UC-NRLF GIFT OF MICHAEL REESE STAIRCASE IN JACOBEAN STYLE. From "Examples of Ancient and Modern Furniture and Decoration," by B. J. I albert. (By permission of Mrs. B. J. Talbert.) FroiitiTpifcr. Ornamental Interiors Ancient 0= Modern by J. Moyr Smith END OF GAI-I.EKV. MASTER'S LODGE, LEVCESTER HOSPITAI. WARWICK CROSBY LOCKWOOD AND CO. 7, STATIONERS' HALL COURT. HTDGATF. HILL 1887 \^A// rights reserved'] r &3'+'i!>- Frif.ze fhom thr Lolvue. Sketched hv J.M.R. PREFACE. ^tJNlVERsiTT, HIS book is intended to show various specimens of modern deco- ration ; and as all modern work is founded more or less on ancient examples, it has been thought well to prefix a brief account of the systems in use among ancient nations. Many of the illustrations have already appeared in Decora- tion, the monthly magazine of the decorative arts, published by Sampson Low & Co. Some have been done specially for this work, while for others the author has been indebted to several publishers, art manufacturers, and importers of artistic objects, whose names are attached to their respective contributions. The literary part of the work has received enhancement of interest and value from the quotations which have been made in it from lectures and articles by Mr. John G. Grace, Mr. Edward Armitage, E.A., and others whose names are given in the book. The Author desires to express his thanks to the various architects, decorative artists, firms of art decorators, and makers of artistic furniture, who by their courtesy have enabled him iv PREFACE. to inspect and describe manj- specimens of artistic work not usually made free to the public. Though in some parts of the work attempts have been made to give some information concerning artists and manufacturers, the book does not pretend to be either a dictionary of decorative artists or a directory of art manufacturers. Many names are necessarily omitted which some people may think of equal importance with those mentioned. The Author believes, however, that he has taken fairly representative names both in the department of design and in that of practical workmanship ; and while he has not pretended to exhaust the list of those by whom good work is produced, he has in no case deliberately suppressed names likely to aid in the illustration of his notes on Ornamental Interiors. '^ttfl i^^>rt> The Akkival." A Decorative Panel, paiuled by J. M.S. for Mr. Joy, Boston. LIST OF PLATES. I. II. III. IV. VI. VII. VIII. IX. X. XI. XII. XIII. XIV. XV. XVI. XVII, XVIII. FACING PAGE Jacobean Staircase By B. J. Talbert . (Frontisjnece) Restoration of the North-West Angle of the Court at Khorsabad. By James Fergusson . . . . .16 Ancient Egyptian Furniture ...... 18 Ancient Egyptian Furniture . . . . . .21 MOKNING-ROOM and CONSERVATORY IN PoMPEIAN StYLE. By Henry W. Batley 32 Mediaeval Furniture from the Ninth to the Thirteenth Century .......... 36 Room at Fontainebleau ....... 40 Bedroom of Pope Pius VII. at Fontainebleau . . .42 Salle du Trone at Fontainebleau ..... 44 Wall Decoration. Designed for Jeffrey & Co. by L. F. Day 54 DiNiNG-RooM Fireplace. By B. J. Talbert .... 64 Boudoir of Marte Antoinette at Fontainebleau . . 90 The Cedar Drawing-Room at Warwick Castle . . .92 Drawing-Room Decoration. By J. Moyr Smith ... 96 Drawing-Room Decoration. By Joseph Sharp . . ^ 100 Drawing-Room Decoration. By Fred. Margetson . . 102 Drawing-Room Decoration. By J. T. Jackson . . . 104 Dining- Room Decoration. By Fred. Margetson . . .114 Dinino-Room Decoration. By J. White .... 120 vi LIST OF PLATES. PLATK XIX. DiNiNG-RooM Decoration. By Richard Q. Laiic . XX. Library Decoration. By A. L. Grimshaw XXI. Hall or Dining- Room. By F. J. Kennard XXII. South Wall of a Studio. By J. M. S. XXIII. Interior of Smoking-Room . XXIV. Oriental Furniture .... XXV. Japanese Screen . . . . XXVI. Japanese Screen .... XXVII. The Blue Drawing-Room, Buckingham Palace XXVIII. State Dining-Room, Buckingham Palace, looking towards Approach Gallery . . . . . . .150 XXIX. End of State Dining-Room, Buckingham Palace, looking towards Saloon . . . . . .154 XXX. The Ball-Room, Buckingham Palace ; The Crimson Drawing- Room, Windsor Castle . . . . . . . 160 XXXI. The Waterloo Chamber and Green Drawing-Room, Windsor Castle 162 XXXII. Anglo-Japanese Slow-Combustion Grate. By Barnard, Bishop, and Barnard ......... 200 FACING PMjr, janc . . 122 . . 126 . 134 . 138 . 140 . 142 . 144 . 144 _,ACE . . 148 The TiiuoxE Room, Windsor Castle. The Dinner." A Decorative Panel, painted by J.M.S. for Mr. Joy, Boston. LIST OF SMALLER ILLUSTRATIONS. Gallery in Master's Lodge, Leycester Hospital, Warwick {Title Page) . (Heading to Preface) . (Tailpiece to Preface) . (Heading to List of Plates) . {Tailpiece to List of Plates) (Heading to List of Illustrations) ( Tailpiece to List of Illustrations) . [Heading to Contents) . (Tailpiece to Contents) Frieze from the Tuileries Author's Monogram " The Arrival " . Throne Room, Windsor Castle " The Dinner " . Japanese Tailpiece " The Departure " Stained Glass Panel Stained Glass Window Screen " Legend." Decorative picture at Phoenico-Egyptian Cherubim Oriental Vase 'History." Decorative painting at the Sanatorium, Virginia Water Psychidion, or Little Psyche Epic Poetry." Decorative painting at the Sanatorium, Virginia Water A Bath-room Panel ......... the Sanatorium, Virginia Water 4 5 6 13 14 18 22 28 LIST OF SMALLER LLLUSTRATIOXS Comedy and Tragedy . Pompeian Wall Painting Ornament in Byzantine Style Sta. Maria Maggiore Ceiling in Sculptured Stone . Decoration of a Timber Ceiling Harold in Normandy, from the Bayeux Tapestry . Saxon Interior, from the Bayeux Tapestry Wall Decoration of the Salle de Leys, Antwerp Decoration of a Ceiling in Geometrical Compartments Part of a Ceiling by Bernardino Poccetti Ceiling of the Countess of Derby's Dressing-room Japanese Decoration of a Sword-hilt Over- door Decoration . Wall Paper. By Owen W. Davis Wall Paper. By C. F. A. Voysey Sunflower Frieze. By B. J. Talbert Wall Paper. By G. C. Haite Wall Paper. By C. F. A, Voysey Drawing-room Cabinet. By J. M. S. Drawing-room, By B. J. Talbert Erotideus, or Little Cupid . Ornament Style of Thirteenth Century Indian Decorative Salver Drawing-room Frieze Decoration Decoration of Small Salon at Versailles Decoration of a Small Drawing-room Ceiling Design. By Fred. Margetson Side of Chimney-piece Chimney-piece Design . Oriental Vase .... Indian Carved Furniture PA OK 29 31 38 34 30 37 38 3i) 40 \'l 43 50 51 52 56 58 59 60 61 62 64 68 76 87 88 89 97 103 105 106 107 108 LIST OF SMALLER ILLUSTRATIONS. ix PAOK Decorative Panel for Frieze ......... 109 Dining-room Decoration . . . . . . . . .112 Dining-room Recess and Fireplace. By W. Young . , . .113 Choir Seats, Abbaye of Helmsdale ....... 115 Cabinet in the Museum, Berlin . . . . . . . .116 Carved Decoration of Arch, Abbaye of Helmsdale . . . .117 Old Flemish Table in the Museum at Bruges 118 Carved Oak Screen, Abbaye of Helmsdale 119 Drawing-room Chimney-piece. By Robert A. Briggs . . . .120 Small Sideboard 122 Stained Glass Panel . . . . . . . . . .123 Taillefer Chanting the ** Song of Roland." From a Carving designed for a Broad wood Piano . . . . . . . . .124 A Library Chair 127 Stained Glass Window Screen 128 Wall Filling and Frieze. By J. 0. Harris 131 Room or Hall Decoration. By F. J. Nightingale 133 Hall Decoration. By Joseph P. Addey . . . . . . .135 Japanese Ornament .......... 136 Oriental Table for a Smoking-room . . . . . . .137 Chimney-piece. By Alf. E. Robinson 138 Parlour Decoration. By Charles W. Jackson 139 Screen of Mushrebiyeh Work . . . . .140 Oriental Table or Flower Stand ........ 142 Hall Chair 143 Indian Pottery 144 Salle de Leys, Hotel de Ville, Antwerp 145 The Grand Staircase, Buckingham Palace ...... 148 The Blue Drawing-room, Buckingham Palace . . .152 The White Drawing-room, Buckingham Palace . . . . .153 '* Sappho." One of the Figures in the Recreation Hall, Sanatorium, Virginia Wator 159 X LIST OF SMALLER ILLUSTRATIONS. PA OK " The Story of Cambuscan Bold. " Panel in Broadwood piano . . 163 Oriental Vase ........... 167 iStained Glass Window Screen ........ 168 A Painted Bedstead . . 18U " Lap me in soft Lydian airs." Panel in Broadwood piano . . . 181 A Bath-room Panel .......... 184 Mural Painting, By M. Cardon. Salle des Manages, Hotel de Ville, Brussels ........... 185 Oriental Vase 196 Liberty's Printed Fabrics 197 Specimens of Glacier Decoration ........ 203 Grate. By Barnard, Bishop, k Barnard ...... 206 Japanese Ornament. By Hokusai ....... 208 Oriental Vaso . . 220 Original Ornamental Initials to Chapters. A Japanese Taii.-i>ikr," OE Little Psyche. A sketch for a Frieze, l\v J. M. S. CHAPTER IV. EGYPTIAN DECORATION. >j#:v^;^eg|?5fY!^;^gi^<'^V^ H^ characteristics of Egyptian xJlJr^/iX^^^i p^'/J^^^^^ decoration are well-known from the many specimens which have been brought to this country, and from the engravings and photographs which have been made from those existing in Egypt. Sculpture and painting were used to enrich the interiors as well as some of the exteriors of the buildings. Both the design and the painting were fixed by traditional law, so that Plato says he could discover no dif- ference between those which were done in his day and those which the priests said were done ten thousand years before. The practice was uniform from one generation to another. The colour decorations left by the Egyptians are of various kinds : painted sculpture, wall paintings on the flat, those on mummy-cases, on mummy-cloths, on papyrus, on furniture, pottery, and glass. The colours used have, as a rule, stood the test of time, and still retain their pristine freshness. Many of the temple walls were wholly covered with figures, religious or historical emblems, and conventional ornaments. PLATE II. ru: ^glSj^ Tlploji* 1MU&- oil' &IO(SCMDV n"'")"' Specimens of Ancient Egyptian FtrKNiTUKK. '^ OF THE ' ^XTNIVERSITT, California- COLOURS USED BY THE EGYPTIANS. 19 The designs seem first to have been drawn to a small scale, and enlarged by means of squared lines on the wall with red chalk by an inferior artist; this was corrected by a more experienced artist with black chalk. The design was then cut in low relief and painted, or else painted directly on the flat wall, which had previously been covered by a clear and beautiful coat of limewash. The colours were used with a preparation of glue as a medium ; this glue, when dissolved in warm water, showed a thready texture, and dried into a horny, transparent skin. From these qualities it is supposed to have been made from hip- popotamus hides. Other mediums or varnishes seem to have been of a resinous nature, such as could be dissolved in turpen- tine. The colours used for the ordinary bas-relief and stucco- paintings are red, yellow, green, blue (of which there are two tints), and black. The ground colour of the wall was used as the white. From the Egyptian colours analysed by Professor Jahn, the hlues are said to be oxides of copper with a small admixture of iron ; none contain cobalt. The reds are red oxides of iron mixed with lime ; the yellotvs^ which are sometimes of a bright sulphur colour, appear to be vegetable colours ; the greens are formed by mixing the yellow and blue ; the bluish green is a faded blue. The colours were sometimes lightened by the addition of chalk, and are usually laid on flat without shading, black being used as the outlining colour. Men and women are painted in brownish red, the women being lighter in tint than the men ; natives of other lands than Egypt are painted yellow or black ; cattle are brown, grey-spotted, or white. " The architecture of the Egyptians," says Owen Jones, " is thoroughly polychromatic : they painted everything." Colour, like form, in Egypt was used conventionally. It is supposed c 2 2 ORNAMENTAL INTERIORS. that the elaborate lotus-headed or palm-leaved capitals origin- ated in the custom of decorating the early Atlantean or Egyptian temple pillars with real flowers and leaves ; these were after- wards copied into stone and painted into a conventional imitation of the original plants. In the lotus the outer leaves are painted dark green, the inner leaves a lighter green, while the purple and yellow tones of the inner flower are represented by red leaves floating in a field of yellow, which gives the eff'ect of the glowing bloom of the original. The outer leaves of the lotus which were painted green in the Ptolemaic, Macedonian, or late period, were painted blue in early times. Red, blue and yellow, and black and white, were the early colours ; green, purple, and brown came into use later. Gold was used for gilding, and books of gold leaf have been discovered in some of the tombs. The obelisk of Hatasu was gilded on all four faces. The bronze plates of the temple doors were often gilded, and so were the winged-globe decorations. The British Museum contains, besides painted sculpture or bas-reliefs, examples of the flat wall paintings of the Egyptians; one shows an entertainment. This is divided into two com- partments, one over the other; the ladies and gentlemen are seated on chairs and hold lotuses in their hands, while slaves are offering them wine-cups. At the left-hand side are a couple of sideboards, on which are displayed vases, plates, baskets, birds, fruits, and flowers. Other pictures represent droves of cattle which are brought as tribute ; another shows an Egyptian with his lady engaged in taking birds. He stands in a canoe with a boomerang in his hand ; from the lotus and reed plants growing around, the sport is seen to be taking place on one of the fens. Another design represents a fishpond and garden, which is merely a geometrical plan with the trees arranged conventionally around it. f ~ OF THE ^^ TJITIVERSITX^ CALIFORNIA PLATE III. ;? = SPKOTMKKS OF AKflF.VT FvivrnAV FrBNITUBB. EGYPTIAN DECORATION. 21 The coiling decoration was subordinated to the construction, and its plan was in many instances determined by the lintels and by the size of the flat stones that formed the ceiling proper. Some of these were very large ; thus Diodorus tells us that the ceiling of the tomb of Osymandias was of one stone ; it was powdered with stars on a blue ground. Some ceilings were decorated with coloured bas-reliefs, which with the usual appropriate symbolism of Egypt, bore some reference to the vault of heaven. At Denderah was the famous zodiac, which formed the ceiling of part of that temple. Hieroglyphics, conventional ornaments or decorations founded on the forms in the vegetable kingdom, vividly coloured, were also used. In the great hall of Karnac, which is lighted by a direct clerestory, the pillars from base to top of capital are sculptured and painted in vivid colours. The Egyptians seem to have cared little for exterior effect, while they lavished on the interiors of their temples forests of sculptured and painted columns, and covered all their wall and ceiling spaces with symbolical paintings. Those who look casually at Egyptian art may be inclined to think it monotonous, but study discloses an immense variety in the constructional as well as in the decorative forms. The architectural style ranges from the simplicity of the Doric-like capitals of Beni-Hassan and of the southern temple of Karnac, through the exceeding varied phases of those of the great temple at Karnac, those of Kom-Omba, of Philae, of Edfou, and many others, down to the more lax Ptolemaic period of Den- derah. That this variety was not confined to their architectural forms, but ran through all their domestic furniture, may ~ be gathered from the specimens delineated on Plates 11. and III. " Epic Poetet." Dworative Painting on gold ground, done by J. M. S., at the Sanatorium, Virginia Water. CHAPTER V. GREEK DECORATION. @|ARLY examples among the recent discoveries at Tiryns, or Tirynthos, disclose a sculptured ceiling with patera border and a filling of scroll-work, made by repetitions of a form resembling the letter S linked into each other and carried all over the field ; the space between the scrolls being filled with what seems to be a modifi- cation of the lotus pattern. A pattern similar to this occurs in Egyptian and in Danish ornament. The precision and elegance of this ornamentation contrast markedly with the wall paintings DECORATIONS OF THE PALACE OF TIRVNS. 23 of another part of the palace where the forms are the rudest possible, and are indeed greatly inferior to Mexican and Peruvian, or to what we call ''savage" ornament. It is not safe to assume because it is superior in design and finished execution that this work is later than the ruder forms discovered around it. The contrary is just as likely to be the case, for the decorative arts had their rise and decadence more than once. Like some series of coins, ornament occasionally shows marks of gradual degeneration, and the ruder works are not, as usually supposed, the earlier, but are indeed later than those of a more artistic character. This carved ceiling of Tirynthos, like some of the work discovered at Mycense, may mark a phase of ornament during a high tide of Pelasgian or Germanic civilisation, and the ruder forms discovered beside it may be the first attempts of the early Dorians who superseded the Pelasgoi in the Peloponnesus. Some of these rude Tirynthian designs have little resem- blance to later Greek work, but show a strong family likeness to Eunic or the ruder forms of Celtic, such as have been discovered in some parts of Scandinavia. Among the forms, however, is a kind of guilloche or curled wave pattern, which was afterwards refined and used in late Greek art. The figures show various degrees of archaism: in one vase painting the men and horses are shown by very conventional forms which bear but slight resemblance to their subjects ; in another example, however, representing a man dancing on a bull, the work is decidedly a vigorous though rude imitation of nature. In the early Tirynthian wall decorations five colours are used : white and black, and red, blue, and yellow. The colours are not mixed to form intermediate shades or secondary colours. Greek ornament, unlike the Egyptian, shows very little symbolism ; the Greeks evidently preferred sculptured or painted figures for the purpose of indicating their thoughts in this respect. 2+ ORNAMENTAL INTERIORS. The earliest decorations of the Greeks are, in many instances, identical in form with Danish, Norse, and Celtic designs, while they show the same colours as early Egyptian ornament. Later work shows the following combinations : chocolate and black ; buff and black ; buff, brown, and black ; buff, brown, black, and white ; reddish brown and black ; black and white ; blue, red, and gold ; green, red, and blue ; buff or stone-colour ground with blue or red ornament. The wall decorations of the second Greek period may have been similar in style and colour to those of their pottery work, the ground of which was the natural colour of the clay, and the decoration in dark brown or black ; these early designs are usually silhouettes, and represent animals, birds, and early types of distinctively Greek ornament, such as scale-work, key, wave, zigzag, rosette, and similar patterns. In the rather later work there is a more careful outline ; figures are introduced, and the ground colour is black and glossy, while the figures are in buff, red, and white. Many clay images found in Greek tombs show traces of bright primary colours and gold. Besides colours laid on the walls, the early Greeks had, as we have seen, elaborate metal decoration. (Metal in Decoration^ p. 7.) Ivory and amber were also used as materials for pro- ducing rich decorative effects. Of the palace of Menelaus at Sparta, Homer tells us of the dazzling roofs ''resplendent as the blaze of summer noon or the pale radiance of the midnight moon." Inside, vases of gold and silver are seen, and '' above, beneath, around the palace shines the sunless treasures of exhausted mines ; " the roof or ceiling is inlaid with the spoils of elephants (that is ivory), and enriched with studs of shining amber. As the Greeks had abundance of splendid embroidery, this also formed part of the decoration of the rooms as well as of the dresses of the men and women. In many cases this embroidery was either enriched with threads of gold or had thin gold GREEK PICTORIAL DECORATIONS. 25 plates in the forms of stamped or engraved paterae attached to it. It is to the later Greeks that Europe owes the science of proportions, delicacy of detail, and perfection of execution. The germs of many or of most of their architectural and orna- mental forms are found in other lands; thus Beni-Hassan and the southern temple at Karnac supply the prototype of the Doric order ; Asia the volutes of the Ionic ; Phila3 and Kom-Omba give the idea of the two kinds of Corinthian used in the Temple of the Winds and the monument of Lysicrates. To Assyria the Greeks owe their honeysuckle and many other of their ornamental forms; to Egypt the paterse, spirals, diapers, and meanders. In later work the Greeks boldly stained and gilded and painted the marble walls, pillars, and beams of the temples, covering the flat portions, such as soffits, with delicate patterns in primary colours and gold, the favourite ground colour being blue. But the principal decorations after a time were pictorial representations which were either painted on panels affixed to the wail or done direct on the marble or plaster. One of the earliest mentioned of these wall decorations is a battle piece painted by Bularchus about 716 B.C. Candaules paid for it its weight in gold, or as much gold as would cover it. In the Heraion of Samos was a picture representing the passage of Darius across the Bosphorus. It was dedicated to Hera by Mandrocles, the architect or engineer who built the bridge of boats. / One of the famous decorative works of Magna Grsecia was a magnificent purple shawl or pallium, which probably corre- sponded, in the use made of it, with the mediaeval tapestries. It was embroidered with the representation of gods, men, and cities, the cities being allegorically shown as human forms. Above was the city of Susa, and below were figures of the 26 ORNAMENTAL INTERIORS. Persians ; in the middle were the gods of Olympus Zeus, Hera, Themis, Athena, Apollo, and Aphrodite. This work was so highly valued, that it was sold about 400 B.C. for 29,000 sterling. Among the famous early painters or decorators and artists in monochrome were Philocles of Egypt ; Cleanthes, Ardices, and Cleophantes of Corinth ; Telephanes of Sicyon ; Hygiemon, Dinias, Charmadas and Eumaras. Cimon of Cleonaj is said to be the first who took oblique views of the figure and gave natural folds to draperies. Sicyon and Corinth were famous for vase and furniture painting, and -^gina was also well advanced in the decorative arts. The fame of Athens in this respect was not remarkable till the coming of Polygnotus from Thasos about 463 B.C. Before his time paintings were used for decorating furniture and architecture and for the emblems used in religious mysteries ; but he developed the resources of the art and executed some very celebrated wall-decorations in the Poicile or variegated gallery of the Ceramicus at Athens. He is said to have excelled in idealising his subjects. He executed two important decorative pictures for the Lesche, or public place of entertainment attached to the temple at Delphi. Pausanius says that one side was occupied by a picture of the Greeks at the destruction of Ilium. On the other was repre- sented the visit of Odysseus to Hades. These were called the Iliad and Odyssey of Polygnotus. Each composition was arranged in rows one above the other after the manner of the Egyptian painting referred to on page 20, or as if various parts of the frieze of the Parthenon were placed over each other instead of being in a continuous row. Each group \^as thence a distinct picture, and each figure would naturally be studied for its decorative effect individually, as well as for its forming part of a harmonious whole. % It is not improbable that a rough copy, or at least a reminis- cence, of one of the works of Polygnotus occurs in one of the GREEK DECORATIVE PAINTERS. 27 \ases in the Naples Museum. The subject is the taking of Troy, with A'ias seizing Cassandra, who is at the feet of the statue of Athena called the Palladia. But this must be very inferior to the original work, for Polygnotus, who painted the figure of Laodice from his sweetheart Elpinice, threw a fine expression into the countenance, and showed the form of the limbs through the drapery. This last effect is indicated, in a way, in the vase painting, as may be seen in the figure of Laodice, who threatens with a club the kneeling warrior. Other distinguished decorative figure artists who were contemporaries of Polygnotus were Micon of Athens, Paneenus the nephew of Phidias, and Dionysius of Colophon. Panaonus painted the decorations of the throne of the Olym- pian Zeus of Phidias, and of the wall round the throne of the statue. The subjects were Atlas supporting heaven and earth, with Heracles beside him ; Theseus and Pirithous ; Grsecia and Salamis as allegorical figures ; Heracles and the Nemcean lion ; Cassandra and Aias, and other subjects taken from Greek history and tradition. Apollodorus introduced light and shade ; Zeuxis introduced a grand style of form, and decorated the palace of Pella, for which he was paid 1,600, which was a small sum compared with the prices obtained by painters some years later. Parrhasius is said to have combined in some of his works the invention and expression of Polygnotus, the design of Zeuxis, and the effect of Apollodorus. One of his pictures was valued at 8,500. Timanthes, Eupompus, and Aglaophonw^ere also distinguished painters of the period. The painters of the Alexandrian period were Pamphilus, Apelles, Melanthius, Protogenes, Nicomachus, Aristides, Pausias, Nicias, Euphranor, Athenion, and Asclepiodorus. Most of these painters got very large prices for their work. Nicias was offered 14,000 for one of his pictures; he declined this amount, and presented the work to the city of Athens. 