguë has been greatly modified.</p> <p class="footnote"><a name="Footnote_3" id="Footnote_3" href="#FNanchor_3"><span class="label">[3]</span></a> Cabinets retained this shape after the transporting of furniture had ceased to be a necessity (see <a href="#plate_3">Plate III</a>).</p> @@ -8579,10 +8539,10 @@ we refer to the private houses, not the royal palaces, of that period. Versaille more splendid than any previous palace; but private houses at that date were less splendid, though far more luxurious, than during the Renaissance.</p> -<p class="footnote"><a name="Footnote_5" id="Footnote_5" href="#FNanchor_5"><span class="label">[5]</span></a> "Si l'on dispose un édifice d'une manière convenable à l'usage auquel on le -destine, ne différera-t-il pas sensiblement d'un autre édifice destiné à un autre usage? -N'aura-t-il pas naturellement un caractère, et, qui plus est, son caractère propre?" -J. L. N. Durand. <i>Précis des Leçons d'Architecture données à l'École Royale Polytechnique.</i> +<p class="footnote"><a name="Footnote_5" id="Footnote_5" href="#FNanchor_5"><span class="label">[5]</span></a> "Si l'on dispose un édifice d'une manière convenable à l'usage auquel on le +destine, ne différera-t-il pas sensiblement d'un autre édifice destiné à un autre usage? +N'aura-t-il pas naturellement un caractère, et, qui plus est, son caractère propre?" +J. L. N. Durand. <i>Précis des Leçons d'Architecture données à l'École Royale Polytechnique.</i> Paris, 1823.</p> <p class="footnote"><a name="Footnote_6" id="Footnote_6" href="#FNanchor_6"><span class="label">[6]</span></a> It must not be forgotten that the so-called "styles" of Louis XIV, Louis XV @@ -8599,11 +8559,11 @@ doors be at least six feet from the chimney.</p> <p class="footnote"><a name="Footnote_10" id="Footnote_10" href="#FNanchor_10"><span class="label">[10]</span></a> See the saloon at Easton Neston, built by Nicholas Hawkesmoor (<a href="#plate_13">Plate XIII</a>), and various examples given in Pyne's <i>Royal Residences</i>.</p> -<p class="footnote"><a name="Footnote_11" id="Footnote_11" href="#FNanchor_11"><span class="label">[11]</span></a> See Viollet-le-Duc, <i>Dictionnaire raisonné de l'Architecture française</i>, under +<p class="footnote"><a name="Footnote_11" id="Footnote_11" href="#FNanchor_11"><span class="label">[11]</span></a> See Viollet-le-Duc, <i>Dictionnaire raisonné de l'Architecture française</i>, under <i>Porte</i>.</p> <p class="footnote"><a name="Footnote_12" id="Footnote_12" href="#FNanchor_12"><span class="label">[12]</span></a> This painting has now been restored to its proper position in the Scuola della -Carità, and the door which had been <i>painted in</i> under the stairs has been removed +Carità , and the door which had been <i>painted in</i> under the stairs has been removed to make way for the actual doorway around which the picture was originally painted.</p> <p class="footnote"><a name="Footnote_13" id="Footnote_13" href="#FNanchor_13"><span class="label">[13]</span></a> See the doors of the Sala dello Zodiaco in the ducal palace at Mantua (<a href="#plate_16">Plate XVI</a>).</p> @@ -8617,9 +8577,9 @@ as those seen in France (see the doors in the royal palace at Genoa, <a href="#p door-panels sometimes irregular.</p> <p class="footnote"><a name="Footnote_17" id="Footnote_17" href="#FNanchor_17"><span class="label">[17]</span></a> The inlaid doors of Houghton Hall, the seat of Sir Robert Walpole, were noted -for their beauty and costliness. The price of each was £200.</p> +for their beauty and costliness. The price of each was £200.</p> -<p class="footnote"><a name="Footnote_18" id="Footnote_18" href="#FNanchor_18"><span class="label">[18]</span></a> See a room in the Ministère de la Marine at Paris, where a subordinate door is +<p class="footnote"><a name="Footnote_18" id="Footnote_18" href="#FNanchor_18"><span class="label">[18]</span></a> See a room in the Ministère de la Marine at Paris, where a subordinate door is cleverly treated in connection with one of more importance.</p> <p class="footnote"><a name="Footnote_19" id="Footnote_19" href="#FNanchor_19"><span class="label">[19]</span></a> As an example of the extent to which openings have come to be ignored as factors @@ -8634,7 +8594,7 @@ Vertemati, near Chiavenna, and at the Villa Giacomelli, at Maser, near Treviso. This practice accounts for the fact that in many old architectural drawings of Italian interiors a blank wall-space is seen over the mantel.</p> -<p class="footnote"><a name="Footnote_21" id="Footnote_21" href="#FNanchor_21"><span class="label">[21]</span></a> It is to be hoped that the recently published English translation of M. Émile +<p class="footnote"><a name="Footnote_21" id="Footnote_21" href="#FNanchor_21"><span class="label">[21]</span></a> It is to be hoped that the recently published English translation of M. Émile Bourgeois's book on Louis XIV will do much to remove this prejudice.</p> <p class="footnote"><a name="Footnote_22" id="Footnote_22" href="#FNanchor_22"><span class="label">[22]</span></a> It is curious that those who criticize the ornateness of the Louis XIV style are @@ -8661,7 +8621,7 @@ are not so fine architecturally as a domed or coved ceiling.</p> below it, see <a href="#plate_44">Plate XLIV</a>.</p> <p class="footnote"><a name="Footnote_29" id="Footnote_29" href="#FNanchor_29"><span class="label">[29]</span></a> Burckhardt, in his <i>Geschichte der Renaissance in Italien</i>, justly points out -that the seeming inconsequence of mediæval house-planning in northern Europe was +that the seeming inconsequence of mediæval house-planning in northern Europe was probably due in part to the fact that the feudal castle, for purposes of defence, was generally built on an irregular site. See also Viollet-le-Duc.</p> @@ -8674,7 +8634,7 @@ Pienza and of the ducal palace at Urbino.</p> <p class="footnote"><a name="Footnote_32" id="Footnote_32" href="#FNanchor_32"><span class="label">[32]</span></a> For a fine example of a hall-niche containing a statue, see <a href="#plate_30">Plate XXX</a>.</p> -<p class="footnote"><a name="Footnote_33" id="Footnote_33" href="#FNanchor_33"><span class="label">[33]</span></a> In large halls the tall <i>torchère</i> of marble or bronze may be used for additional +<p class="footnote"><a name="Footnote_33" id="Footnote_33" href="#FNanchor_33"><span class="label">[33]</span></a> In large halls the tall <i>torchère</i> of marble or bronze may be used for additional lights (see <a href="#plate_32">Plate XXXII</a>).</p> <p class="footnote"><a name="Footnote_34" id="Footnote_34" href="#FNanchor_34"><span class="label">[34]</span></a> Much of the old furniture which appears to us unnecessarily stiff and monumental @@ -8692,387 +8652,6 @@ have been marked by a retrospective tendency." <i>The Architecture of the Renais in Italy</i>, by W. J. Anderson. London, Batsford, 1896.</p> </div> - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Decoration of Houses, by -Edith Wharton and Ogden Codman Jr. - -*** END OF THIS PROJECT GUTENBERG EBOOK THE DECORATION OF HOUSES *** - -***** This file should be named 40367-h.htm or 40367-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/3/6/40367/ - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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