28 ORNAMENTAL INTERIORS. At this period not only were walls highly decorated, but statues were often tinted all over, but in most instances the marble representing the flesh was simply varnished, and the colouring was only applied to the eyes, eyebrows, lips, hair, the dress, and ornaments. Bath Room Panel. Sketched by J. M. S. Masks of Comedy and Teaqedy. A Carved Frieze, sketched by J. M. S CHAPTER VI. ROMAN AND POMPEIAN DECORATION. HEEE are three periods of Eoman painting. The first dates from the conquest of Greece till the time of Augustus, when the artists were usually Greeks. The second period extends from the time of Augustus to that of Diocletian, that is, from the beginning of the Christian era till the latter part of the third century. The third reaches to the time of the removal of the seat of empire to Byzantium. The decoration usually consisted of ornamental forms diver- sified by portraits, figures, and landscapes. Mosaic was used for the floors and sometimes for the walls. The ceilings were gilded, painted, and occasionally inlaid with ivory* The usual medium employed in painting was a species of distemper made of egg, gum, or glue, which when hard completely resists water. No decorative works which are painted entirely in the fresco have been discovered in Pompeii, though the plain parts of the walls were often done in tinted fresco. Another medium was 30 ORNAMENTAL INTERIORS. wax, which was prepared so as to work with water colour. In encaustic painting the wax colours were burnt in by going over the work with a hot iron. The substances used to paint upon were stone, wood, clay, plaster, parchment, and canvas. The last was not used till the time of Nero, who had his portrait painted on a canvas 120 feet high. The usual colours for grounds were red, inclining to orange, orange, blue, black, and white. Favourite combinations are yellow, green, and orange on black ground ; orange, blue, green, and red on white ground; golden yellow in shades, on red ground; yellow in shades on blue ground; blue and green on yellow ground ; red, blue, green and brown on orange-buff ground. The colours, which are supposed to be similar to those used by the Greeks, are almost exclusively minerals ; the slimy matter of the purple snail, however, was used, mixed with chalk, and a vegetable charcoal formed the black. By the kindness of Messrs. Chatto and Windus, the publishers of Eosengarten's "Handbook of Architectural Styles," we are enabled to give a very characteristic example of Pompeian interior wall decoration. Though vaulted roofs were not used by the Greeks, they were common enough among the Romans. Many of these vaults were done in concrete and decorated with sunken panels to which bronze ornaments were attached ; the great dome of the Pantheon was done in this manner. Stucco made with marble powder and chalk was used by the Romans for the enrichments of cornices, walls, and ceilings. They made use, for the decoration of flat surfaces, of an elegant kind of ornament, graceful in line and only slightly raised above" the surface of the flat ground into which it retired in parts, giving a very tender and delicate effect, which was afterwards imitated with great success by the architects and designers of the Italian Renaissance. POMP EI AN DECORATION. 31 It was a series of these foliated and tinted enrichments, dis- covered in the baths of Titus, that supplied Eaphael with the style of decoration he adopted in the loggias of the Vatican. In ordinary Eoman houses the chambers constituting the rooms, properly so called, were generally very small ; the chief PoMPEiAN W^ALL Paintino. From the Pantheon at Pompeii. (From Rosengarten's "Architectural Styles.") apartment, called the atrium^ was really a court partly roofed in, but open to the sky in the centre. Most of the Pompeian houses have lost their ceilings, and we are only able to judge of their appearance by fragments and by the decorations on the walls, with which no doubt they would be in harmony. Of these Pompeian decorations, which furnish an 3 2 ORNAMENTAL INTERIORS. almost inexhaustible variety of graceful fantasies, a writer in the " Eevue des Arts Decoratifs " says : *^ The products of the vegetable kingdom are mingled with representations of real or fabulous animals. The colours, mostly vivid, are never unsuitable ; and the design, always elegant, seeks the decorative combinations most agreeable to the eye. The paintings of Pompeii offer in this respect an immense variety. Sometimes it is cattle or horses that run among foliated scroll- work, alternated with flowers of impossible dimensions. In others we see winged horses terminating in the stalks of plants or of large leaves; Psyches with butterfly wings appear amidst the foliage ; goats or stags bound across the branches ; lions, hip- pocamps, sphinxes, griffins, combine themselves with tragic or comic masks ; dolphins carry little winged boys ; sirens float on the water, mingling with peacocks and aquatic birds which play among the vine-leaves ; fish of fantastic colour ; insects posed on stalks quaintly encircled by convolvulus; figures seated on the calix of flowers ; female dancers enwreathed by gracefully framed panels ; cameos suspended by ribbons amidst architecture of variegated colour, give to these decorations the aspect of an imaginary world created for the pleasure of the eye, where nothing is logical, where nothing is possible, but where all is charming." Though showing in parts distinct traces of modern English design, the Morning Eoom and Conservatory, by H. "W. Batley (Plate lY.), is a very successful revival of a Eoman interior in the days when mosaic, ivory inlay, ebony, cedar, and other woods, gold, silver, and bronze, richly embroidered tapestries, and elaborate paintings formed the leading decorative materials. i Oh P^ \ Oenament IX Byzantine Style. Sketched by J. M. S. CHAPTER VII. CLASSIC, BYZANTINE, GOTHIC, AND RENAISSANCE. HE introduction of Christianity brought a new style of archi- tecture and decoration. It grew from the ancient styles, and was indeed at first only a modifica- tion of classical work, the pillars of the pagan temples being used in many instances to decorate the Christian basilicas and churches. Though in some respects modernised, Sta. Maria Maggiore at Eome is perhaps the finest example of this early union of the art of old pagan Eome with the forms of Christian architecture and decoration. For the beautiful view of this church we are again indebted to the oblig- ing kindness of Mr. John Murray, the publisher of Fergusson's "Handbook of Architecture," to which splendid work it forms one of the many admirable illustrations. With the removal of the seat of the empire to Byzantium came new elements to D 3+ ORXAMENTAL INTERIORS. modify tlic old forms, and thus bj' a Vciriety of causes the Byzantine, Romanesque, and Lombardic styles were evoh^ed. The use of domes and cupolas in Byzantine art and the introduction of Christian emblems naturally led to changes in the methods of decoration. The effigies of the saints, done in Sta. Maria Maggioee. (From Ferffusson's " Handbook of Arcliitor-turp," by permission of Mr. John Murray.) mosaic on gold grounds, took the place of the light arabesques Avhich had decorated the pagan buildings. The new style was fully as rich as the old, but there was more than a touch of erudeness in its design and of barbarism in the lavish splendour of its gold and gem-spangled costumes and decorations. From the east, west, north, and south came to l^yzantium GROWTH OF THE POINTED STYf.E. 35 tlic elements of the new forms of design. Tlie hardy Viering or Yikiug, wlio formed one of the famous Yarangian Guard, brought with him from Scandinavia, from Scotland, or from England his Eunic, Celtic, or Anglo-Saxon ornaments. From Ascalon, from Antioch, from Bagdad, came the treasures of the East, and the spoils of Arabia and the South came to modify and change the design which had been imported from the West. Though the Byzantine style exerted a decided influence on the decorative work of Western Europe, it was modified rather tlian imitated by the architects and ornamentists of Italy and France ; still we find in St. Yital's at Eavenna, and St. Mark's at Yenice, a very complete adoption of the semi-Arabic, semi-Eoman style that had become fashionable in Byzantium, Generally, however, in Western Europe the cupola style of construction, with its accomjDanying method of decoration, was superseded by the square or oblong vault ; and though painting was used for walls and ceilings, sculpture or carving played a still more important part in the decoration of the ecclesiastical interiors. Beginning Avith the simple semicircular Saxon vaults, and passing through a varied series of groined, ribbed, and richly bossed arches, mediaeval decoration reached its culmination in the pendulated style of vaulted ceiling, of which Henry YII.'s Chapel is so beautiful an example. England is peculiarly rich in specimens of the various periods of stone decoration. The Norman period is illustrated by the chapel of Newcastle Castle and the early portion of Durham Cathedral. Temple Church shows a favourable example of the Early Pointed : the Chapter-house of Salisbury Cathedral, of which the roof is supported by a single central pillar, from which the vaults branch out towards the walls, gives a very picturesque and refined example of a later period. Still later are the roofs of the choir at Oxford, of the Beauchamp and Chantrey Chapels I) 2 3f' ORNA MENTA L INTERIORS. at Warwick, of the cloister at Gloucester, St. George's Chapel, Windsor, and Henry VII. 's Chapel at Westminster. In many of these buildings the . decoration of the walls is somewhat meagre, the builders seeming to rely on the stained- glass windows rather than on carved work for rich effect. In others, however, the walls are elaborately panelled, and thus the richness of the roof is continued to the floor, which is usually decorated with tiles of excellent colour and refined and spirited drawing. In other buildings wooden roofs are used instead of stone Ceiling in Sculptueed Stone (1518). (From the Chapel of the Maison des Lallemand, at Bourges.) vaults. Of these, fine examples are to be found at Westminster Ilall, Wolsey's Hall at Hampton Court, St. George's Hall, Windsor, Christchurch Hall, Oxford, Middle- Temple Hall and Gray's Inn Hall, London. The style of furniture in use from the tenth to the thirteenth century is shown in the examples given in Plate Y. Most of these are taken from ancient manuscripts, but the bronze chair of Dagobertj shown in the middle of the lower compartment, is still in existence, and has a place among the antiquities of the Louvre. Side by side with these specimens of the vaulted or pointed PLATE V. ^^^^-^^i^^^^ PnJiW'^'n nmnnon n FUBNITURE FEOM TeXTH TO THIRTEENTH CeNTURT. ITXNIVERSIT" CALIFORNIA!: MEDIAEVAL INTERIORS. 37 style of design, were flat panelled ceilings of wood in which the moulded beams were boldly shown ; sometimes the panels between the beams filled with carved or painted designs, occa- sionally these were carved, painted, and gilded as well. The walls of such rooms were hung with tapestry more or less rich and ornate according to the wealth and taste of the owner. Each period of design would of course, to a certain extent, possess its own style, though the more expensive sorts of tapestry were imported from abroad, and would not always par- take of the characteristics of the home style of design. Decoration of a Ceiling. Showing the beams and joists. Sixteenth century. But in ordinary wall coverings, the Saxon embroidered or wove his fanciful borders with elaborate interlacings, and filled the field of his tapestry with check or diaper, or with grotesque animals. The Norman ornaments which appear in carvings, such as zigzag, billet, dog's-tooth, bird's-beak, grotesque heads, and intertwining dragons, would be applied equally to the embroidered or woven wall decoration. Of rather later decorations we have examples in ancient illuminated manuscripts, while the Bayeux tapestry presents us with a specimen of the wall decoration of the early J^Tormans. The Bayeux tapestry fulfils the same purpose as the 38 OKiXAMEXTA L IXTERIORS. sculptural decorations of Assyria : it is a pictorial history of great events. It was probably intended for a dado-band, or frieze to tapestry-covered walls. It is about two hundred and fourteen feet in length, so that it could go all round a hall seventy feet long by thirty-seven feet in breadth. It gives UP, in a conventional way, views of the houses of the Saxons and Normans. In the illustration on this page is shown a slvctch of the house of a Norman noble, and on page 39 is delineated an xVnglo-Saxon interior of the period. This kind of storied tapestry was long a favourite decoration Harold at iuk Coukt of tiik L'oitnt of roNTitiEU. (Fruni tln' B;iyt_ux Tapestry.) in the halls and pavilions of the kings and nobles ; that some cheaper kinds of hangings were in use among humbler folk down to the sixteenth and seventeenth centuries is shown by a tale of the time of Francis I. of J^rance, in which the wall hangings in the chamber of a muleteer's wife are referred to as a thing of course. The later styles were lavishly supplied with magnificent and appropriate wall decorations from Byzantium, India, Italy, Sicily, Spain, Germany, and Flanders. Many of these wall hangings, besides being exquisite speci- THE USE OF TAPESTRIES. 39 mens of ornamental design, were magnificent from the richness of the colours, the beauty of the material, and the gloAving splendour of the gold which formed part of the design. From the twelfth to the seventeenth centuries, rich materials, ranging from damask and silk to figured velvet, adorned the walls of the ornamental interiors of the houses of the great. The use of figures or pictorial representations as a means of decorating hangings for apartments was sometimes carried to great perfection. The monks were the early weavers, and their IXTEKVIKW WITH KiNG EdWARD OX HaUOLD S RETURN FROM NORMAXDY. (From the Bayeux Tapestrj'.) work was at first used for church decoration, but the noble chatelaines of neighbouring castles soon found means to possess specimens of these rich pictorial hangings, and not content with subjects drawn from the Old and New Testament, demanded scenes borrowed from the epics of chivalry or the alluring fables of pagan antiquity. These monastic factories lost their importance in proportion as lay factories were established, and as those of Flanders and Artois came again into the possession of that renown which they had won in the day of Rome's power. Specimens of these 40 ORNAMENTAL INTERIORS. Flemish and Artesian tapestries, woven during the Middle Ages, may be seen at St. Mary's Hall, Coventry, at Wolsey's Hall, Hampton Court, and in the South Kensington Museum. Charles I. of England established a manufactory at Mort- lake, and the Gobelins of France have long been famed all over the world. Within the last few years a tapestry- weaving work has been established at Windsor, which has produced some excel- lent specimens. In early times the tapestries descended to the floors, but later a panelled dado of wood usually filled the lower third or Chables v. taking the Oath on his entry into Antweep. Forming part of the decoration of the Salle de Leys, Hotel de Ville, Antwerp. fourth part of the walls' height ; above this was displayed the beautiful pictorial fabrics from the looms of Arras, Aubusson, or Gobelins. Sometimes the tapestries were framed as pictures as shown in Plates YI. and VII. In the Hotel de Ville of Antwerp, Baron Leys has adopted this dado treatment for the decoration of the mile which bears his name, with this difference, however, that the subjects, which relate to the ancient history of the city, are painted, and not woven, though the style adopted in the painting is in some respects an imitation of the style of mediaeval tapestries. ^\ LII X^' OF THE 'XJNIVERSIT' OALIFOR^^ IlENAISSANCE AND ITS MODIFICATIOXS. 41 Another good example of this treatment, which has become not uncommon in decoration, is shown in the Salle de Manages of the Hotel de Yille, Brussels. (See Illustration, page 181.) While one branch of art in England followed the develop- ment of the Gothic or Pointed style, another went to modify or familiarise the Classic. The Eenaissance which sprang up in Italy spread in course of time over France, Spain, and Germany, and reaching England, proceeded to work some curious transformations on the prevail- ing style. By alliance with the Tudor or domestic phase of the Gothic of the period, it begot the style called Elizabethan. Bidding itself by degrees of the Gothic element and approaching more nearly to the Classic, the national style passed through the phases of Jacobean and Carolian towards the style of Queen Anne. This branch of English decoration gave us such interiors as those of the Bodleian Library at Oxford, Haddon Hall, the Merchant Taylors' and Leathersellcrs' Halls, Barber-Surgeons' Court-room, Whitehall Chapel, and those of many baronial halls in England and Scotland. In France the classic revival, or Eenaissance, produced the fine interiors of Fontainebleau, of which the Salle du Trono (Plate VI.), the bedchamber of Pope Pius VII. (Plate VII.), and the other apartment illustrated on Plate VI., are good examples. They show besides the fluctuations of the style from the time of Francis I. to that of Louis XV. The Salle des Fetes of the same building has ten deeply set and arched window openings, five being on each side of the apart- ment. The spaces above and between the window arches are richly ornamented with allegorical figures and shields. The sides and arched soffit of the windows are adorned with nude classical subjects framed in carved mouldings. A high dado, panelled and carved, goes all round the room. The ceiling is flat, but is ornamented with three rows of deeply sunk octa- 42 OI^.VA MENTA L INTERIORS. gonal panels, richly moulded, carved, and embellished with gilded and silvered ornaments. The old portion of the Louvre and the Tuileries, Avith the chateaux of Chambord, Ecouen, and Anet present us with other excellent examples of early French Kenaissance, which had able exponents in Delorme, Lescot, Jean Goujon, Cousin, and others. A French writer, whose work I translate and condense, gives the following account of Renaissance painted decoration : " Though Renaissance was supposed to be a return to the artistic methods of antiquity, the style was nevertheless marked DeCOUATIOX of a ('KllJXd IN ( Ikc JMKTUirA:, CoMl'AETMKXTS. Italy, Sixteenth Century. by a great deal of originalit3^ The admiration of ancient work was tempered to the requirements of modern existence, and thus a new style was evolved. " The arabesques, grotesques, and other decorations of the Roman school were to a great extent founded on ornamental forms discovered in the ruins of Puzzeola, at Ba'ie, and at the baths of Titus at Rome ; these transformed the decorative style during the first par.t of the sixteenth century. The ornament used is really a curious mixture of such incongruous materials as statues, satyrs, masks, Cupids, animals, monsters, little temples, plants, flowers, candelabra^ lamps, armour, thunderbolts, trellis-work. THE RENAISSANCE IN ITALY. 43 chariots, aviaries, and otlier objects, mingled with scroll-work, hanging draperies, festoons, and other purely ornamental forms. '' Eaphael and his pupils made great use of these in the decorations executed for the reigning pope. After the sack of Kome, these painters were dispersed over Italy, and carried with them their renascent style. Giovanni d' Udine had carried out llaphael's designs, and was quite master of his decorative style. The same may be said of Julio Komano, who, however, always Part of a Ceilixg. Desip^ned by Bernardino Poccetti. gave more importance to figures than to ornamental forms in his decorations. Other decorative artists of the period were Baldassare Peruzzi, and Bernardino Poccetti. Baldassare was both painter and architect, and contributed a good deal to the establishing of the newly revived style. He was to some extent the originator of that perspective style of painting ceilings in which architectural forms are represented in perspective exactly as they might appear when viewed from a standpoint on the floor of the apartment ; but he was above all an excellent designer of grotesques or arabesques. " Bernardino ^vorked at first with Yasari, and is mentioned as 44 ORNAMENTAL INTERIORS. a painter of grotesques and of facades. He studied the works of Eapliael, and of Michelangelo at Eome, and was able to unite a grand style of figures with excellent decorative conceptions. His figures, whether in relief or painted, have a larger grandeur and nobler simplicity than pertains to the ordinary designer of arabesques. "The general tendency of the Eoman school of decoration Avas towards a delicate style of ornamentation, inspired by the antique, in which was mingled elegant figures with historic or mythologic subjects, which were always divided into compart- ments or framed as medallions. '' The Florentine school and the successors of Michelangelo not only abandoned this ancient architectonic style of decoration, but they endeavoured to subordinate the ornamental and con- structional parts of their ceilings to their historical compositions, and replace arabesques by figures of grand form which are of capital importance in the general effect. " In dividing his famous ceiling of the Sistine Chapel into compartments, each containing a painted composition, and not allowing himself to be tied by the architecture of the building, Michelangelo gave an example which could not fail to find many imitators. He was not the inventor of this system, for many of his illustrious predecessors had used it before him, but by giving it the consecration of his genius he was the cause of the ancient methods being entirely abandoned. His pupils and his imitators, among them Giorgio Vasari and Francesco Salviati, carried still farther this tendency. Vasari, whose literary work has rather eclipsed his artistic renown, was an important mover in the history of decoration. Like most of the masters of the time, he was both painter and architect, and had a profound knowledge of all that pertained to his art, and though he may often be reproached with hastiness and negligence, it cannot be denied that he had an astonishing fertility of invention. " Not only did he direct the construction of vast edifices and o .XJNIVERSITTrJ CALIFORNIA J ITALIAN CEIIJNG DECORATIONS. 45 execute important historical compositions ; he designed or modelled the stucco and gilded work, and the other internal ornaments. His high official position gave him, besides, consider- able influence on all that was done around him ; and if he was not, like Le Brun at Versailles afterwards, absolute master of the arts, he had numerous pupils and imitators, and his manner became preponderant in Italy during the second half of the sixteenth century. '' Unhappily Yasari wanted always a little personality. His talent, nearly all reminiscence, often associated unsuitable deco- rative elements drawn from different sources. We know that Vasari was a great admirer of Michelangelo, whose style he imitated in his great historical compositions, but the ornamenta- tion which framed them in seemed rather meagre by the side of his powerful muscular figures. A striking example of this incongruity is seen in the ceiling of the Hall of Alexander de Medicis at the old palace of Florence. " Francesco Salviati, who had been a schoolfellow of Vasari, and always remained his friend, shared the same principles. But with an imagination less fertile and less varied, he had more correctness in the design and unity of his style. This master, who was never a very great colourist, sought always to impart the Michelangelesque style to his composition ; in this the figures play the important part, and ornament only appears as a secondary consideration. '' It is worth while noticing, in passing, that the tendency to exaggerated foreshortening in the ceiling decoration with which the school of Michelangelo has been reproached, had its origin, not with them at all, but later at Venice or Parma. It was also the great colourists of northern Italy who first abandoned the system of dividing into compartments, and covered all the ceiling with one subject, in which the composition, nearly always allegorical, lends itself marvellously to the skyey system of ceiling treat- ment of the figures. 46 ORXAMENTAL INTERIORS. *'The manner of presenting the figures in ceilings, either in tlieir full devc^loprncnt as in ordinary j^ictures, or foreshortened as if they were really seen in the sky from below, has been the cause of controversy, and Renaissance painters of great talent have sustained one theory or the other. We call a ceiling 'plafonnant when the action developed by the painter is accounted for by taking place in the clouds above the head of the spectator. Of this we have a superb example in the ' Jupiter fulminating at the Vices,' that Paul A\>ronese painted for the ceiling of the chamber of the Council of Ten, at the ducal palace of Venice, and which is now in the Salon Carre of the Louvre, where it is hung as a picture. ''- The allegorj^ it presents is easily comprehended. Jupiter that is to say, Invincible Force j^ersonifies the power of the Council of Ten. ]5elow him a winged ghiie holding a book on which are written the decisions of the Council, scourges the Vices, Eebellion, Treason, Luxury, and Exaction, who preci- pitate themselves, all affrighted, into the air. The composition, in spite of its mythological treatment, was in perfect accord Avitli the purpose of the hall which it was intended to decorate. " In this picture, in which some figures seem to mount towards the heavens and others appear as if descending to the earth, the diversity of the movements prevents monotony. It is the same ill the greater part of the ceilings of the Venetian school, in which the composition fills the centre. In some, such as those of which Carletto, the son of Paul Veronese, has left us such fine drawings, the allegorical figures and emblems are distributed so as to form a framework, which is often enriched with architectural adjuncts. These works have generally a very fine treatment, and the arrangement of the lines is always learnedly thought out. " But there are also ceilings such as that which CoiTcggio painted for the famous dome of Parma, where all the figures have an ascensional movement, as the subject rejiresented is the 'Assumption of the Virgin.' In this picture Correggio has THE DOME AT PARMA. 47 pushed to its farthest limits the system ^i plafonnemeni., or ceiling figure foreshortening, in the perspective of the figures, seen in the sky as if from the earth. "When this celebrated composition was uncovered, a church- warden said gravely to the painter, who came to give the last touches to his work, ' You have given us up there a fine dish of frogs.' The saying was repeated, and the poor churchwarden was ridiculed by all the world, because it was conceded that Corrcggio in this work had done a chef-cVoeiwre. But we need not conceal that much of the success of the painting is due to large and masterly distribution of its masses of light and shade; and if we look at an outline engraving we shall be struck by the monotony and confusion produced by these groups of angels who present the soles of their feet to the spectator, and show as they rise in the air very strange foreshortenings. " Correggio has had great influence on monumental decoration, and the painters who have come after him often imitated the eccentric foreshortening of his ceiling figures, but without imparting to their works Correggio's charm of colour and style, or showing his ability in distribution of effect. They have thus done not a little to discredit a style of decoration which is logical in principle, but which demands more taste and discretion than is possessed by the painters who often employ it." The idea, that it is logically correct to represent very much foreshortened figures drawn to suit a single point of view from below is, I think, a wrong one. It would be perhaps logical enough if the picture could only be seen from one point of view, and no other ; but the moment we move a step from the point of view for which the foreshortened picture is arranged, it is dis- torted and offensive, because it does not agree Avith the new point of sight. The plane of the picture is changed in its relation to the eye as the head is bent back slightly or greatly. So that it is really more logical as well as more agreeable to the sight to paint 48 ORNAMENTAL INTERIORS. ceiling pictures as ordinary pictures are jiainted, tlmt is, without excessive foreshortening. By the same absence of logic, some artists think that decora- tive figure subjects which are placed high should have the point of sight far below the level of the base line of the picture, and that the foreshortening should be suitable to the eye of the spectator when standing in the room. But it is obvious that a I)oint of sight which suits the eye of the spectator when he is distant twenty feet from the decorative picture, is all wrong when he comes to be ten feet from it, although the level of the eye remains the same ; and the same result takes place if he moves ten feet to the right or left of the central point of sight imagined by the artist. This seems to teach that such decorative figure subjects should be treated geometrically that is, as if the eye wei-e on a level with each separate part. This was the method used on the frieze of the Parthenon, where no allowance whatever is made for the fact that these sculptured bas-reliefs were placed high above the eye. The other mode is to paint as in an ordinary picture, with the point of sight well above the base line of the composition. This was the method adopted in the chief pictures of Pompeii, in Byzantine mosaics, in Giotto's "Obedience" at Assisi, and in decorative works by Fra Angelico, Fra Filippino Lippi, Masaccio, Botticelli, Ghirlandajo, Leonardo da Vinci, and many others. In the frescoes of the Sistine Chapel, the figures of the prophets have the point of sight half way up the figure. In Eaphael's " School of Athens," the point of sight will be found at the level of the topmost row of heads ; and in each of his tapestry cartoons the point of sight is above the centre of the picture. Andrea Mantegna seems to have been the originator of the low point of sight: in his "Triumphal Procession of Caesar," the point of sight is at or under the base line. In many of his works, however, he used the geometrical method, and his figures ENGLISH WORK OF THE EIGHTEENTH CENTURY. 49 are subjected to the same rules as those that guide an architect in drawing a geometrical elevation. Eeturning to English work, we note that in the reign of "William and Mary the style of decoration showed some traces of Italian elegance, but the furniture of the period, though richly carved, is for the most part cumbrous and heavy. In the reigns of the earlier Georges an imitation of the French rococo predomi- nated, though there are here and there instances of elegance and simplicity. The ordinary run of Georgian interiors is probably presented with reliable truthfulness in the pictures of Hogarth, and it cannot be said that they are attractive specimens of internal decoration, being for the most part dull and tasteless imitations of French and Italian work, lacking in many respects the spirit and elegance of the originals. There were exceptions, however, to this rule of dulness, for the works by James Gibbs and Sir William Chambers showed that they had a fine sense of architectural proportion, and knew how to apply decoration judiciously. E. and J. Adam, whose style was more attenuated and effeminate, also evinced in many of their works a nice feeling for proportion and an appreciation of elegance in the disposition of their decorative lines. The distinguishing blemishes of their style are the meagre- ness of some of their ornaments, their fondness for poor and thin festoons, and the too universal employment of the spread umbrella pattern as a decorative subject for filling circles, semi- circles, and quarter circles ; but in such works as the ceiling of Lady Bute's dressing-room, in the harpsichord designed for the Empress of Russia, in some of their chimney-pieces, and in the ceiling designed for the Countess of Derby, they show considerable mastery of effect and a graceful style of design. Stuart and Revett's delineation of Greek antiquities, of which the first volume was published in the year 1762, and the last in 1816, drew the attention of lovers of art to the beauty of detail 50 ORNAMENTAL INTERIORS. and the elegance of proportion shown in the Greek temples, and there was a strong classical revival. This was succeeded by an equally strong current in favour of Gothic, which was in a great measure due to the taste, energy, and perseverance of Augustine Welby Pugin. Within the last Ceiling of the Countess of Derby's Dressing Room. By R. k J. Adam. 1777. twenty years Gothic has been forsaken, and there has been a run on what passes by the name of Queen Anne, but for which any debased form of classic seems to be admissible. What are called Old English styles, such as Jacobean and Carolian, have also been received with favour in many quarters, but at the FA VOURITE MODERN STYLES. 5' present time the Italian and Flemish Eenaissance styles seem to be in the ascendancy for dining-room and library decoration ; while for drawing-rooms and boudoirs there is a tendency to indulge in imitations of the styles of Louis Quatorze, Louis Quinze, and Louis Seize. Japanese Decoeatiox of a Sword-hilt. OvEB-DOOE Decoration. Sketched by J. M. Si CHAPTER VIII. THE RISE OF THE MODERN STYLES OF DECORATION. HE Great Exhibition of 1851, the erection of the courts at the Crystal Palace, the publication of the " Grammar of Orna- ment," did much to give vitality to the arts of decoration. Some of the works at the Exhibition of 1862 indicated that there was a tendency to adopt the teachings of mediaeval art in the interior decorations of domestic archi- tecture. A special court was set apart for specimens of this class of work. It included besides church furniture, domestic chimney-pieces and domestic furniture richly decorated. The magnificent Hereford Screen, an elaborate specimen of metal work, showed the adapta- tion of Gothic forms to wrought iron. It was about this time that the works of Viollet-le-Duc began to attract notice in this country, and attention was called to a style of mediaeval work opposed in treatment to the elaborately panelled and carved imitations of ecclesiastical architecture which had passed in this country as Gothic furniture. To Mr. Wm. Burges is due the credit of giving the London public a view of a species of furniture very different from the W/Ni: CABINET BY W. SURGES. 53 arched, pinuacled, and crocketed sideboards and cabinets that Iiad done duty hitherto as the modern representatives of mediaeval craftsmanship. Mr. Burges was a diligent student and sketcher of Continental work and it is probable that he was an equally diligent student of the " Dictionaries of Architecture and of Mobilier " issued by Viollet-lc-Duc. In these works are given various early examples of furniture and decoration which had strong individuality, striking fitness for their purpose, and a very simple style of construction. One of Mr. Burges's examples, a wine cabinet, now in Ken- sington Museum, may be described as an oblong box set on legs. In construction it was very simple, and in design could not be considered beautiful ; but this simple structure was very beau- tifully decorated with figures by E. J. Poynter ; the colours being vivid, bright, happy, and harmonious. The chief subject was the struggle for supremacy between the Wines and the Beers, but other fantastic conceits, such as galloping animals, were introduced on the rails and square legs. It was altogether a very interesting bit of work quaint, suggestive, and full of a good-humoured individuality which was enhanced by good drawing and beautiful colour. These qualities, however, were not much sought after by the ordinary decorator of the day, who found in white and gold cornices, oak graining or enamel white doors, and French stamped paper covered walls, his highest flight of design for ordinary houses, and imitations of Louis Quatorze, Quinze, and Seize for the finer work. Of course, there were exceptions to this rule ; Mr. John G. Grace who executed much of the decoration of the Houses of Parliament, Mr. Owen Jones, Mr. Digby Wyatt, were masters of and practised other styles of ornament. But their influence had little efi'ect on the general body of even high-class decorators. A year or two after, Mr. C. L. Eastlake proceeded to develop 54 ORNAMENTAL INTERIORS. the idea of which Burges's cabinet was the germ. The furniture and decoration designed by Eastlake was characterised by- simplicity. Perhaps in decoration it was too simple for richness, and in construction too much like that of a packing-case to suit those who desired something substantial ; but it was inexpensive to make, and conformed to some sensible rules which were often overlooked in more pretentious work. It seems to have been received with a good deal of favour, particularly in America, where indeed amplifications of Eastlake's designs continue to be offered to the public, though they have almost ceased to be made in England. About this time another decorative artist began to appear in the field. Mr. Bruce James Talbert, born in Dundee, studied architecture for awhile under Messrs. Campbell Douglas and John J. Stevenson in Glasgow, and went thence to Coventry to design for Skidmore the iron- worker, and maker of the famous Hereford Screen. Coming to London about 1865 or 1866, he was fortunate enough to secure an engagement with Messrs. Holland and Son, of Mount Street, who were then preparing furniture for the Paris Exhibition of 18G7. He designed for them a large mediaeval sideboard, several small cabinets and hanging cupboards, which were made and sent to Paris. The sideboard, good as it was, had many of the characteristics of design suitable for stone con- struction, and was not in every respect a success, but the elegance of design in the small cabinets, the quaintness of the hanging cupboards, as well as the thoroughness and spirit of the design and decoration throughout all the works shown by Messrs. Holland, attracted a good deal of attention, and the medioeval style was very thoroughly advertised. By their cabinets Messrs. Holland secured the silver medal. The gold medal was awarded to a satinwood cabinet of the ordinary Louis Quatorze style of design exhibited by Wright and Mansfield. Simultaneously with his work for Messrs. Holland, Messrs. J. Ij1\ 1. 1 J XJ^. I Wall Decobation. Designed by Lewis F. Day for Jeffrey & Co. 1 iUNlVBHsiTT') TALBERrS "GOrmCsEQ^^j^^^^^ 55 Cox and Son and others, Talbert was lithographing the first sheets of his book, entitled "Gothic Forms," which gives exam- ples of his views on furniture and decoration. The earlier sheets, in some cases, show us instances of an archaic kind of massiveness united to a very skilful disposition of decorative accessories. Sheet I., for instance, shows a sideboard with a heavy solid fram- ing, which is more Gargantuan than Victorian in its style. To our eyes now, it looks too heavy for any piece of " mobilier," using the word in its application to movables ; for Talbert's sideboard looks as if it should be built on a site intended to receive it, so large are the scantlings of his timbers, so heavy his doors, and so massive the ironwork that garnishes the middle panel. In Sheet XI. is shown the interior of a dining-room, on the left-hand side of which is depicted, with slight alteration, the Paris Exhibition sideboard. It is also characterised by heavi- ness, though the goodness of the decoration, and the elegance of touch of the draughtsman help to disguise this characteristic. But in many of the later sheets the design is much lighter, and elegance rather than rugged strength is the thing aimed at. The drawing-room furniture and the drawing-room decoration given in Sheets XX. and XXI. of his book, were without doubt the cause of the new style of decoration and furniture taking hold of the public ; for the book soon found its way to the chief designers and cabinet-makers in the kingdom, and imitations, which were perhaps sometimes improvements, were produced on all sides. The clumsy pillar table was succeeded by the occasional table on slender columns ; inlay and carving of an appropriate kind took the place of the unmeaning scrolls. But as in many of these imitative works the design was directed to produce the greatest amount of effect at the smallest possible expenditure of design and workmanship, the result was net unalloyed good. The unadorned design of Eastlake, however honest, was too 56 ORNAMENTAL INTERIORS. suggestive of a cheap style of construction to be entirely satisfac- Wm. W00LLAM8 AND Co."s Wall Tapee " Gkosvexok." Designed by Owen W. Davis. MORRIS'S "DAISV' PATTERN. 57 tory, and as the careful and artistic work which Poynter had lavished on the Burges cabinet was beyond the purse of ordinary purchasers, gold-ground flower-panels of all grades, from excellent to detestable, became the mode of decoration, and educated taste soon condemned this cheap and feeble substitute for artistic decoration, and with it the style of furniture it was employed to enrich. The wall papers twenty years ago which were considered in the best taste were conventional in detail and somewhat formal in design, that is to say, they were distinguished by a geometrical balance of parts, so that one half of the design was a reverse of the other. In this they followed many of the best examples of ancient design, as shown to us by the tapestries of Byzantium, Sicily, Italy, France, and Flanders. But a change was begin- ning ; the clever drawings by Japanese artists of natural forms attracted designers always on the look-out for novelty, and essays in the natural "all over" pattern were made. Mr. William Morris brought out his "Daisy " pattern, which was really a con- ventional arrangement of natural flower and leaf forms on a sad- green ground. Several architects who rated themselves as persons of great taste, fascinated perhaps partly by the novelty of having a wall paper by the author of the " Earthly Paradise," and partly by the quiet merit of the paper itself, and its suita- bility as a background for displaying pictures, took it up and recommended it to their friends as the proper thing. Mr. Morris also possessed literary friends who gave it the prestige of their approval, and Morris papers were looked on as highly aesthetic, and the most refined style of wall decoration possible. There was a good deal of nonsense in much of this talk about the Morris paper: for the "Daisy" pattern about which many sesthetic persons went into raptures is a very amateurish performance, ordinary in design, and weak though inoffensive in colour. If shown by a nameless young lady as her work it would probably have had no success at all ; and it by no means 5 8 ORNAMENTAL INTERIORS. equals the many excellent designs afterwards produced by Morris "\Vm. Woollams and Co.'s "Girolamo" Wall Fapeu. Designed by C. F. A. Voyscy. A^W STYLE OF WALL PAPER DESIGNS. 59 either by direct imitation of flowers and fruit, or by following the designs of old Italian tapestries. Influenced by Morris and to some extent by Japanese work, Talbert turned his attention to this naturalesque form of decoration, and designed for Messrs. Jeff'rey and Co. some papers in that style. Produced by a firm of undoubted taste and experience, these new papers far excelled in artistic com- pleteness those to which they owed their birth, for united to a more masculine style of design were richer colours and a more attractive kind of execution. The new works had the patterns SuNFLOWEE Frieze. Desitrued by B. J. Talbert for JefFrey & Co. slightly raised above the ground, were gilded and toned by transparent glazes into a variety of translucent tints. Wm. WooUams and Co. brought out about the same time an array of papers in which gold, flock, and refined colours gave a splendour of effect which vied with that of the mixed cloth-of- gold and velvet patterns of media3val times. Simultaneously with the production of these magnificent wall decorations, Wm. Woollams and Co. and Messrs. Jeffrey and Co. both produced inexpensive papers of excellent design and of original, beautiful, and refined colour. Among the designers employed by these two firms were 6o ORNAMENTAL INTERIORS. Owen Jones, William Burges, E. W. Godwin, C. L. Eastlake, ^ifei^:ygu54^?4ua>^K^^^^ Wm. Woollams and Co.'s Wall Papkr "Agra." Designed by G. C. Haite. G. T. Robinson, B. J. Talbert, Walter Crane, Owen W. Davis, MODERN WALL PAPERS. 6i C. F. A. Voysey, Lewis F. Day, T. W. Sharp, A. F. Brophy, Wm. Woollams and Co.'s Waxl Paper " Blxtet." Designed by C. F. A. Voysey. 62 ORNA ME NT A L INTERIORS. Dr. Dresser, F. J. Weidemann, Louisa Aumonier, A. Silver, T. W. Hay, and G. C. Ilait^. Shortly after the appearance of Talbert's book, the firm of CoUinson and Lock, which was about the first to recognise the vitality of the new style, brought out their catalogue. The subjects were treated in a much plainer, simpler, and lighter ._.^^ C' ^ (o Drawing Room Cabinet Style of 1873. manner than those by Talbert, and in some cases were as bare of ornament as it was possible to be ; but there was practical knowledge displayed in the selection, and the work was simple enough to be easily wrought, so that the examples given in the catalogue were imitated all over the country and helped greatly to extend the influence of the new style. Here we may claim a small share in the art movement. CHANGE FROM MEDLEVAL TO JACOBEAN. 63 Besides contributing some of the designs and lithographing all the illustrations in Collin son and Lock's Catalogue, the author made some thousands of designs for furniture, decorations, wall- papers, carpets, tapestries, metal work, and pottery, which were executed by firms of high standing. Many of these designs, however, were done in the studio of a well-known ornamentist, and were given to the world as his work. About this time the author designed Marcus Ward's new style of Christmas cards and fairytale books. The illustrations to these books were, we believe, a means of popularising the decorative treatment of figures ; the varied sets of figure-tiles executed by Messrs. Mintons, by Messrs. Minton, Ilollins, and Co., and other firms from the author's designs also tended in that direction. A little while after, Bernard Smith brought out a work on furniture and decoration in which, by a collection of spirited and original sketches, he showed some additional phases of what was now called the Old English style. Like other things in which there is vigorous life, this new old style passed rapidly through various changes ; simplicity of construction and decoration was no longer the chief aim ; elaborately mitred mouldings were used for framing the panels, boxwood exquisitely carved formed the decoration of the panels themselves ; next the mouldings were carved, and cornices with dentils and modillions and other features of classic or Kenaissance work were added ; and the style passing through the phases of Jacobean and Carolian work, bloomed out into Flemish Eenais- sance, and passed thence into Italian Eenaissance, which is now the style most in favour for high-class work. We must notice that before this point was reached some books were published which show the influences at work during the transition period. In 1876, that is eight years after the appearance of his "Gothic Forms," Mr. Talbert brought out his " Examples of Ancient and Modern Furniture, Tapestries, and Decoration." In this work there are some designs which 64 ORNAMENTAL INTERIORS. show very little of the sjiirit which inspired his former work, though some of the examples, such as the drawing-room shown on this page, which was done about 1870 or earlier, and the South Kensington sideboard, which belongs to the same period, show a good deal of the simplicity and spirit of Talbert's earlier designs. The dining-room (Plate X.), which was exhibited at the Royal Academy in 1872, shows a leaning to a more elaborate style, while it is marked throughout by the breadth and horizon- Drawing Room. D signed by B. J. Talbert. (From " ExampK ,^ ,,i ^Viioiciii, and Modem Furniture, Tapestries, and Decoration." By permission of Mrs. B. J. Talbert.) tality of effect which gives this phase of the Old English style repose with its richness. The hall and staircase done for Sir John Ramsden is another fine example of Talbert's work about this period. But in 1873 we see a new phase of the artist's design, which cannot be considered an improvement on his earlier work. The "Entrance to Hall," designed for Cox and Son, is heavy, clumsy, patchy-looking and confused. It borrows some Old English decorative panels with which most other parts of the work are ^ 0) g;2 <5m i 3 si fl Hi o 6 rt 4 GEORGE EDMUND STREET. 65 quite out of sympathy. Tlie pilasters arc fluted, but they have no caps or bases ; the frieze is a collection of harsh lines and violently contrasting forms of black and white. The cornice, however, is well detailed, and the picture above it, depicting mediteval ships, is a very happy bit of decorative effect. The drawings of 1874 and 1875 are better, because less chaotic and more pronounced in style, which, however, is no longer Old English, but a hybrid in which the mode of Flanders plays a considerable part. The last drawing of all done in 187G, a Jacobean staircase (see frontispiece to this volume), shows a complete change of style, and though an excellent example of its kind, cannot be considered a fit culmination to the noble and simple series of designs which had preceded it. The late George Edmund Street was the designer of some very fine ecclesiastical interiors which scarcely come within the scope of this work. He, however, exerted a great influence on the practice of other members of the profession, and set an example of conscientious thoroughness in the designing and detailing of his w^ork which has had a happy influence on much of the design of his contemporaries. He was an insatiable sketcher ; nothing was too great or too small for his notice, and the stores he had collected were by his good taste, thorough mediaeval spirit, and fine sense of proportion, used with superb eff'ect in the works carried out from his designs. His great work, the Law Courts in the Strand, forms an epitome of his knowledge and skill. Judged by severely purist canons, the building presents incongruities in parts which cannot be defended as consistent with English mediaeval architecture ; but its spirit, variety, picturesqueness, and noble proportions, both in the mass and in detail, are undeniable, and evince a fertility of design such as can be seen in the work of no other architect of the present day. Another architect who has been the happy recipient of important commissions for large public buildings, is Mr. Alfred F 66 ORNAMENTAL INTERIORS. Waterhouse. Though exceeding Mr. Street in the number of large works executed from his designs, Mr. Waterhouse, we think, would scarcely claim to rank side by side with that master. Undoubtedly possessing talents of a high order, such as a fine feeling for breadth and skill in picturesque grouping, the spirit that animates his work is at once more modern, less narrow, milder, and more commonplace. His sympathies are broader than Street's, and we meet in his work diffusion instead of the concentrated energy which is an instinct with Street. But we must concede that much of his work has noble qualities; simple in arrangement, grandly picturesque in group- ing, pleasantly diversified, but never mean or petty. He uses the grand mediseval forms and inspires them w4th a modern individuality which is his own. Sometimes, however, Mr. Waterhouse shows a tendency to be saving of himself; he scarcely ever designs with the affluent lavishness which we find in Street's best work. If he contrives a good form he is occasionally content to repeat it in a series, following in this the spirit of classical rather than of mediaeval art. In his detail the same thing occurs ; where Street would have given a hundred varieties of design, Waterhouse is content with two or three alternated over the fagade or interior. This is a reason why the interest in this architect's later work, founded on mediaeval design, is soon exhausted, whereas, in his earlier work the Manchester Assize Courts for example he was more liberal with his design and produced the corresponding effect of more lasting interest. Mr. Butterfield perhaps stands higher than any other man as the designer of ecclesiastic interiors. St. Alban's, Baldwin's Gardens, is imbued with the ascetic spirit of the Middle Ages ; the severe contour of the arches, the restrained curves of the ornamental cross, the thin but well grouped mouldings, recall a time when the arts in England were not a joyous exercise, but SOME MODERN INTERIORS. 67 a holy passion. The concentration which appears in Street becomes narrowed to intensity with Butterficld; he does not aim at sensuous beauty of contour, but chooses rather to obtain distinction by severity. There are, however, degrees of feeling in Butterfield's work, for some examples do not possess the lofty severity of St. Alban's : All Saints', Margaret Street, for instance, is much more florid in style, and the decorations of St. Cross, Winchester, belong almost to the class of popular Gothic. Sir Gilbert Scott was the exponent of a more easy and redundant kind of Gothic, which represented the joviality and love of rich eff'ect rather than the asceticism of the Middle Ages. He has produced some very effective interiors : Exeter College Chapel, at Oxford, and the refitting and decoration of St. Michael's, Cornhill, being among the number. Many fine interiors have been produced since 18G2. Among the authors of these works may be mentioned, G. Goldie (church at York), Arthur W. Blomfield (Eadcliffe Chapel), Thomas Smith and Son (New Protestant church at Naples), W. Burges (St. Fionn Barr, Cork), John Pritchard, J. L. Pearson, James Brooks, Paley and Austin, Emerson, and many other architects, have also given us fine interiors. Fine and vivacious as many of these works were, it is questionable if they came up in richness of effect to some that had been produced before Gothic became the reigning style. St. George's Hall, Liverpool, The Union Bank Telling Room, Glasgow, and many other buildings of classic or Italian design, showed interiors that for dignity and splendour, richness and repose, compared very favourably with those of the new Gothic style. Gothic of the older branch of the revival is pre-eminently represented by the Palace of Westminster. Though modern, it belongs to a period anterior to the popular revi^'al of domestic medigevalism which formed so active an element in the vivifying of the modern styles of decoration. F 2 '^^S EROTinKus, OR Little Cupid. A Freize, sketched by J. M. S. CHAPTER IX. QUEEN ANNE AND LATER DEVELOPMENTS OF STYLE. T a time when new Gothic or modern English mediscvalism was still in the heyday of her jocund youth, a coquettish rival appeared in the field, and soon lured far away from the English maid the lightly placed affections of the fickle architects. The former wor- shippers of bright, original, intelligent, vivacious Gothica, turned their backs on her, to grovel in the dust before Queen Anne. The new-comer had so many characteristics of diverse nationalities, such a battery of airs and graces, such an armoury of charms, that the bewildered wielders of the tee-square, allured by her unknowableness, lost what heads they had, and trampled madly over each other in their frantic endeavours to gain the favour of the new divinity. One loved her for her homeliness, another for her dignity and picturesque grace ; this admired her because she was so domestic and unpretending, that other because she was so rich and so queenly. She was pure English, pure Flemish, pure Italian. Or was RICHARD NORMAN SNA W. 69 she not a cross between the royal houses of art : did she not bear on her shield the English mullion, the Flemish gable, the Italian pilaster, and had rich carving for mantlings ? She spoke now in soft bastard Latin, now in French, now in Dutch, and now in pure Anglo-Saxon. Her age was as varied as her other characteristics, for her dress and style showed that she must be the contemporary of Julius Csesar, of Francis I., William the Silent, the Grand Monarque, Napoleon Buonaparte, the Brothers Adam, Norman Shaw, and John J. Stevenson. Pretty little lodges, dignified mansions, tall, gawky street fronts, and clumsy cr picturesque temples called Board schools were erected in her honour, and she seemed to be installed as the architectural divinity, vice Gothicd dethroned. The moral of this allegorical prelude is that the name of Queen Anne has been tacked to things of very opposite styles, periods, and countries, with which the style of the real Queen Anne had no connection. It is Eichard Norman Shaw to whom the credit or blame of introducing and popularising the Queen Anne style should be awarded. An architect of great talent and versatility, and a splendid draughtsman, Mr. Shaw has for many years exercised a strong influence over the weaker members of his profession. Where he leads, hundreds follow, sometimes so slavishly that it is difficult to say which is the work of the master and which the imitation of the disciple. Occasionally, however, there is no such difficulty, for the imitators frequently copy the forms, ugly or otherwise, and leave out the spirit which informed the work of the master. Mr. Norman Shaw has done many admirable interiors, and has done noble service in bringing before the public picturesque specimens of English domestic architecture, which had been for a long time overlooked. We regret that we cannot award him unqualified praise, for some of his work contains features which 70 ORNAMENTAL INTERIORS. are anything but beautiful ; in others he seems to revel in curiously proportioned windows, uncouth architectural forms, and ftir-fetched details which are no doubt piquant as a spiritedly ugly woman is piquant and are tolerated from Mr. Shaw on account of his other excellences ; but their intro- duction has had a disastrous effect on many of the weaker members of the profession, who finding strange forms and proportions easily imitated, have adopted them with avidity, seemingly under the curious delusion that they were drinking the strong wine of ^N'orman Shaw's style, whereas they were only smearing their foolish faces with the lees. Some may say that this subject of proportion is a thing which is fixed by no canon. It is not narrowly fixed, perhaps, but it has its bounds nevertheless. A man or a statue may be six, seven, or eight heads high, and be well proportioned under each condition, but if we make our statue three heads high, or twelve heads high, it is out of proportion. Again, the Doric columns at Corinth are less than four diameters high ; those of the Parthenon are rather less than five diameters high. Yet though the Parthenon is the better work, no one will say that the sturdy pillars of Corinth are disproportioned. On the other hand, the columns of the temple at Delos are over six diameters high and are not good in proportion ; if they were eight diameters high, everyone would say they were wildly dispro- portionate for Doric columns, though that or a greater diametrical proportion is easily admissible under different circumstances, as, for instance, in the Corinthian and Composite orders. For the same reason a tall arch which is admissible in a Gothic design is quite out of place in classic work. In some respects a follower of G. E. Street, and more lately of Norman Shaw, T. E. Collcutt, in most of his designs for interior work, manages to avoid Shaw's eccentricities. Collcutt' s fireplace of the Wakefield Town Hall, for instance, is distin- guished *by a fine sense of masculine breadth, the sections arc SOME MODERN ARCHITECTS. 71 architectonic and simple, and the well-chosen ornament is most judiciously applied. The tall dado of this chamber is finely proportioned and well detailed, the decorations of the frieze and ceiling are in admirable keeping with the style. When, however, Mr. Collcutt indulges in curved and broken pediments, we do not like his work so well, nor can we say it is judicious in him to suggest, however remotely, in a sideboard design, a reminis- cence of the Jacobean monuments of Westminster Abbey. Yet though we may differ from him in some points, we recognise in Mr. Collcutt one of our most thoughtful and earnest architects, and one who spares himself no pains to give his work the stamp of individuality as well as of good proportion and consistent agreement. Much of the admirable work exhibited by Messrs. CoUinson and Lock at the last Paris Exhibition was from Mr. Collcutt' s hand, and many fine interiors at home and abroad are the out- come of his skill and care. Mr. E. W. Godwin, an architect with decided decorative and antiquarian tastes, has been a consistent worker in the cause of decoration for the last twenty years. He is perhaps better known to the general public for the taste, accuracy, and skill he has displayed in fitting certain plays with appropriate scenery, decorations, and costumes, than as an architect or decorator. He is nevertheless, the architect of several works distinguished for piquancy, spirit, and fine grouping, and the designer of some excellent furniture and decorations. To Mr. J. P. Seddon, an architect of experience and taste, belongs the credit of striving to maintain and develop the influ- ence of the Gothic style, upon which, so far as domestic work was concerned, many architects turned their backs. Mr. William Purges was as firm and consistent a supporter of Gothic, and mainly confined his practice to the earlier periods of mediseval art as practised on the Continent. In the decora- tion of Cardiff Castle, and of his own house, he showed with 72 ORNAMENTAL INTERIORS. masterly effect the variety and playfulness of treatment of wliicli the style was capable. Ernest George and Peto possess picturesque and decorative in- stincts of a high order, and though followers in the path in which Norman Shaw leads the way, they show plentiful individuality. Some of their interiors, those especially which are devoid of friezes, though rich in parts, look a trifle empty and meagre as a whole ; some are rather more like hasty sketches than well considered designs ; others, however, are thoroughly satisfactory examples of the Flemish Renaissance which seems to constitute the favourite style of these architects. The fine "Etched Studies for Interior Decoration," Ly 11. W. Batley, should not be passed over without remark. The author, a pupil of B. J. Talbert, excels chiefly in richness of deep effects, well contrasted with extreme delicacy and lightness in other parts. Many of his examples are bold, broad, and rich, while in others the influence of a Japanese-like over-minuteness is apparent. A characteristic specimen of this artist's work is given in the morning-room decoration (Plate IV.). The style is Roman, but of so free a kind that the furniture in modern style which is distributed throughout blends with the older kind of work. This harmony may be partly due to the fact that though there is a touch of mediajvalism in some of the minor details, the framing of the furniture has a closer sympathy with Egyptian and early Classic than with Gothic. T. W. C'utler should be mentioned for his excellent " Gram- mar of Japanese Ornament," Lewis F. Day for his "Everyday Art," R. W. Edis and Fred. Miller for their books on Interior Decoration. J. B. Waring, J. K. Colling, F. E. Hulme, Dr. Dresser, and others contributed towards making ornament better understood, for formerly it was rather imitation than design that was practised, as the designers, so-called, had scarcely emancipated themselves from the dominion of the ancients, and INFLUENCE OF MODERN FRENCH WORK. 73 copied as it were the thoughts and words of others rather than used ornament to express their own. Of those who have done good service to art without actually being originators, Mr. Eaffles Davison and H. "W. Brewer deserve most honourable mention. Mr. Davison has a keen eye for the picturesque and a fine taste for decorative effects ; his drawings, moreover, have an ease, elegance, and spright- liness of touch which make them very attractive, while he by no means sacrifices correctness to effect. Indeed, it may be said that his graceful drawings have far more of the spirit of the work they delineate than the heavy and laborious works of many wlio pretend to far greater exactness of execution. In the pages of the British Architect he has delineated with fine effect many of the best interiors designed by G. E. Street, Norman Shaw, T. E. Collcutt, Alfred Waterhouse, George and Peto, Paley and Austin, George Aitchison, Campbell Douglas and SellarS; J. D. Sedding, J. P. Seddon, John Douglas, R. W. Edis, E. W. Godwin, and many others. Mr. H. W. Brewer is chiefly known by his contributions to the Builder^ in which he displays mature antiquarian as well as architectural knowledge. There are some features apparent in modern architecture and decoration which are due not to English, Flemish, or Italian art, but which may be traced to the influence exerted by modern Erench decorators and architects. Before the accession of the Emperor Napoleon III,, Paris no doubt had picturesque features which were more attractive artistically than the somewhat monotonous boulevards that replaced them. The Emperor, possessing the building mania, tore down and re-erected on the right hand and on the left with great vigour and energy. If he made some blunders in building, he also made some grand successes. One of the works of his reign was the extension or completion of the Palace of the Louvre and the Tuileries, and it can scarcely be denied that the 7f ORNAMENTAL INTERIORS. new design is finely proportioned, artistically detailed, and ably executed. Much of this work was carried out under the direc- tion of H. Lefuel, architect to the emperor. Though this archi- tect executed some noble buildings, it is curious to find that his name is scarcely known in this country, while that of Viollet- le-Duc, who superintended the restoration of the ecclesiastical edifices of France, is as well known in England as that of Street or Scott. Yiollet-le-Duc probably owes this fame less to his talents as an architect than to his restless vigour as a writer and his picturesque talent with his pencil. Though his books hold a foremost place, his actual architectural work is not by any means entitled to rank with the best Gothic work, either of France or England. There is a cheap and easy look about some of his details which the best work never possesses. In decoration he was not more successful, as the chapels of Notre -Dame testify. Street was an abler Gothic architect than Viollet-le-Duc, and we have several decorative artists who could surpass him both in form and colour. Nevertheless, for the British architectural student at least, Viollet-le-Duc bears the laurel crown, and in one respect justly ; for whatever may have been his deficiencies as a practical archi- tect, his drawings are marvels of clearness, skill in perspective, antiquarian knowledge, and dexterous draughtsmanship. M. Lefuel probably had not his gifted countryman's skill with the pencil or the pen ; but his works testify that as an architect he was much YioUet-le-Duc's superior. LefueFs work has a finished harmony and an elegance of form which in its style is not to be surpassed by any work either ancient or modern. Probably much of its merit is due to the excellence of his collaborateurs, designers, modellers, and sculptors; but the fact remains, that most of the decorative work produced under his direction is of the highest class of its style, and throughout bears the stamp of an architectural and decorative taste of the finest order. Other works, such as the Grand Op^ra, were not without INFLUENCE OF MODERN FRENCH WORK. 75 their effect on many British architects and decorators, who could appreciate good proportion, well thought-out detail, and rich hut judicious decoration in sculpture and painting. These works in Paris have a degree of finish and completeness which is too often lacking in the works of our island architects, by whom a happy conceit, a picturesque originality, or a cumbrous dignity is more appreciated than beauty of proportion or tender- ness of feeling in detail. But that some are fully alive to the value of these qualities is amply shown by many of the buildings recently erected in London and the provinces. Messrs. Campbell Douglas and Sellars of Glasgow, though in- fluenced by "Greek" Thomson to some extent, bear evidence in their work of the interest they felt in the modern French school of which M. Lefuel was one of the exponents. Their work, as shown in the new club at Glasgow (British Architect^ October loth, 1882), shows a refinement and delicacy of proportion and detail, a repose of style, for which sometimes we may look in vain in the works of Norman Shaw and his imitators. In the St. Andrew's Hall, by Douglas and Sellars, which was decorated by Andrew "Wells, the same care in detail and proportion is apparent, but it is allied in this instance to a severity more Greek than modern French. Mr. William Leiper and Mr. Burnet are other Glasgow architects who show favourably under this modern French influence. Messrs. Lindsay and Stark in their design for the Admiralty Oflices in this style evinced a fine sense of decorative and picturesque effect which was not noticeable in many of the designs sent in. The design of Messrs. Aston Webb and Ingress Bell also shows distinctive French influence, though the period chosen belongs more to Eenaissance than to modern French. It is also to this earlier period that the excellent design, by Mr. W. H. Crossland, for the Holloway College at Egham rightly belongs. Oexament. Style of Thirteenth Century. CHAPTER X. AMATEUR AND ARCHITECTURAL AMATEUR DECORATORS. BOUT thirty years ago the chief rooms iu many good houses were furnished with a wooden dado rail, which if it had no other use, served to keep chair-backs from injuring the walls. But a change was impending. The first thing a high-class decorator did when he got into a room of that kind was to wrench off the dado rail and cover the walls from skirting to cornice with a French paper of light and cheerful aspect. For dining-rooms the colours might be rich and dark, but for drawing-rooms both decorators and the ladies agreed that there was nothing so refined as enamel white and gold. In those days acknowledgment of the intuitive superiority and delicacy of feminine taste was looked for as a matter of course from all the novelists, and lovely woman reigned supreme in the choice of colours for house decoration. But this intuitive delicate feminine taste has been dealt with rather harshly of late years. Some cynical being of the masculine sex discovered, and worse, made public his discovery, that woman is a mere imitator and does not possess any original taste at all. She could, it was said, imitate a fashionable taste LADYLIKE DECORATION. 77 in millinery, dress, furniture, music, and cookery, but as a rule she originated nothing. The ladies' dresses that lead the fashion, the furniture and decoration of the rooms she lives in, the music she plays, and the mode of cooking the food she eats had, it was said, all been originated by that tasteless creature, man. The cynic, moreover, said that although many women have devoted a great deal of time to playing music and to cook- ing, there has not yet appeared a great composer or a great cook of the feminine sex. It was conceded, however, that her gifts in the way of placing anti-macassars where they would make the clumsy male being most uncomfortable, almost amounted to genius. It was likewise granted that she could choose vases of the slightest known degree of stability as ornaments for a mantelpiece, and that she could crowd incongruous though perhaps expensive trifles on unstable furniture so cunningly that ordinary persons of the clumsy masculine order, when in her drawing-room, were impressed with the feeling of her too exquisite refinement, and at the same time taught the much- needed lesson of self-repression. For the decoration of the drawing-room walls she at that time firmly believed there was nothing so chaste or so elegant as white and gold. Perhaps she was right in her belief; but unfortunately it was also the belief of every other lady who had the slightest pretensions to fashionable taste. The effect, there- fore, produced by the combined fashionable feminine taste of the civilised world was rather monotonous. The doors were white, or grained to represent satinwood or some other precious timber ; the carpet was light in the ground and spangled with roses or garlands of other gay flowers. But since that time there have been great changes ; noble, high-souled men have come forward boldly and shown the awful iniquity of graining doors in imitation of oak, satinwood, or maple ; they have denounced the sin and imposture deliber- ately perpetrated by demons in the guise of wall-paper manu- 78 ORNAMENTAL INTERIORS. facturers and carpet makers, who put attractive imitations of real flowers on walls and floors where no real flowers were likely to be. We, however, have not yet reached that transcendently high standpoint which would enable us to denounce imitations of real flowers as soul-destroying shams, or graining of doors as glaring immorality. For while thinking there are better and truer modes of decoration, we do not think it worth while to waste good indignation on such harmless fashions. If we ask the noble denouncers of graining why it is so very wicked to grain a door in imitation of oak, they will probably reply that it is intended to deceive, and all deception is wrong. But, say we, you yourselves use flowers as decorations for walls. " Yes, but our flowers are conventional renderings, and are not intended to deceive." Well, we reply, the ordinary builder and decorator's oak graining is quite as conventional as your flowers, and even a blind man would not mistake it for real oak. But is not all art founded on imitation ? We have sham effigies giving the forms of men and women that is sculpture ; we have flat surfaces which pretend to give the roundness and colour of human figures that is painting. Art is conventional imitation ; and what is decoration of the pure, good, exalted sort favoured by the denouncers of sham graining but a conglomeration of shams ? They would cover the walls with paper-hangings that is, sham hangings on which there would be sham leaves and flowers ; they would gild mouldings which the wicked builder has thoughtlessly made of wood instead of solid gold; they would use veneer of wood or marble; they would probably stain floors dark in some places, so that though plain deal they would look like walnut or ebony. It seems to us only a question of degree, and in spite of the LADIES AS DECORATORS. 79 elaborate distinctions and explanations as to the rights and wrongs of imitation given by denouncers of graining, who have followed each other with sheep-like regularity during the last twenty years, we persist in believing that graining is only terribly wicked because it is at present so very unfashionable. Many amateurs, especially ladies, feeling a call to convert the nations to the practice of high-toned decoration, expounded their true principles of Art at Home with as much innocent con- fidence as if the subject had been the trimming of a dress. Of course, their delicate feminine instinct led them to advocate the style of decoration with which they had most acquaintance, and everyone aspiring to a name for taste had her mantelpiece befrilled, draped, and furnished with a convenient apron or curtain to hide the emptiness of the fire-place. Japanese fans were spluttered over the walls, sometimes on the ceilings as well, and the soul was cheered everywhere with the delectable sight of plates and other articles of crockery adorning the chief points of the apartment. Mrs. Haweis, who is the author of a book called the "Art of Decoration," however, is entitled to a higher place than that usually accorded to the amateur author who attacks a subject that requires technical as well as practical knowledge. Her information seems to be very extensive, and her conclusions, which are shrewd, are given in her book in a very lively and entertaining manner. She shows up in her book the absurdities of some of the lady decorators in the following fashion : " One of my strongest convictions, and one of the first canons of good taste in house decoration, is that our houses, like the fish's shell or the bird's nest, ought to represent our individual tastes and habits, never the habits of a class. There is nothing so foolish, nothing so destructive to the germination of real taste and art feeling in England, as the sheep-like English inclination to run in a flock. No thoroughly bad fashion would ever take a firm hold on society were it not for the indolence of those who So ORNAMENTAL INTERIORS. can, but will not, think for themselves, and the timidity of those who dread what is new. For instance, one hears ladies laying down the law in this style : ' You must have old point on your mantel-shelf; it is indispensable ; every one has it ! ' Yet good sense tells us that a delicate fabric designed to adorij a lady's dress is as un suited to the rough and dusty service of furniture close to the fire as a pearl necklace or ostrich plumes. Why, therefore, ' must ' we adopt a freak of luxury, founded neither on good sense nor good taste ? Again we hear, ' Fire ornaments are quite gone out; you must stick a Japanese parasol in the stove, or fill it with tinsel and waterlilies.' It matters not how outrageous the notion primroses planted in the fender, a rockery of ferns, a scent fountain playing up the chimney, or a white satin bow from the register the argument is always the same : ' I am telling everybody of it, and they are all doing it ! '" Besides the amateurs, however, some architects have endeavoured of late years to show that they were masters of the art of decoration. If he has a thorough knowledge of his pro- fession, an architect is likely to make the interior decorations in harmony, as to scale at least, with his building ; but it is perhaps too much to demand that a modern architect should mix all the tints and draw all the details of ornamentation with his own hand, although the best ancient work was probably done under such conditions. The modern architect has, moreover, sometimes to be brother to the keenest of hucksters, so as to be more than a match for the wiliest of builders on the one side, while on the other he claims to rub shoulders with the immortals who designed the Parthenon and gave Europe its grand cathedrals. Everything, from the construction of a kitchen sink to the building and decorating of a St. Peter's, is supposed to be well within the powers of that combination of modern practical science and of genius made to order the modern architect. Plumbing and decorating are in this country of anomalies / OFTHE ^* rOKIVERsiTT often coupled together ; yet we might be disappointed if we expected the highest type of sanitary plumbing, and the most beautiful and refined series of decorations possible, from the same hand. Moreover the modern architect, unless of a very high stand- ing indeed, has to dance from style to style according to the mood, knowledge, or ignorance of those he calls his clients, but who are in reality his patrons. This in itself is rather against his acquiring a thorough knowledge of all the details of any style. The architect who is established as a leader of design may direct his attention to one style, and reach in it something like perfection ; but the second or third-rate architect has no such chance. Without fixed ideas himself, he is the enthusiastic adopter of the opinions and designs of those he considers leaders in the profession. At one time a fierce supporter of foreign Gothic of severely early type, at another he gives up his soul to the soft allurements of the gentle Adam or the queer Queen Anne, so that it requires great versatility to be abreast of the fashion in architecture ; for no sooner has our second-rate man mastered the principles of a style, or, what to him is the same thing, is able to copy it without knowing its principles, than one of the architectural leaders, Mr. Norman Shaw for instance, discovers that some neglected relic of early Georgian art is a valuable example of what is excellent and appropriate in domestic architecture. The unoriginal architect has to throw up the style he has just learned, and begin to study with avidity the style he formerly despised. When fashion decrees that a woman shall wear a dress that violates the usual canons of good form, she does not defend the principle, or want of principle, she simply says she wears it because it is the fashion. Architects, on the other hand, while showing all a woman's eagerness to adopt a new fashion, always manage to convince themselves that the mode they adopt is the best possible and of 8i ORNAMENTAL INTERIORS. irreproachable priuciples, else they would never give it their sanction. At one time they revel in plaster enrichments, at another you find them cutting away the plaster to make room for painted ornament. Then, all their souls were bent on carved panels in furniture, and now, we find one of their number calmly writing a paragraph like this: "One good painted panel is worth ten thousand times more than all the meretricious carving with which so much of our modem furniture is filled." As a matter of fact, painted panels are much too abundant in modem furniture, and it is they and not the carved work that are frequently meretricious ; for carving, whatever its faults may be, is usually in harmony, in colour at least, with the furniture it decorates, while much of the painted work used to enrich modern furniture forms a violent contrast to the main body of the fabric. It is an architect of the present day who is responsible for some inartistic and decidedly ugly concave and broken pediments, spindly furniture, and clumsy, disjointed mantel- pieces, and who, in a book of which he is the author, exhibits them as examples for imitation. It is he, leaning his back against his noble profession, who laments that the designing of furniture is handed over to people he calls '' upholsterers," who fill the house ''with articles incongruous in design, bad in taste, and often utterly commonplace and uncomfortable." If there is an upholsterer who can produce more uncomfortable and commonplace designs than those which bear this fashionable architect's name as the designer, in his book, he must be in truth a very extraordinary upholsterer; and it is a curious com- mentary on his statement to find that the best, indeed, the only tolerable things in the work by our really talented, but in this instance much mistaken, author, are those which are produced under the auspices of art manufacturers such as Wilcock & Co., Gillow & Co., Holland & Son, and Jeffrey & Co., and are not seemingly due to the omniscient modern architect. ARCHITECT-DECORATORS. 83 In truth, however, much of the best work produced by the artistic manufacturers of the present day is done from designs by gentlemen who have served an apprenticeship to architecture, and have added to this the study of decoration and furniture. In their designs architects are often inclined to err on the side of heaviness, till they have had repeated opportunities of seeing their executed work. This is natural enough, for the hand that is used to designing for large masses of stone does not at first grasp the peculiar requirements of interior wood-work. The worst designs of the so-called Queen Anne style have been produced by architects who have not had a training in classical architecture ; without this advantage, however clever and versatile he may be, the architect is very apt to err in his selection of features belonging to such bastard styles as the Adam, Queen Anne, Georgian, or Louis Seize. The cause is obvious ; the styles mentioned are founded on classic work, but they possess a fanciful playing with the lines not usual in classic. Yet, however much they may vary from their parent stem, good work in these styles is always more or less true to classic principles. If an architect clever in Gothic, perhaps, but ignorant of classic, meddles with late seventeenth and early eighteenth decoration and furniture, he is just as likely to take a bad as a good specimen for imitation. If an architect, in addition to selecting bad forms for his own work, commends in a book intended for popular instruction these bad forms as examples of what modern art ought to be, we fancy it is right politely to point out his error. Compared with the artistic interiors in Talbert's book, the examples furnished by the architectural decorator already referred to are rather commonplace, and lack in many instances a just sense of proportion. For example, his frontispiece shows us part of a dining-room in which the frieze occupies about one third of the whole height between the floor and the under side G 2 84 ORNAMENTAL INTERIORS. of the cornice. This is an unusual proportion for a frieze, but being unusual does not make it wrong ; but what does make it exceedingly unsuitable is that its details are on too large a scale. The figure is too big and is not elegant in form ; the rustic porch, wall, and garden-seat delineated on the frieze are all of gigantic proportions compared with the slightly framed furniture and small scaled pictures of the room itself. The frieze crushes the wall space and each makes the other ridicu- lous, simply because they are not suited to each other. Now this same proportion of frieze space would have been quite appropriate if the artist had kept in his work to the scale of the other furniture and decorations of the room. The figures should have been smaller and there might have been more of them, and the various accessories should have been smaller rather than larger than their natural size. This scale, which is too often misunderstood, is of the first importance in interior decoration. Next to it comes harmony and contrast of colour. Nothing so readily destroys the effect of size and aerial space as having gigantic figures or ornament in one place and small figures in another, or small ornaments here and large orna- ments there. The tyro, acting under the impression that things that are distant from the eye should be enlarged so as to tell more vividly, does the thing which most surely destroys the spacious effect of an interior; for the eye, trained to the appreciation of per- spective, concludes that the figures which look so large cannot be so far distant as they really are. Figures and ornaments in interiors should rather be gently diminished as they recede from the eye, and those which are nearest the spectator as he stands on the floor should be rather larger in scale than the ornaments and figures on the roof; but this diminution ought to be effected so gradually as to be imper- ceptible ; the eye, accepting the perspective effect of distance MR. RUSK IN' S ART TEACHING. 85 thus conveyed, receives an impression of vaster space than would be given if the work was rigidly to one inflexible scale, and the apartment would look infinitely larger than if an opposite course were adopted and the distant figures and ornaments were enlarged in proportion as they receded from the eye. Perhaps we should not omit to mention in connection with this part of the subject Mr. John Euskin, a distinguished writer who has been for many years before the public as an exponent of art. Notwithstanding the noise he has made in the world, we cannot find that he has had much practical influence as a leader of art. His power over the practice of contemporary art may be measured by the small amount of progress made in this country by Venetian architecture, of which Mr. Euskin is the enthusiastic exponent and recommender. Mr. Euskin' s qualifications as an art teacher were not of the sort to render him acceptable to architects or decorative artists, however successful he might bo in influencing amateurs. His knowledge of his subject is often of a very superficial kind, while his selections are so narrow in scope that they cannot commend themselves to those more catholic lovers of art who can enjoy the variety and picturesqueness of all styles, however diverse they may be. This superficiality of information and narrowness of selection are of course not noticed by those who know still less of art subjects than Mr. Euskin does; but his deficiencies in these respects are painfully apparent to those who have given a life's study to comparative architecture and decoration. They dislike the disingenuous method he has taken to glorify Gothic, in his "Lectures on Architecture," and his futile condemnation of the exquisite conventionalism of Greek decorative sculpture, because it is not of the ordinary natural type. But perhaps Mr. Euskin no more expected to be taken seriously when he wrote that jeu d^ esprit on art than he expects 86 ORNAMENTAL INTERIORS. to be when writing of literature. We understand that Mr. Ruskin has recently advised the extinction or banishment of the works of Thackeray, Kingsley, and others, for the over- whelming reason that Mr, Euskin does not agree with those authors in their views of life. Mr. Buskin, we fancy, does not expect or wish his advice to be taken ; he merely desires to show the world what an original humorist he is. "But surely," say some, "Mr. Ruskin must be a good judge of art, for did he not discover that neglected genius. Turner, and reveal him to the British public ? " Turner, the neglected genius, had, however, managed by the exercise of his art to extract a fortune of 150,000 from the unappreciative public before Mr. Ruskin became his champion ! With regard to Mr. Ruskin's more pretentious works, such as the "Seven Lamps of Architecture" or the "Stones of Yenice," it is not necessary to read his books to detect his weakness ; this is abundantly evident from the specimens he has chosen for illustrations, and, we suppose, for extravagant if eloquent laudation. Some of these examples are so puerile in design and form, that we can only imagine that the beauty, sheen, and colour of the marble have caused Mr. Ruskin to overlook the poor quality of the design. And, after all, Mr. Ruskin was not the discoverer of the architecture and decoration of the Doges' Palace any more than he was the discoverer of Turner's genius. Both, we think, had their admirers before he gave them the aid of his eloquent pen ; but they were not blindly worshipped. Allowance was made for the associations of the Doges' Palace, its romantic situation, the glamour of its history and traditions. Its beauties were commended, its faults duly noted, and it received its proper place, which was not, however, " above the Parthenon and all that is great and beautiful in Greece, Egypt, or Gothic Europe." The difPerence between the work of an incompetent and a competent critic may easily be perceived by comparing Ruskin's MR. RUSKIN'S ART TEACHING. S7 "Stones of Venice" with Fergusson's "Handbook of Archi- tecture." Fergusson shows the mature judgment of a man who has studied all styles, whose sympathies are wide enough to appre- ciate the decorative beauty of detail of Indian work, the regal richness of Saracenic, the virile strength and affluent design of Gothic, as well as the exquisite sense of proportion displayed in Greek. Beside him Euskin appears like an uninstructed amateur, who, discovering some glittering gewgaw, concludes in his enthusiasm that it is a jewel of inestimable value, and proceeds to claim for his shiny beads a place above the royal heirlooms which have justly commanded the admiration of centuries. This position of Mr. Euskin is quite well understood by artists and by architects ; they are pleased to listen to his eloquence, but they do not follow his precepts ; for the reason that there is either nothing to follow but elegant words, or the examples he culls support very imperfectly sometimes very ludicrously his pretensions to be a judge of what is beautiful or appropriate. Indian Decokative Salver. (Procter and Co.) DiiAwiNo-KooM Fkikze Decokatiox. Painted by J. M. S. CHAPTER XI. DRAWING-ROOM DECORATION. C^lk> > .^^^^^^^'-^ ^^^ ^^"^^ ^^y^^ received ample support 4-^^'ffll^B\ ^^^"^ ^^^ ^'^^^ middle classes, the aristocracy, ft. I / M with a few exceptions, held themselves aloof, iwv'^O**!^^!^?' '*^"^ '^^^ ^^^ slight encouragement to the ^^i^^^Z^' modern style of design. They preferred the styles which were hallowed by some kind of historic association to the new work which attempted to adapt ancient forms to modern requirements. The preferences of the aristocracy did not, however, lead them to adopt pure or early forms of decoration either in Gothic or classic; their tastes directed them to the French versions of classic or Renaissance art, as practised under Louis Quatorze and Louis Quiuze. The French style was gradually evolved from Italian Renaissance by the labours of Pierre Lescot, Philibert Delorme, and Jean Bullant, who were the architects of the earlier portions of the Louvre and the Tuileries. They were ably seconded by Jean Goujon, Cousin, and Pilon, decorative sculptors of great ability. Later it was developed by Jean Lepautre into the dignified, rich, and well-proportioned style of interior decoration which we see to-day in the magni- ficent gallery of Apollo at the Louvre. Lepautre's style of iuterior decoration was modified by Mansard and Berain, and mirrors became a distinctive feature of the decoration. This FRENCH STYLES OF DECORATION. 89 iu its turn was followed by the rococo style of Louis Quinze, of which the decoration of the small salon at the palace of Versailles, given on this page, is a very favourable example. An illustration of the style of Louis Seize is given in Plate XL, Decoratiox of Small Salon, Paiace of Versaillks. Style of Louis Quinze. (From " Architectural Styles," published by Chatto & Windus.) which delineates the boudoir of Marie Antoinette at Fontaine- bleau. The application of the French style to English interiors is fairly shown in the illustration of the Cedar Eoom, Warwick Castle (Plate XIL). The rooms were lofty, the ceilings usually coved ; the ground 90 ORNAMENTAL INTERIORS. tints were light, the raised ornaments gilded, and it is not to be denied that there was a palatial richness, united to a playful elegance of effect, which rendered the style exceedingly attractive, especially for drawing-rooms and boudoirs. The ease with which copies of the decorations could bo obtained in carton-pierre may have had something to do with the adoption of this style. Some of our London dealers have found it profitable to buy entire suites or fragments of the decorations of French chateaux, which were resold for the decoration of English mansions ; deficiencies were easily made good, by the facility with which missing parts could be replaced by making a mould from the perfect parts, and recasting. In some interiors done in this style the walls are covered with silk, usually of a light tint, and of the flowing elegance of pattern used during the time of the Grand Monarque and his successor. Many of these were of the kind called Bergerades, or shepherdess patterns, and were famous for the exquisite delicacy of their effect, which was got by choosing first a pretty tint for the ground colour, and making the pattern in an harmonious tone, enriched by sparkling but minute parts of brilliant and gem-like positive colour. The grounds were strewn with flowers, had stripes straight, waved, or shaped into pleasing forms; they were interspersed with branches, blossoms, and groups of flowers and leaves, done in colours of such attractive sweetness as to give a new joy to life. When the grounds for this style of decoration are painted, they should be done in pure light tints, having a foundation of primary or secondary colour, lightened to a pale hue with white, the toning of which should be done with extreme care, to avoid injuring the purity of the tints. Sometimes, however, distinct though pale tertiaries may be used with good effect to contrast with the primary and secondary tints. Gold is necessary to divide the tints and to bring out the full effect of the raised mouldings and enrichments ; though for plain work, such as CHELSEA HOUSE. 91 bedroom decoration, the whole of the walls, ceiling, panels, and enrichments are often painted in one colour, usually white or cream. Chelsea House, erected for Earl Cadogan from designs by W. Young, has a suite of three drawing-rooms; these are decorated in the styles of Louis Quatorze, Louis Quinze, and Louis Seize. The ceilings are lofty, and are like the wall panels enriched by raised and gilded ornaments. Though the general efifect aimed at is sweetness and light, there is little, if any, pure white used in the decorations. Hues of soft rose-colour are contrasted with equally soft tones of pale green intermingled with gold in the panels and stiles, but the predominant tone is a deep vellum or very pale drab colour. The principal ceiling panel of the chief drawing-room is filled by a painting by De Witt, the other panels being in raised and gilded ornament. Nearly all the ornament in these rooms is genuine seventeenth and eighteenth century work, gathered at various times on the Continent. Where the ornament was insufficient or defective, the necessary parts were reproduced from the old work. The chimney-pieces are also works belonging to the seventeenth century, and are light in colour. The furniture throughout the rooms is gilded. One of the houses decorated and furnished by Johnstone, Norman, and Co., upholsterers to the Queen and the Prince of Wales, contains two drawing-rooms on the first floor. The first of these has its walls covered by specially designed Aubusson tapestry, with subjects after Watteau, Boucher, and other artists ; the designs are similar in style throughout, so that the contrasts are not violent, while there is no monotony ; the colour is soft and delicate, and as the subjects are chiefly pastoral, there is a good deal of sky, aerial, and distant efi'ect, which has the advantage of making the room appear larger than it really is. The woodwork is decorated in harmonious tints, in which a delicate greenish-grey and its complcmfiiitai'y colours 92 ORNAMENTAL INTERIORS. predominate. The ceiling has raised panels with delicately- relieved ornaments brought out by pleasant tints and by gold. Amongst the furniture, which is of walnut inlaid with various other woods, a magnificent cabinet is specially noticeable for the elegance of its design and the variety and subdued richness of its carvings and inlays. Corresponding with this is a circular table, of which the top is elaborately inlaid with various woods, forming round the border a scroll, which rivals in elegance of form and rich harmony of colour the finest examples of the Italian Henaissance. The curtains of the room are of fine tapestry bordered with velvet and richly fringed ; the valances correspond in sumptuousness of effect. The other drawing-room is a still more beautiful room. Part of the front is curved out to form a segmental bay of three windows, extending from floor to ceiling ; this bay works very happily into the ceiling design, which is formed into a panelled circle of which the window bay forms a part; the ceiling has enrichments of Italian ornament, brought out by light tints of colour and gold. On the walls we have, instead of the tapestry of the first drawing-room, panels of combed pinkish salmon- colour, with an under-colour showing through the well-defined wave-toothed marks of the combing ; this gives the appearance of silk moire-antique, and has a charming effect. The stiles between these panels, as well as the panels on the doors, are painted by hand with arabesque designs, beautiful in form and in well-chosen delicate colours ; each touch is clear, sharp, and distinctive in form, yet the colour is so artistic and delicate that the work forms a mosaic of more than mosaic harmony. The furniture of the room is of satin wood inlaid with amboyna, ivory, enamels, and beautiful repousse work in bronze. The grand pianoforte, the large cabinet, and the two smaller cabinets are splendid specimens of the best art applied to furniture. The chairs are covered with Aubusson tapestry, and the curtains are of the same material. Altogether we have < , T^ Of THE -aNlVERSITT^ CALIFORN^ DRAWING-ROOM BY J. G. GRACE. 93 never seen a more charming room : part of its effect may be due to its happy shape and the beautiful proportion of its parts, but its chief beauty is undoubtedly derived from the exquisite delicacy and harmony of its colouring. By way of contrast to these rooms in French Renaissance and Italian Eenaissance styles, we may mention a drawing-room done for a Gothic mansion by Mr. John G. Grace. The style chosen was that of the early illuminated manuscripts. The dado was of a brownish hue, enriched with dragon panels at intervals ; the walls were divided into panels by stiles enriched with illuminated ornament. In each stile, about six feet from the floor, was a panel containing a figure-subject referring to a particular musical instrument. The room was large, and there were between twenty and thirty of these musical subjects ; no two panels were alike. The subjects were male and female players on ancient and modern instruments, such as the Egyptian harp, the Assyrian dulcimer, the tamboura, the magadis, the kithara, the double flute, the viole, the violoncello, the guitar, the serpent, the tambourine, the hautboy, the zither, and so on through ancient instruments down to the more modern harp and harpsichord. The panels between the ornamented stiles were filled with silk of a colour that partook of bluish green grey ; that is to say, it suggested all these colours, though none of them could be said to predomi- nate. The frieze was formed by rich illuminated ornament on which were placed at intervals figure panels on gold grounds. Keeping up the idea of music hinted at in the stile subjects, the subjects of the frieze panels were taken from musical scenes in Shakespeare. Thus, one of the long panels illustrated the passage from Twelfth Nighty " If music be the food of love, play on." As fitting the subject, the figures were all men and boys, representing the Duke, his attendants, and the minstrels (see heading to Chapter XII.). The subject of the companion panel was taken from the play of King Henry VIII., where Queen Catherine says, " Take 94 ORNAMENTAL INTERIORS. thy lute, wench : my soul grows sad with troubles. Sing, and disperse them, if thou canst." In this, as is fitting, the figures are all feminine (see heading to this chapter). The other panels had subjects from Shakespeare's songs, such as "Blow, thou winter wind!" ''Orpheus with his lute," "Who is Sylvia," "Under the greenwood tree," "Where the bee sucks," and " Hark ! hark ! the lark." These musical figure subjects were painted by the author, and many of them have been illustrated in the pages of Decoration, Some very fine drawing-room decorations have been executed by Messrs. Collinson and Lock ; the ceilings are in plaster, of Italian design, graceful and flowing in line, and beautifully modelled. At various points in the ornament, jets of electric light are introduced ; these not only light the room with fine efi'ect, but show to advantage the exquisite delicacy of the ornament. The stiles are of delicate raised ornament in enamel white ; the frieze and dado are in agreement with the design of the stiles and ceiling; the wall spaces are covered either by solidly gilded leather of Italian design, silk of beautiful colour, or papers which reproduce the Genoese or other Italian fabrics of the Eenaissance. The furniture used is sometimes enamel white, which shows the delicate carvings with fine efi'ect, or it is ebony or some other dark wood inlaid with engraved ivory. In another drawing-room done by Messrs. Collinson and Lock, from the design of Mr. H. W. Batley, the dado is of mahogany, the door, cornice, chimney-piece and panelled ceiling are all made of mahogany and satinwood; the ceiling has painted ornaments in the panels. The walls are covered by a special design of tapestry silk, the general tone of which is bronze green picked out with gold and coral-colour ; the furniture is of satin- wood with the metal-work gilded. In the drawing-room at Rutland Cottage, belonging to the Earl of Cadogan, and done from the design of Mr. W. Young, the leading colours used are shades of terra-cotta, going on the A MILLIONAIRE'S DRAWING-ROOM. 95 one hand to rich dark brown and on the other ascending to tints of delicate yellow and cream white. All the woodwork is painted in these shades, and the walls are filled in with a pattern of Liberty's beautiful Indian printed silk, in which terra-cotta colour predominates. No gold is used in the decoration of this room. Stained glass decorates the windows; the ceiling is panelled out into squares broken up into circles at the points of intersection of the delicate ribs ; the panels are ornamented with flowing design of a light and graceful kind. The frieze occupies about one fifth of the space between the floor and the under side of the cornice, and the panelled dado and skirting is about double the depth of the frieze. A drawing-room decorated by Mr. Grace had a ceiling in low relief tinted in Wedgwood colours, after the manner of the Jasper ware ; the cornice was in stronger tones of same colours. The stiles were in tones of warm green and russet with a medallion enrichment, the spaces between being filled with an imitation brocade paper of pale Indian blue. The dado and woodwork were painted in cream with line enrichments in drab and gold. A boudoir by the same artist had the ceiling formed into a central octagonal panel by ribs of cedar-colour. Eight circular panels round it contained paintings of children ; the other panels had a delicate stencil border. The cornice was of cedar-colour and gold ; walls were hung with silk of a small pattern of gold and greenish blue ; dado agreed with cornice in colour. Perhaps the richest furnished drawing-room, however, will be found on the other side of the Atlantic, in the house of an American millionaire. For this house Sir Frederick Leighton has painted the ceiling with beautiful figures on a gold ground. Alma Tadema's "A Eeading from Homer" is to be one of the wall subjects, while the furniture, made by Messrs. Johnstone, Norman, and Co., is of the most costly materials and exquisite design. Onyx in large single slabs, lustrous and semi-transparent. 96 ORNAMENTAL INTERIORS. forms the table-tops. The framework of the furniture is of ebony, ivory, and bronze ; it is carved and inlaid with wood, metal, and precious stones. The coverings of the furniture arc of silk richly embroidered. The designs for these veritable works of art in furniture have been done by Mr. Alma Tadema, and have been admirably worked out under his superintendence by Mr. W. C. Codman. To find furniture of equal beauty and intelligence of design and equal choiceness of material and workmanship, we shoukl have to combine the palmy days of Greek art with the luxury of the Eoman Empire at its best period of taste. The frieze of the room is in sculptured statuary marble. In the drawing-room with elliptical arch at end, illustrated on Plate XIII., the walls are covered by Liberty's silk of pale greenish yellow ground with gold pattern ; the leading ornaments round the arch and the scroll -work above it are gilded solid, and toned in parts by lacquer. The cornice is painted pale greenish yellow rather darker than the silk on the walls, and has the leading enrichments, dentils, and modillions gilded, and the ornaments between the modillions picked out with a coral ground. The little columns dividing the frieze are nearly of the same general colour as the walls, but are picked out in parts with cinnamon, coral-colour, and gold. The frieze is in natural colours, but the tints are all delicate ; there are no strong or dark colours used. White, with touches of cadmium and Venetian red, and delicate blue are used for the sky, and pinkish coral-colour for the distances. The light moulding and orna- ments round and over the doors are gilded, and so are the backgrounds of the figure panels and the mouldings round them ; the rest of the door, architrave, and skirting are covered with silver, lacquered down into shades varying from pale green to bronze. The dado, seen beyond the arms of the seats at foot of arch, is yellowish green plush, the dado bands above being in gold, cinnamon, and coral-colour. The sconces UNIVERSITY CALIFORNIA A SMALL DRAWING' ROO. are gilded, the grate, fender, and fire-dogs of polished brass. The chimney-piece is of onyx-coloured marble. In the small drawing-room illustrated on this page a moderately good effect is obtained at a trifling cost. Taking the room as it left the builder's hand, the walls were Decoeation of Sjlvll Dkawinq-Room. treated to as much linseed oil as they would take in ; when this was thoroughly dry the painting began. The woodwork was dark crimson or marone; it was dusted in Japanese fashion with gold bronze and protected by varni.sh. The dado, h, was painted in marone rather lighter than the skirting ; the dado band, g, H 98 ORNAMENTAL INTERIORS. was a bluish green, and the space above, up to the gilt picture- moulding, E, was painted a pale colour, inclining to blue. This space was afterwards covered by a cretonne with a ground of low-toned green with small flowers of piquant colour among lighter green leaves. This cretonne was fringed with wool of the same tints as the cretonne itself, at the point over the dado band. The dado band was bordered top and bottom by a narrow paper border in dull blue and gold; this was also used at n, immediately between the frieze and the picture moulding. The frieze was divided into panels by wall paper, a darker paper being used for the square panels. In the centre of the square panels are small figures copied from Minton's music tiles. The dado band is enriched in the same way as the frieze. The cornice is simply in size colours, the main tone being pale blue enriched with greenish yellow and coral colours, b is a gilt bead. The chimney-piece is ebonised; the fire standards and inner rim of chimney-piece are of brass. There is a figure panel in the frieze over the centre of chimney, but the wall-paper decoration would have done nearly equally well if there had been any difficulty in obtaining the figure work. The upper parts of the windows are filled with stained glass. The window panels have groups of flowers painted direct on the marone ground of the woodwork, while the stiles round them are dusted with bronze. A very pretty effect can be obtained in an ordinary room by using the dado fillings and friezes made by "Wm. Woollams and Co. or Messrs. Jeffrey ; these are to be had in all kinds of appropriate colours. The picture moulding, not a rod, should be nailed just between the frieze and the filling, and the pic- tures should hang from two hooks by perpendicular cords, as the pyramidal lines given by the picture cord, when only one hook is used, tends very much to disturb the repose of the room. For more expensive work nothing is finer in effect than a good Lincrusta design, well decorated. If a light effect is wanted VARIOUS DRA WING-ROOMS. 99 the pattern should be silvered all over, and picked out in parts with transparent glazes of pure colour. It may afterwards be toned to any shade of oxidation required. As in the wall-papers already mentioned, dado and frieze designs to go with the fillings can be had in Lincrusta. The house of Mr. Pearce, the eminent shipbuilder, which was decorated by Mr. Andrew Wells, displays some very fine decorative work. The drawing-room ceiling is, perhaps, more daintily painted than any other part of the house. The leading colour is pale moonlight blue on a cream ground ; this is contrasted by vari- ous other effects in warm but delicate tones. The comers are enriched with draped female figures ; and in the spaces between are groups of winged boys, bearing lightly blo^vn wreaths of ivy, and guiding by gossamer bands birds flying in couples. The ceiling border is in darker shades of the same moonlight blue, with flowers in cream, cinnamon, and gold. The walls are rose colour, with textile and gold effects. The woodwork is in shades of ivory, greenish white, and duck- eggshell colour, with gold on the mouldings. Another drawing-room ceiling by Mr. Wells has a circular centre, with very elegant scroll-work spreading out from the centre towards the corners of the room. In the Drawing-room Decoration, by Joseph Sharp, Plate Xiy., a great part of the effect will depend on the delicacy, harmony, and contrast of the colours. The grounds may be in cream or very pale bluish green, pale yellow green, pale coral pink, or pale buff, parchment, or vellum colour, or any other tint that is delicate and pleasing in effect. The ornament should be painted in distinct touches, complementary colours being used against each other throughout, but never in large masses : thus pale yellow leaf inclining to green may have the part turning over of a delicate purple or violet, pale but warm green may have touches of pink ; blue, or any other colour, may go against H 2 loo ORNAMENTAL INTERIORS. a pure golden brown, such as raw sienna laid on in transparent touches. No umbery or mud-like colours should be allowed on the artist's palette for this class of decoration, for the effect should be obtained by breaking up obtrusive parts by touches of pure colour of complementary or contrasting tint harmonised to the exact tone required. The colours should not be softened into each other, but ought to be laid on side by side as in mosaic work. If the colours are properly matched this gives a far better result than shading the colours into each other. Gold may be used in the cornice, the dado rail, skirting, and round the stiles, but should not be mixed with the orna- ment; it should serve, indeed, simply as a framework to the painted stiles and panels. A drawing-room lately furnished and decorated by Messrs. H. and J. Cooper has a beautiful carved white mantelpiece with white stiles to the walls, the panels being filled with silk Eose du Barry. The frieze is a fine specimen of old Scottish plaster- work, rich in filling and graceful in line; the cornice has coupled medallions, dentils, and other enrichments ; the ceiling is enriched by a circular wreath pattern, interlacing in the outer portions, and ornamented with festoons. The screen at the end has the upper part filled with silk, under which is a band of turned work with clear plate-glass behind it ; there are heavy curtains under, which can be drawn to keep off the draught. A little parlour or drawing-room, also done by Messrs. H. and J. Cooper, is worthy of notice for the quaintness and prettiness of its proportions and decorations. The space between the floor and ceiling is divided horizontally into four nearly equal parts. The lower section is in wood panelling painted ivory colour, the second is an upper dado of celadon plush with cornice over it ; the lower members of the cornice working as a picture rod, the celadon plush forms the background to display the delicate drawings, miniatures, and engravings which are rather under the line of the eye than above it. K m '^'^ OF THE ^ '"DTNIVERSITT^ CALIFORNIA DECORATIONS BY FELIX AND WAYMAN. loi The third section may be termed the wall-filling, though it is only about a fourth of the whole height of the wall ; it is covered by a silk fabric with a dull coral ground, enriched in parts with flowers of cream, amber, and blue. The upper fourth is devoted to the cornice and frieze, which are in cream and amalgam of gold and silver. Some very fine specimens of the French style of decorating drawing-rooms have been executed by Messrs. Felix and Way- man for the Princess Louise, Baron F. de Eothschild, Mrs. Montefiore, Mr. Cyril Flower, Countess of Pembroke, and others. Both partners of the firm are practical men, and the finer parts of the work in the decoration and upholstery are executed by the hands of the masters themselves. They excel in the production of elegantly shaped furniture of the periods of Louis Quatorze, Quinze, and Seize. A boudoir ceiling executed by them is noticeable for the excellent effect got at very small expenditure of labour : the main portion of the ceiling is framed into an oval on which is painted a summer sky with masses of soft clouds delicately blended ; across the sky a few birds are flitting. The design is interesting, but not intrusive ; it gives just enough of design and colour to satisfy the eye without attracting it unduly. The drawing-room decoration, by Fred. Margetson, Plate XV., is susceptible of various modes of treatment. The colour and material decided upon for the large panels would to a great extent influence the finishing of the other work. If we assume by way of a change that this drawing-room may be in darker hues than is sometimes customary, the wood chimney-piece, dado rail, skirting, pilasters, consols, and framing of the frieze might be in the natural colour of the wood, either mahogany or walnut ; the dado might be citrine and gold, picked out with light Venetian red ; the borders round the panels might be in lighter shades of the dado colour; the colour of the small pattern of the panels could either harmonise or contrast with 102 ORNAMENTAL INTERIORS. these colours. Thus pale coral, primrose, and gold might be used in the one case, or a pale greenish grey ground with small pattern of warm green, golden brown, and red in the other. Gold should be used in the cove, the cornice, and the smaller mouldings of the woodwork. The ceiling, in like manner, should correspond or contrast with the walls, and either of the sets of colour's used for the walls might be used in it, though they should be greatly lightened in hue. A drawing-room by H. W. Batley, illustrated in his ^'Etched Studies for Decoration," has a low wooden dado and rail ; above that a band of matting work, over which is a row of hinged frames on the lino of the eye. These frames are intended to take engravings and etchings or water-colour drawings, so that they may be changed without trouble. The frames are divided by pilasters, and have a carved cornice over them. Above, the rest of the wall, amounting to one-third of the entire space between the floor and under side of cornice, is painted in Japanese style, and shows the sun in the upper right-hand portion, toward which a stream of birds fly upwards from the left- hand lower corner ; the birds diminish in size as they ascend. Hanging foliage, flowers, other groups of birds, and clouds, form the other features of the design, which in well- chosen colours could be made an exceedingly attractive decoration. If it is desired to treat a drawing-room in Graeco-Eoman style, the ceiling might be panelled, as in the design by Fred. Margetson, on page 103 ; but all the panels should be decorated with scroll-work in colours on a light ground. The beams, or ribs and cornices, might be in ivory-colour, ebony-colour, cedar- colour, coral-colour, and gold. The wall might be divided by pillars or pilasters extending from the entablature to the dado, which should act as a base ; the upper third of the space between the pillars might be grounded in warm blue grey to give a skyey effect, and should have a band of < ~ OF THE XJNIVERSITT^ californ\^ PANELLED CEILING. '03 bold colour beneath it. The lines of this band might be continued round the pillars or across the pilasters, but they should be in lighter colours, so as only to knit the pilasters to the band with- Pfg^^^V^ Cehing Design. By Fred. Margetson. out cutting them in two. The ornament in these upper spaces between the pilasters should be of delicate scroll-work treated lightly, freely, and elegantly. Eaw sienna might be used as a XTNIVERSITTJ CALIFORNl^i 104 ORNAMENTAL INTERIORS. basis for the ornament, which should however work into warm green, bluish green, red, blue, purple, and other colours properly toned and in small quantities. Pompeian red, raw sienna, cinnamon and gold, with warm brown or deep red outline, might be used for the band. The two-thirds space below might be in Pompeian golden yellow, and might be panelled into three perpendicular spaces by upright stiles in the colours of the band above, but rather lighter in tint. These panels might be decorated by scroll ornament, or by festoons and masks in the upper portions, or by figures in the central one, or all might be left plain. The dado band on which the bases of the pilasters rest, should be in similar colours to the band above, but should be darker. Eed, black, and brown, with touches of blue should be used for the dado ; the skirting ought to be in colours still darker, but of a similar kind. The efi'ect got should be a gradual lightening of tone from the floor to the ceiling. A boudoir, in the Adam style, decorated by Messrs. Jackson and Graham, is a very pretty room in delicate colours, called Wedgwood tints. It is good in keeping, colour, and general sympathy of effect. It is described by the decorators as follows : " The architraves, overdoor, dado, and skirting mouldings are exquisite examples of this charming style. " The furniture of this room is of Spanish mahogany, inlaid with satinwood, and the chairs are covered with fancy silks, trimmed with plush and fringe. " On the floor are some fine Persian rugs. The ornaments in this room are from the art studio of Dr. Salviati, in Regent Street." The drawing-room decoration by J. T. Jackson, Plate XVI., is not an unfavourable example of the Adam style, with the excep- tion of the concave and broken pediment of the overmantel, which ^ p^ GOTHIC DRAWING-ROOMS. 105 ^L' 'Z' V "Vi^^^it in our opinion is a bad specimen of art. The rest of the work, however, is very well proportioned, and in good harmony through- out. For this design Lincrusta might be used for the dado filling and frieze, as there are designs in that material which have a good deal of the effect indicated in the drawing. The colours should be light, and might either be in pale Wedgwood-blue, cream and gold, or in tints of cream, cinnamon, coral, citrine, and gold, several shades of each being used, and gradually deepening in tone as they approach the floor. The drawing-room chimney-piece by Mark Eogers, jun., which is after the style of the Italian Eenaissance, is intended to be done in a light-coloured marble. The artist, who is a sculptor of great talent, exhibited at the Eoyal Academy of 1886 a life-size caryatide for a similar purpose. Though we have said that the nobility have shown a marked preference for French Eenaissance decoration in their drawing- rooms, there are two notable exceptions to this rule, in Eaton Hall, erected for the Duke of Westminster from designs by Mr. Alfred Waterhouse, and in Cardiff Castle, designed for the Marquis of Bute by Mr. William Burges. Both of these buildings may be said to be mediaeval in style, but though the build- ing by Mr. Burges at Cardiff follows uncom- promisingly early Gothic forms, Eaton Hall, by Mr. Water- house, has a considerable tincture of modern feeling in its design; there is even, we might say, a touch of Italian Eenaissance in the arrangement, mouldings, and details of the drawing-room. Side of Chimney-Piece. By Mark Rogers, Jun. io6 ORNAMENTAL INTERIORS. The chimney-piece, which is of cream-coloured marble with red veins, has a square opening ; the consoles over the opening have carved acanthus leaves and fluted ovolas ; over the consoles are pilasters, fluted in the upper part and carved in the lower, Chimney-Piece Design. B\- Murk Rogers, Jun. the caps being Italian in character. Above the capitals are two pairs of tiny semicircular arches, with square-formed mouldings around them, the mouldings between each of the two arches being supported by a little carved bracket. Each of the spaces between the pilasters has a central panel, upright oblong DRA WING-ROOM AT EA TON HALL. 107 in form, but with the corners cut off octagonally. This panel is filled in with green or blue marble ; the corners outside of these panels are carved. The cornice to the overmantel has little corbels with semicircular arches connecting them with each Oeiental Vase foe Deawing-Room Decobatiox. other, and the other members are more continental than English medieeval in style. The dado is formed of groups of three upright panels, and of one panel alternately, the stiles between the groups are bracketed io8 ORNAMENTAL INTERIORS. at the top to support tlie dado rail, which has some considerable projection. This wood panelling is painted green ; the wall space is covered with velvet or plush, on which are fixed large paintings of birds. A carved band or cornice, lining with the cornice of the overmantel, frames the wall space, above which is a painted frieze of a partly geometrical, partly natural pattern ; that is to say, the flowers are arranged geometrically on circular roundels of gold, while the stems or leaves are spread out naturally on the intervening spaces. This decoration has been carried out by Messrs. Heaton, Butler, and Bayne. The saloon of Eaton Hall has a high wainscot of panelled light oak, and over that a deep frieze, representing the " Can- terbury Pilgrims," painted by H. S. Marks ; the oak of ceiling is relieved with gold lines. The mantelpiece is of white stone, and has carved columns, and a figure frieze in panels ; the shafts of columns are of blue-grey marble, while the mouldings round the fire-opening are of red granite. Indian Caeved Fuenitube. (Procter & Co.) Decoeative Panel fob Feieze. Painted by J. M. S. CHAPTER Xir. .THE DINING-ROOM. ICHEE and darker colours are usually selected for this apartment than for the drawing- room ; but it occasionally happens in town houses that the light is not strong enough to agree with a sombre style of decoration, so a lighter style is sometimes adopted. In one of the aristocratic but rather narrow streets near St. James's Palace there is a house with the dining-room on the ground floor, which is so overshadowed by the tall houses on the other side of the way, that the wise decorator has used cream tints and gold for the painting to make up for the want of light. This, however, is exceptional, and it is possible to obtain as good an effect and quite as much light by using one of the embossed papers or leathers, gilded solidly. This material reflects a large amount of light, and gives a much richer effect than could be obtained by cream tints. As this golden embossed leather or paper harmonises with every colour, any tint or tints may be chosen for the woodwork to go with it. Where there is abundance of light the decorator's choice is unlimited. He may use for his walls one of the splendidly coloured papers produced by Wm. Woollams and Co. or Messrs. Jeffrey, either no ORNAMENTAL INTERIORS. worked as a flat paper, a fabric, or brocade paper ; or he may take a specimen of tergorine, which is an imitation of embossed leather, a flock paper, either painted, plain, or partly gilded. He may take a Tynecastle tapestry, real tapestry, cretonne, or plush ; or Japanese stamped paper, gilded over or partly gilt. He may use painted tapestry in panels, or may map out his walls into combed or sanded panels, and stencil over the ground with transparent colours. He may have Lincrusta, which is specially suited for dining- rooms, and by a judicious arrangement pf it in its natural colours secure a quiet and harmonious yet rich effect in the fine warm citrine greens, browns, and dull reds in which it is manufactured. That, of course, is only one of the phases of Lincrusta, for varied and beautiful as the designs are, the modes of decoration of which it is susceptible are still more beautiful and varied. If a quiet rich eifect is desired, the colourings may be gradually lightened from floor to ceiling, as in a specimen of this material exhibited some years ago, the colour arrangements of which were as follows : "Wood skirting, lower member, black ; upper members, dark marone. Dado, marone in two shades, with fillets and other small parts brought out by pale olive-colour. Dado-band of wood, coloured black and dark marone as in skirting. "Wall-filling had a dull Venetian red ground, the raised Italian pattern spreading over the ground was in pale olive or tertiary greenish brown, touched in parts with lighter tints. The small band under the frieze had a yellowish-green ground with raised fillets and paterae in gold. Frieze had a dull olive ground ; the ornaments were in lighter olive, with the swags and scrolls brought out with bluish-green. The frieze patera had a gold outside band and gold centre, with leaves ot dull red on dull green ground. The narrow upper band of Meze was of yellowish-green and gold, similar to lower band. The cove was yellowish-green in two shades ; above the cove DINING-ROOM DECORATIONS. m was a narrow horizontal band, in shades of vermilionized Venetian red. Another Lincrusta decoration exhibited at the same time had the ground of the filling of brown, with raised brownish- green leaves turning to bluish-green at the points. Smaller leaves of a dull yellowish-green in several shades sprang from the brown stems and interspersed themselves throughout the design. The conventional flowers which were scattered through the pattern had a bright red central point with dull black ground, olive-green sinkings, and citrine fillet round the cinque- foil. Some purple flowers gave variety to various parts of the design, which though lively enough was by no means intrusive. If a special set of decoration be desired, the decorator may use a scheme of decoration similar to that adopted by Fred. Margetson, shown in the illustration on the next page. If costliness be no objection, he may adopt the rich treatment shown by Mr. Batley in Plate II. of his " Etched Studies." In this design the walls have a low- panelled dado, from which spring broad and fluted pilasters with large panels between them. Over each pilaster is a carved figure, and between the figures and over the panels the space is filled with a closely filled pattern of leaves and flowers, which would probably look best in carving or stamped leather. The author intends the work to be done in fumigated oak or walnut, with the panels inlaid with pear-tree, satinwood, and ebony, the frieze to be of stamped leather, with the figures supporting cornice carved in low relief. This, or a similar design, might, however, be adapted for more economical working by the elision of the more expensive wood panelling, and by giving the effect in tints of colour. The frieze might be painted in shaded gold on a dark brown ground ; or if full colour was desired, the natural colours might be glazed over the gilded or silvered leaves in the manner so often used with such good effect in Lincrusta. The figures, instead of being 112 ORNAMENTAL INTERIORS. carved, miglit be painted either in buif, brown, and gold, or they Wall Decoration. By Fred. Margetson. might be worked in natural colours on a toned gold ground. DECORATION OF A SMALL DINING-ROOM. 3 A humbler style of decoration used for a small dining-room, which is not without a certain individuality, is as follows : All the woodwork, dark bluish green ; chimney-piece of un- polished oak, with Minton's "Trades" and "Historical" tiles in brown, to correspond with the oak. The inner tiles of chimney- piece are Dutch blue ; the dado is made of carmine and brown pink, with stencil pattern in lighter tint of same colour ; the Dining- Room Recess and Fieeplace. W. Young, Architect, upper part of the wall is in citrine, with pattern in lighter tint of the same colour. As the ceiling is low, there is no frieze, excepting over the chimney breast; the upper parts of the windows are filled with stained-glass figures, which carry round the lines of the frieze ; the carpet has warm browns, reds, and greens; the cornice is bluish-grey and gold, the ceiling of bluish-grey. k 1,4 ORNAMENTAL INTERIORS. The dining-room by W. Young shown on page 113 is an example of very pretty effect got by simple means. All the woodwork, including doors, chimney-piece, pillars, arches, skirting, and dado rail, are of pitch pine polished ; the sconces, finger-plates, gas-fittings and other metal-work are of brass ; the ceiling is covered by a paper of Japanese pattern ; the walls down to dado rail have a raised Japanese paper gilded solid ; the dado is a Japanese leather paper with deep crimson ground and pattern in gold and colour. The floor is stained, and is covered by a bordered carpet of Oriental design, soft and rich in colour, indigo blue, rich warm brpwns, greens, and orange in various shades being among the leading colours. The panels in the cove are painted by hand. The dining-room decoration by Fred Margetson, Plate XVII., belongs to a late type of Gothic, and shows in parts a slight infusion of German feeling. The ceiling is panelled, and has large pendants. These and the ribs might be in oak, gilded in some of the smaller members; the cornice should correspond with the ribs of the ceiling, but might have a little colour introduced in the hollows; the scroll-work under cornice should partake of the colours of the cornice and ribs ; the frieze under should have the figures treated flatly in natural colours on a matted or stippled gold ground. The woodwork through the room should be in the natural colour of the oak, gilded in parts to any degree of richness required, the ornamental gilding being outlined with warm gold brown. Citrine or rich greenish yellow plush, velvet, or leather, might be used for the coverings of sofas and chairs ; the border round the floor should be in parquety oak ; the carpet might have enriched indigo ground, well filled over with warm citrines, green, orange, red, and crimson ornament, the colours being always in small quantities, and thoroughly harmonised. The heraldic emblems over the mantelpiece should be coloured and MR. PEARCE'S DINING-ROOm "5 gilded, and the ceiling panels might with advantage be treated in the same way. The dining-room of Mr. Pearce's house, Glasgow, decorated by Mr. Wells, has the ceiling grounded with rich cream colour; its decorations are hand painted in soft harmonious tones of olive-green, primrose, orange, and neutral tones of blue. The framework is mainly in lines of Persian red and gold. The general effect is warm and delicate. The frieze has a solid gold CJhoie Seats, Abbave of Hei.msdalk. ground decorated with a conventionally treated floral design, the flowers being painted in shades of primrose-white, with hearts of citrine and delicate orange ; the leaves are in shades of green, the whole being outlined with soft red. The walls are painted dark red, to form a good background for the splendid pictures which adorn the room. The dado is coloured with dark russet browns, and panelled with darker shades of the same. The woodwork is painted dark chestnut colour, the panels being decorated with beautifully drawn Greek designs I 2 Ii6 ORNAMENTAL INTERIORS. in very thin lines of ivory colour, which have the appearance of inlaid work, and give an effect of elegance and refinement. The pillars at the end of the room are in dark chocolate and gold, the caps bronzed and lacquered, with the projections in gold, the whole being highly polished. The dining-room at South Kensington Museum, decorated *m9ewjiaw'ii')ji(wixOTJiikwjiJt3iwjiitM*Ji*JiiJtwMtw^^^ Cabinet in the MIjseum, Berlin. (From Bernard Smith's " Sketches Abroad.") by Messrs. Morris & Co., is a good example of their style. The dado*is of panelled wood and is painted in toned Prussian blue ; the upper panels of the dado are enriched with figure subjects and painted fruit panels on a gold ground, the upper part of the wall is in raised ornamental plaster of a delicate DINING-ROOM AT HAMPWORTH LODGE. "7 pattern and is tinted in soft green ; the windows are filled with stained glass, very quiet and grey in effect. There is a magnificent dining-room at Hampworth Lodge, near Salisbury, decorated and furnished throughout by Messrs. Felix and Wayman. The style adopted is Eenaissance. There is a dado of oak, 6 feet 6 inches high, all round the room,. the walls above this being covered by richly decorated and em- bossed leather. The ceiling is ribbed and panelled, and has bosses at the intersections of the ribs ; the panels have raised ornaments in sea green and gold. The candelabrum is of wrought \ Caeved Decoeation of Arch, Abbate of Helmsdale. steel ; the window hangings of steel blue and gold silk. All the seats are covered with embossed leather. In a house at Great Cumberland Place, recently decorated and furnished by Messrs. H. and J. Cooper, there are many pretty and original effects. The dining-room walls are covered by sixteenth-century tapestries, the dado and richly carved chimney-piece are of oak, the ceiling is panelled b^ deep thin moulded ribs working in conjunction with a rich cornice, the panels being richly ornamented. In several dining-rooms of houses decorated and furnished ii8 ORNAMENTAL INTERIORS. by leading London upholsterers, Flemish Eenaissance style has been adopted with great success. The rich carving, solidity of ii-aming, and dignity of line given by good examples of this style make it suitable for rooms where a substantial-looking, if somewhat heavy and sombre style, is desired. The cabinet given on page 116 shows a phase of this style which is closely allied to what our designers call Jacobean. Other examples of this Flemish Eenaissance style which approach more nearly to the Italian method are given in the three examples illustrated on pages 115, 117, and 119. These are of carved oak, and were executed about 1650 for the old Old Flemish Table is the Museum at Bkuoes. Abbaye of Helmsdale, near Bruges, whence they were removed lately to Ghent. Another specimen of the style of the period is given in the table above, which was sketched from the original in the museum at Bruges. The author of a design of this period illustrated in Decora- tion describes the colouring and arrangement as follow : "My design is for the side of a dining-room in a large mansion, to be oak up to the cornice ; the panels upon which the pictures are hung are to be covered with dark green and gold-embossed leather ; the arched frieze is to be in plaster coloured in quiet reds and buffs, with light green and gold leather filling-in, or ELECTRO PANELS AS DECORATIONS. i'9 better still, a series of painted panels representing incidents in the history of the family." An example of a somewhat more Anglican character is given on page 120, It may in some respects be considered as a specimen of one of the many moods of that period of art to which the name of Elizabethan has been given. The materials used might be brown oak emphasised in parts with ebony. Or it might be Italian walnut, which is another wood in favour for dining-room decoration. As a rule no colour or gilding is used in this kind of work, though it is sometimes enlivened by the Carved Oak Sceeex.. (From the Abbaye of Helmsdale.) introduction of brass, silver, and bronze. For instance, the figures in the upper panels of Mr. Briggs's design might be modelled or carved, and electros made in copper deposit ; this might be coated with oxidised silver either all over or in parts with very good effect. Similarly the three panels in the lower frieze might be done in copper deposit oxidised to bronze colour. This is of course the way to get a good effect at a trifling cost, but for really high-class work, genuine, not amateur, repoussd bronze gives by far a more delicate and artistic result. The dining-room decoration by J. White, Plate XVIII., is a ORNAMENTAL INTERIORS. dignified specimen of the style of the Italian palaces, ^v ith perhaps a reminiscence of modern French in the pediment over the mirror. This could be treated either to show the natural wood mahogany, for instance or it might be in coloured decoration throughout. DiNiNO-EOOM Chimney-piece. By Robert A. Brigg's. If the last-mentioned treatment is adopted, the dado might be in chocolate lacquered, with some of the smaller mouldings gilded ; the pilasters might also be chocolate, but somewhat lighter than the dado. The mouldings in base, flutes, and capitals of pilasters might be gilded solid, and lacquered in parts to > X w < UNIVERSITY DINING-ROOM BY J. WHITE. xix bronze colour ; the margins round panels containing portraits might be in citrine, the mouldings being in a lighter tint of the same, with the smaller members gilded. Eich damask silk in shades of crimson and gold and bronze might be used for the panels behind the pictures ; the upper panels might have same background as lower panels, or if variety was wished for, a good harmonious deep blue might be used instead, the figures and festoons being in natural colours. The brackets over the capitals and triglyphs between, might be in two shades of citrine, with gold freely used throughout, light citrine being used in the stiles round the square panels of frieze, and gold, cinnamon colour, and red, in the mouldings and ornaments of the panels themselves. The cornice should correspond in colour and gilding with the brackets. If the ceiling is panelled the ribs should repeat the colours of the cornice and frieze, and the panels might have, in a lighter key, the colours of the upper panels of the walls. E. W. Edis designed a dining-room for Jackson and Graham which had a very rich effect under candlelight. It was thus described by the furnishers : " The decoration of this room consists of a panelled ceiling of inexpensive construction, and a deep hand-painted frieze, which is supported by a red and gold Oriental paper ; and the woodwork of the room is an Indian red with enrichments of a darker colour. On the floor is an Indian carpet surrounded by Indian matting. "The chimney-piece, sideboard, side-tables, and chairs are of oak, delicately carved, and the covering of embossed morocco. " The room is lighted by one of Dr. Salviati's Venetian glass chandeliers, and the table is arranged as for dessert, with glass from Messrs. Powell & Sons, of Whitefriars." The design for the decoration of a dining-room by Eichard Q. Lane, Plate XIX., is suitable for a large mansion or hotel. The style is a version of Italian Eenaissance, and the scheme of colour ORNAMENTAL INTERIORS. adopted could be infinitely varied. Either the natural wood might be shown polished, or the work could be done in plaster painted and gilded. Small Sideboard. If we assume that . mahogany or walnut was used for the dudo, pilasters, cornice and frieze, and ribs of ceiling, the rest of the decorations would be arranged to suit the colour of the < <3 or THE 'tTNIVERSITY; OF CAUFOH^^t>^ DINING-ROOM BY R. Q. LANE. 123 lualiogaiiy ; pear-tree might be used for the carved panels of pilaster, and a tapestry of mixed blues, greens, citrines, and reds might be used for the band space where the pictures are hung, or the space might be filled with embossed leather. The circular and side panels above should be painted, say with a figure in the centre circular panels, and ornament in those of the sides. These figures and ornaments should be in natural colours on a light ground. The frieze would be carved, and might have the ground gilded, but with the ornament in the natural colour of the wood. The decoration of the ceiling panels ought to consist of delicate and graceful ornament in pure colours on a light ground, with gold used in the lines round the panels to form a framework. A very simple and inexpensive style of dining-room furni- ture which has yet spirit and individuality is shown in the small sideboard by Messrs. Liberty & Co., which is illustrated on preceding page. This has some of the qualities of design noticeable in the Burges wine cabinet referred to on page 53. Taxntku Glass 1'ankl. Taillefeb chantiko the Song of Roland. (From a Carving designed for a Broadwood Piano by J. M. S.) CHAPTER XIII. THE LIBRARY. IBRARY decorations should be quiet and unob- trusive, but there is no reason that they should be sad, depressive, or funereal. Eich, quiet, and comfort- able would express what is wanted; nothing that should distract but plenty that would interest the eyes and mind of the student. In some libraries there are books from floor to ceiling, and these form the leading decorations ; but in the libraries of those who do not possess so extensive a collection there is usually a good deal of wall space visible. A very cheerful, comfortable, and artistic library is one decorated and furnished by Messrs. Johnstone, Norman, & Co. in the west end of London and looking on Hyde Park. The style adopted is Perpendicular, of the finished and pliant kind used in the woodwork of the Houses of Parliament. In the LIBRARF BY JOHNSTONE, NORMAN, & CO. 125 oak bookcases, which are 4 feet 6 inches high, and go round three sides of the room, the design of each spandrel is varied, and there are exquisite bits of artistic carving on the chairs, tables, and other pieces of furniture. The linen panel on the door is particularly happy in section, and excellent in artistic effect. The chimney-piece and overmantel correspond with the other woodwork. The aim of the furniture seems to be to combine piquant artistic effect with the utmost degree of com- fort. In several instances Mr. Norman, under whose direction the work was carried out, has shown that the successful master of cabinet work must be a ready and ingenious inventor, so as to overcome difficulties neatly and artistically. The walls are covered with a specially designed tapestry, greenish in hue and rich but quiet in effect; the ceiling is panelled in oak and decorated. The curtains are of copper-coloured plush, and have embroidered valances. Another library by the same firm is panelled in soft greens; the furniture is of richly carved brown oak and ebony; the bookcases are original in design, and arranged in exceptionally convenient style. The door furniture is in bronze, specially designed and chased ; like the rest of the work in this room, it is an excellent specimen of Eenaissance design. The library decoration by A. L. Grimshaw, Plate XX., has, in its black and white aspect, its horizontal bands rather too much pronounced, but if these bands were treated in a colour only a little less dark than the main body of the wall the effect would be satisfactory enough. The dado and woodwork might be done in deep brown for the darker parts, a lighter reddish brown for the medium parts, with the mouldings brought out with lines of buff and gold. The upper panels of the dado might have an old gold ground, with the festoons and other ornaments in olive green, citrine, and brown. The main part of the wall might be in lightish olive, with the bands in toned Venetian red or gold ochre, about the 126 ORNAMENTAL INTERIORS. same depth of colour as the body of the wall ; the lines on each side of the band might be buff rather lighter than the ground. The frieze might have gold or dead gold-coloured back- ground with the ornament in buff, touched in parts with soft green and red and outlined with brown. The cornice may also be in buff, with gold colour, or gold in some of the members, diversified in others by tints of olive, citrine, and brown, used in lighter tints than in the dado panels. The library of Chelsea House, designed by W. Young, has a dado of panelled oak fumigated to a rich tone and dead polished. The doors, chimney-piece, and other woodwork of the room correspond in material, colour, and finish with the dado. The dado framing is formed by sets of two upright panels with one oblong horizontal panel over them, the panels being delicately moulded. The coping of dado and top member of skirting are enriched with carving. The doors have also enriched mouldings, and the overdoors are carried up to form frames for old paintings of figures in chiaroscuro. The walls are covered with Cordova leather embossed and picked out by colour, the ground being a low-toned green and the raised work of gold, cream white, and red. The frieze and cornice are richly modelled and have raised ornaments in two tints of cream ; the ceiling is formed by a laurel-leaf enrichment running into geometrical forms of squares intersected by circles. The centres of panels are octagonal enriched mouldings with patersB in the centres. The ground tone of ceiling is in rich cream, the ornaments being in creamy white. The frieze and cornice of the elabo- rately carved chimney-piece were brought from an old French chateau. The mouldings round the openings of chimney-piece are in black marble, and the sides and hearth of the open fireplace are lined with dark brown glazed tiles with incised pattern. The grate and dogs are of polished brass. The cornices of the win- dows are in carved oak corresponding with the other woodwork. XJNIVERSITT CALIFORNIA LIBRARY AT CHELSEA HOUSE. 127 The curtains are of rich tapestry with dull green and dead gold as the predominating colours. The floor is of polished oak and is covered in the centre by Oriental carpets. A LiBRAET Chaie. Bv LibertT & C'o. Stained-Glass Window Screen. Sketched by J. M. S. CHAPTER XIV. STAIRCASES AND HALLS. N many London mansions Sicilian grey marble highly polished is used to line the walls, form the steps, balusters, and stair rail. This has a splendid but somewhat cold effect, which is relieved to some extent by the colours of the doors, which are in finely figured natural woods polished. But the main source of colour when the stair and hall are prepared for reception, is in the flowers and plants with which they are decorated. But as Sicilian marble is expensive, it will perhaps be as well to give some instances of staircases with painted decoration. The entrance hall at Mr. Pearce's house, Glasgow, is divided into three parts by Corinthian pillars. The ceilings and walls are richly decorated with hand-painted ornaments and figures, each compartment being treated with special designs, executed throughout by Andrew Wells. The grounds of ceiling are in various shades of light blue and gold, and the decorations generally in darker shades of blue freely modelled, as in Persian tile painting. Thin lines of Persian red, orange, and gold are introduced very skilfully, to give emphasis to the framework of the panelling. The cornice is tinted in shades of pale STAIRCASE DECORATED BY ANDREW WELLS. 129 blue and fawn colour. The smaller enrichments and mouldings are gilt, solid Persian red being used with happy effect to connect the colours of the ceiling and the walls. The general tone is light, cool, and cheerful, and contrasts well with the full, rich treatment of the walls, which are divided into middle-space and dado. The ground of the mid- wall space is a delicate salmon colour ; on this is planted a series of figure panels with gold backgrounds diapered with raw sienna. The figures represent the seasons, other spaces being filled by Italian arabesques and floral designs. A feature of the treatment of this panelling is the band of softened black which surrounds the golden centres. This band is about five inches broad; it is bounded by gold and vermilion, and decorated with a very delicate arabesque in ivory colour. This combination of black, white, red, and gold produces a very rich and harmonious effect, and gives value to the lighter colouring of the ceiling and frieze. The dado is treated simply and broadly in various shades of dark brown, and varnished to give depth and support to the extreme richness of the walls above. The cupola crowning the staircase is especially happy in design. The cupola panels are of pale duck-egg colour, with stiles in cream colour, enriched with broad and narrow lines of Persian red, and worked up with the colours of the panels to connect the whole together. The panels have subjects em- blematical of Ceres and Flora on mosaic gold ground, with ornaments in Persian majolica blue, slightly modelled in delicate shades. The cornice is in deeper shades of the stile colours, relieved with gold and Persian red. The staircase upper frieze, immediately under the cornice and cupola, is about twenty -four inches deep, and is enriched with groups of boys alternating with dwarf Eenaissance columns, from which depend festoons and floral wreaths; over each of these festoons is a gold patera, while lighter and more delicate foliage fills up the background. Under the frieze is a Greek key and patera border, in shades of chocolate K I JO ORNAMENTAL INTERIORS. and black on a crimson ground ; this gives a good solid base for the figures. The main walls of the staircase are coloured in stages, working from a soft red in the lower part to a warm primrose colour at the stair-head. The various shade gradations are separated by bands of hand-painted ornament. The woodwork is painted with very dark Indian red toned with Prussian blue and finely polished. Mr. John D. Grace gives his ideas on staircase decoration to the following effect : " Where it is practicable and it is so in some of these staircases it is very desirable to make a broad distinction of colouring between the lower and upper storeys, inserting a sort of string-course at the level of, perhaps, the first- floor. This at once gives breadth and stability of appearance, and helps to counteract that effect of perpetual treadmill which is so unpleasant in mounting an ordinary London staircase. Where it is not possible satisfactorily to effect this marked horizontal division, it is possible, and frequently advantageous, to adopt such a design of decoration or paperhanging as admits of the repetition of horizontal lines at brief intervals. This was the one good feature of the old marbled papers in blocks, and which still leads people to assert that a staircase looks larger with a marbled paper ; the sense of width being, in fact, due to the horizontal joints, not to the figure of the marble. Designers, who have perceived this fact, now produce patterns arranged on the same block system, and suitable for narrow staircases. " Where an open well-staii'case exists, with stairs to the first or second floors only, and open wall above, much may be done with moderate use of colour in cornice and frieze to give a value to the whole. In such cases there should certainly be a well defined frieze or string-course at the level at which the stairs cease. "The soffits of the stairs may often be advantageously panelled out with mouldings, but where they are the plain soffits of stone STAIRCA SE DECORA T/ON. 1 3 1 stairs this is not very readily managed, and one must then have Wall-Fillinq and Feieze. By J. O. Harris. recourse to colour. A very simple use of even-coloured lines K 2 1 3 - ORiXA MEXTA L INTERIORS. will often be of considerable value. Again, much may be done to relieve the meanness and monotony of a London staircase by making a sort of vestibule or separate feature of one of the principal landings, and concentrating there your richer colouring and ornamentation, instead of frittering them away in driblets over the whole." Mr. John G. Grace says : " On walls of staircases or entrance vestibules, or dados of rooms, imitations of marbles are often painted, and very beautifully painted too; for many of our English artists excel in this kind of work; but these imitations are adopted not always because they are appropriate to the place, or particu- larly required, but because, being varnished, they wear well, and nothing else is suggested. " I think, however, that in a moderately sized house, where quiet taste is appreciated, stencilling in geometric patterns, in two shades of one colour, is preferable to marbling, which if done in an inferior manner, is a most unsightly sham." The hall decoration by J. 0. Harris shows a clever arrange- ment for carrying the design of the wall up into the frieze. This work might be done in two tints of brown-red and brownish-green or any other quiet colours, the ground and ornament of the frieze might be lighter than the filling, though the design remained the same. (See illustration, page 131.) The decoration by F. J. Nightingale has throughout a strong Greek feeling, notwithstanding the little Gothicisms at the corner of panels. It might be done in Pompeian colours, and could be rendered very delicate and pleasing in shades of bluish grey, blue green, cream, with perhaps some touch of more positive but still delicate colour in the panels. (See illustration, page 133.) The following arrangement by Messrs. Gentles & Co. suits a staircase embracing two storeys, or say about twenty-one feet that is, allowing twelve feet from ground floor to first floor, and nine feet from floor to ceiling of bedrooms : frieze and small cornice might be about eighteen inches deep, with light cream or STAIRCASE DECORATION. 133 cinnamon ground, the ornament in darker shades of the same, with buff, soft light green, and pale blue added ; the band under frieze might have rather warm green lines and warm reddish brown. KooM OR Hall Decoeation. By F. J. Nigliting-ale. The space extending from the under side of the frieze band to the top of skirting of bedroom floor, might also be cream or cinnamon, but a little darker than the frieze. On this ground at intervals may be placed upright conventional candelabra ,3+ ORNAMENTAL INTERIORS. f(u*ms, treated flat, with festoons extending from the one to the other. These candelabra may be in raw sienna or dead gold colour, without shading of any kind ; the festoons may be in natural colours, but with citrine or raw sienna largely intermixed. Eanging with the top line of the skirting a band in warm reddish brown or Venetian red, similar to that used under frieze, runs round the stairs. This might be a couple of inches deep. Below it should be an ornamental band, with some arrangement of the key pattern introduced in contrast to laurel-leaves or flowers. This baud may be ten inches deep ; belo-w it, should be a reddish band similar to the narrow two-inch band above. The space left between under side of this band and top of ground floor skirting may be divided horizontally into five parts. The two upper parts should be tinted in buff and divided hori- zontally into spaces not exceeding a foot or ten inches, by bands about an inch in depth, done in darker and lighter shades of buff than the ground. Below the buff- tinted space should be a bold ornamental border about a foot in depth, in which browns, reds, citiines, and greens may be used. Below this the triangular space to the skirting, which will follow the rake of the stair, may be tinted a rich warm brownish red. The top member of the skirting may be citrine and buff, the lower parts dark brown. The hall or dining-room by F. J. Kennard is intended to be done in fumigated oak, with stone and red brick showing in Ww fireplace ; the raised plaster pattern on walls might be tinted in any quiet coloiu-, such as soft green, olive, warm red, or brownish buff. The floor should be stained and polished and partially covered by Oriental carpet. (See Plate XXI.) The hall decoration by Joseph P. Addey, might with advan- tage have its filling rather lighter than at present, so as to have the greatest weight of colour or shade in the dado. This decoration might be either worked in citrine and red X w fc? HALL DECORATION. 135 shades, deepening towards the floor, or it might have a Pom- ^MmmrainiiimfflinBDmi lill|il|i|l||l!l!,i||'||ii:i!lll|lll!ll Hall Decoration. By Joseph P. Addey. pcian treatment of golden yellow ground for frieze, with oriia- 136 ORNAMENTAL INTERIORS. inciit in bluish grey ami cream wliite with brown outliue. The filling might have a buff ground with the decoration in natural colours toned with raw sienna. The dado might be done in chocolate with greenish pilasters. Another Fompeian style suitable for hall decoration is black dado divided into panels, with white or bone-coloured lines, and ornament in shades of green; the walls golden yellow with ornament in dull red, blue, citrine, and brown ; frieze, red ground with ornament in golden yellow. Another Pompeian example has the walls in green, relieved by ivory-coloured pilasters and columns, yellow panel framed with lilac in centre of space ; the dado black, with ivory lined patterns, marone in cornice above. Another. Walls cream white pilasters, green margins, and slender columns, gold-coloured margins to panels with small subjects in them, dado black with ornament in white and green. Another. Black wall with red pilasters enriched by gold- coloured ornament, masks and buds, black panels relieved by leaves and flowers ; marone in cornice. In a hall and staircase lately fitted up by Messrs. Collinson and Lock the outer vestibule is in grey Sicilian marble. The staircase, balustrade, and rail are in white enamel beautifully decorated with bas-reliefs in the style of Italian Eenaissance. The dado of entrance hall is panelled in same style, and the upper portion of the wall is in embossed leather, solidly gilt. Japanese Ornament. Okiental Table for a Smoking -Koom. CHAPTER XV. PARLOURS, STUDIES, SMOKING-ROOMS, AND PAVILIONS. ERY great freedom may be allowed in treating rooms which are in- tended to suit individual tastes, and which do not pretend to be adapted primarily for the re- ception of visitors. An odd-looking mantelpiece, such as that designed by Alf. E. Ilobinson, might be neither nor dignified enough for a dining-room, but be better formal 38 ORNA ME NT A L INTERIORS. in its quaint originality for a study or master's parlour than a more restrained example. (See illustration on this page.) The design by Chas. W. Jackson, with its neat proportions ( 'iiiMXEYi'iKCE. Bv Alt'. E. Robinson. and pleasant ornament, is another example of appropriate parlour decoration. To such a room, odd schemes of colour whicli might not ho X w H PARLOUR DECORATION. 139 periiussible in a drawing-room or dining-room, wonld be quite suitable so long as they were pretty in effect and pleasantly liarnionious. Of course the obvious thing to do is to leave the wood- Paelour Decoration. By Chas. W. Jackson. work in its natural colour, and to paint the walls and dado in some colour that would give an agreeable contrast. But it is also admissible to paint the woodwork blue or green, or both. i^o ORNAMENTA L LYTERIORS. Thus the framework of fireplace and dado might be paiuted blue formed by Prussian blue, indigo, and Avhite; the panels might be in bronze green ; flutings, and small members, might be picked Sri;F.i:x or ]V[rHHRp;HiYEH Wouk. out with reddish brown. The walls might have a ground of a lighter and greyer blue than the woodwork, the ornament being in pale green of various degrees from warm to cold. The frieze PARLOUR DECORATION. 141 might repeat, in lighter colours, the tints of the woodwork, and gold, or gold colour, could be used in addition in the cove ornament of the cornice. (See illustration, page 139.) In the studio, Plate XXII., the skirting and doors are painted bronze green, the upper woodwork, such as the beam over recess, of a pale and rather bluish green ; the mouldings above beam and picture moulding are gilt. The wall from skirting to picture moulding is covered by a chrysanthemum paper, with a drab ground, dull citrine leaves, and brownish red and pale buff flowers. The space above, forming the ground- work of the frieze, has a bluish ground well covered with cream and pale buff flowers and leaves ; on this groundwork are placed, at intervals, figure panels with gold backgrounds. The sloping ceiling is covered with a geometrical pattern in pale greenish yellow on a creamy ground. Lately a tendency has been shown by some esteemed v decorators to fit up halls, smoking-rooms, and such-like apart- ments in Oriental style ; Owen Jones executed designs of this character for Messrs. Jackson and Graham, and now Messrs. Liberty show a variety of art furniture in this style, most of it being light and elegant in form and moderate in price. The importation of Mushrebiyeh lattice- work from Egypt has probably induced Messrs. Liberty & Co. to turn this exceedingly artistic material to practical account ; they have accordingly in their Kharan chairs made very tasteful use of this fascinating artistic product of Mohammedan Egypt. Arabic cabinets, Mushrebiyeh screens, camphor or sandalwood tables, punkahs, traceried lamps, and Arabic traceried stained-glass windows of beautiful flowing design and splendid colour, are used to pro- duce an Oriental effect ; and this effect is further emphasised by the rich Turkish embroidery, the Eastern-patterned ceiling papers, and the Arabic forms used in the constructional lines of the apartments furnished by this house. (See Plates XXIII. and XXIV.) 142 ORNA MENTA L INTERIORS. Messrs. Liberty and Co. have lately published some richly illustrated books containiiig examples of chairs, settees, over- mantels, screens, cabinets, and general interior decoration, some of which are used as the illustrations to this chapter. Their work is as a rule simple, light, and elegant, as well as moderate in pricfe.' ' 'The I illustrations of the screens are particularly Oriental Tablk or Fixjwer Stand. spirited and crisp examples of design. Specimens of the beautiful drawing of foliage and spirited rendering of birds which are noticeable in these screens are given in Plates XXV. and XXVI. In an Oriental interior by Messrs. H. and J. Cooper, the garish eye of day is excluded, and is replaced by a subdued harem-like light. Round the sides the spaces are divided by PLATE XXIV. --::^/g>^j^A;;>^^/^ OeIENTAI FtmNITUEE. , f^ OF THE TJNIVERSITT^ ORIENTAL FURNITURE. M3 quaint Oriental arches and lattice-work screens, brought from the fronts of old houses in Cairo. In front of the fireplace are two splendid brass pillars, rising to a height of about six feet, and having every inch of their surface elaborately engraved. In the left-hand corner is a charming Arabic cabinet, good in Hall Chair. proportion and well balanced, and having just the right amount of decoration to be satisfactory. There are also a couple of Damascus niches in lacquered work, done in the style of the stalactite vaulting of the Moors, and fitted up as recesses for lamps. In another nook there are specimens of delicate raised L ,44 ORNAMENTAL INTERIORS. work, decorated in gold and colours, which has a very rich and yet refined effect. Scattered about the apartment are portfolio stands in mother- of-pearl, embossed chests and cabinets, musical instruments, nargilehs, Persian tiles, and other objects of art workmanship from the far East. On the floor is amber Indian matting, covered here and there by choice Oriental rugs. The pavilion of the Prince of "Wales, fitted up by Messrs. Gillow & Co. at the Fisheries and Inventions Exhibition, consisted of a series of rooms decorated with subdued splen- dour, and furnished with excellent taste. In addition to the beautiful furniture, tapestries, and decoration aiTanged by Messrs. Gillow, there were rich Oriental carpets by Messrs. Yincent Eobinson & Co., and artistic metal-work lamps and chandeliers of the finest Italian workmanship supplied by Messrs. Perry & Co. (Procter & Co.) 1i^ URA/ OF THE vv XVBB.SIT- CALlFOR^^ Salle ue Ley.s, Hotel de Villk, Anxweep. CHAPTER XVI. DECORATION OF PUBLIC BUILDINGS. HOUSE OF LORDS. HE building of the Houses of Parlia- ment in Gothic of the Perpendicular period gave a splendid opportunity for the revival of this style, and the work was carried out with such unity, good proportion, and consis- tency, that it had its effect in recom- mending Pointed architecture very favourably to the notice of the public. Both in its interior decorations and its external proportions, the building is consistent and harmonious. It is a little mono- tonous, some think, from its excessive panelling, which is a characteristic of the style ; but it is undeniably a regal building in the noble simplicity of its lines, in the grouping of its masses, and in the excellence of its details. It is lavishly but judiciously rich, for its richness and minuteness of detail are combined with breadth of effect, while from no point of view is it destitute of L I 146 ORNAMENTAL INTERIORS. that dignified and stately picturesqueness which is one of the glories of noble examples of Gothic architecture. Internally it is a series of grand apartments, good in propor- tion, well detailed and richly decorated ; the panelling, as in the exterior, gives richness without interfering with the hreadth ; the well-shaped arches, full, yet avoiding the exaggeration of many specimens of the Perpendicular period, show that the architect did not allow his knowledge to override his taste. In the groinings, niches, pedestals, and canopies of the figures as well as in the figures themselves, a good sense of decorative pro- portion is always maintained, though we must except from this general commendation the large figures in mosaic of the upper part of the octagonal hall ; these, perhaps, good enough in them- selves, are a mistake in their present position, being quite out of scale with the other decorative figures of the building. These mosaics, however, are a late introduction, and were done after the guiding hand of Pugin had been withdrawn. To this accomplished architect is said to be due the excel- lence of the detail, for Sir Charles Barry was more favourably known as an architect of classic than of Gothic work. But prob- ably as much is due to the one as the other ; if Pugin was master of Gothic detail, Barry was able to impart to the building breadth and repose, which are two of its distinguishing characteristics. The House of Lords is one of the finest of Gothic interiors. The thrones richly carved and glowing with gold, the brazen standards and balconies, the polished oak woodwork, the crimson hues of the woolsack, cushions, and floor coverings, the rich panelling, the emblazoned coving, the sculptured, gilded, and painted roof, the rich stained-glass windows, and the frescoes in the end arches, make up a picture of regal magnificence which is almost beyond criticism and has scarcely its fellow. It is worth while noticing that much of its excellence is due to the admirable unity of scale which is maintained throughout the architectural forms, the sculptured and painted decorations. THE HOUSE OE LORDS. 147 There are no bold broad vacant spaces by which an inferior artist would endeavour to give what he called breadth, but what other people would regard as emptiness. All is rich, large masses being brought to the scale of the rest of the work by the detail given to' the sculptured, carved, or painted decoration. The House of Lords is ninety feet long, forty-five feet broad, and forty-five feet high. It is lighted by twelve lofty windows, six on each side, and each window has eight compartments for figures. This treatment of the windows is excellent from a decorative point of view, for it secures the efi'ect of a uniform scale of decoration throughout the apartment. This efi'ect would have been destroyed if large pictorial representations had been used for filling the windows instead of the smaller decorative figures, which by their form, rich draperies, and small parts greatly enhance the decorative efi'ect. The frescoes, isolated by their framework of arches, and being rather faint in colour, have no destructive efi'ect, although it may be open to question if a treatment more decorative and more in harmony with the scale of the rest of the building would not have been Jbetter. That they are so far satisfactory is doubtless due to the following circumstances. First, the figures in the frescoes are nearly to the same scale as the sculptured figures of the niches between the arches. Second, they have in most cases a monu- mental, decorative or semi-decorative treatment rather than a distinctively pictorial one. Third, they are each furnished with architectural forms, as arches, pillars, and groinings, which repeat and harmonise with the real architectural forms of the apartment. Though, perhaps, not great works of decorative art, these frescoes are interesting as the first modern attempts at this kind of wall decoration in England. Those over the throne are, "Edward III. conferring the Order of the Garter on the Black Prince," painted by C. W. Cope; the centre arch shows "The Baptism of St. Ethelbert," L 2 I 1+8 ORNAMENTAL INTERIORS. painted by W. Dyce ; the third arch depicts '' Prince Henry acknowledging the authority of Judge Gascoigne," which is also by C. W. Cope. The designs by this artist balance each other, and there is a certain agreement in the horizontal lines running through the three pictures; so that, considering the unsatis- factory state of figure decoration in England at the time, these must be regarded as very creditable performances. The other end of the House of Lords has also three frescoes : " The Spirit of Justice," by D. Maclise ; " The Spirit of Eeligion," by J. C. Horsley, and "The Spirit of Chivalry," by ]). Maclise. BUCKINGHAM PALACE. building contains many splendidly proportioned apartments. They are large and lofty, and regal-looking from the costly materials used and the magnificently rich style of their decorations. The Grand Entrance Hall has an arcade of coupled Sicilian marble columns with gilded Corinthian capitals ; the frieze over the columns has raised ornament in colours and gold ; the ceiling has heraldic and other emblematical devices in colours, emphasised in parts by gilding. Flights of marble steps between each of the pedestals of the arcade lead to a higher level space, which has walls of sienna or golden- The Grand Staircase. bo a BUCKINGHAM PALACE. 149 liued marble. The door architraves, chimney-pieces, and other constructional forms are of white marble. On the main floor there is a Turkey carpet, in which crimson colours predominate, the carpet for the stairs is in shades of crimson, and has a scroll-work border in shades of gold and sienna colours. The chandeliers, which are in the form of lanterns, are in gilded metal. To the left is the Grand Stair, which is of white marble, with a scroll-work balustrade of gilded metal work ; behind this balustrade on each side are the flower-stands which rise in tiers, and give, when filled, an additional glory of rich and delicate colour. The walls of the stair are in panels of various coloured marbles. Half-way up the grand stair we reach a square hall, around which are displayed portraits of various members of the royal family of the last generation. In each of the corners is a large bronze caryatide, which supports a candelabrum. Above is a sculptured frieze with cream-coloured figures on a brown ground. The ornaments under the cupola are in cream and gold on a blue ground, the corners are richly gilded. The Promenade Gallery, leading from the staircase, is approached by doors splendidly worked in gilded metal; the lower panels, which are long shaped, are filled with silvered glass ; the upper, which are square, have the royal crown carved on the richly rayed Star of the Garter. The architraves and entablatures of the doors are of white marble, and the decora- tions of the door are solidly gilded, with a little blue picked in on the grounds ; but the effect of the doors, as a whole, is that of cream colour, silvered glass, and richly gilt metal. The Supper Eoom is square in shape, and is roofed in by a magnificent cupola, in the centre of which is an arrangement of electric-light lamps behind a cut-crystal corona ; the cupola is divided into a series of panels, on which golden stars, gradually diminishing in size towards the centre, are displayed. 150 ORNAMENTAL INTERIORS. Immediately below the cupola is a cove and cornice with raised ornament in gold on a cream ground. From this cupola-cove large carved consoles, richly gilt, extend to the walls, while between the consoles are panels with enamel blue ground and raised gold ornament. The walls are in various hued marbles ; the sideboards, on which the gold plate is displayed, are covered with crimson ; and the wall recesses are filled with silvered glass. The deeply recessed doors are noticeable for their beauty of proportion, and the originality and richness of their decoration. These doors are chiefly in cream and gold; each door has ten square panels with raised ornament in gold, a narrow ornamental border enclosing each set of five panels. The floor is inlaid and polished. The Concert and Ball Room is the most magnificent of this splendid series of state apartments. It is finely propor- tioned and decorated with consummate skill. The lower dado is in panels of various coloured marbles, in which a soft green colour predominates ; this dado is finished by a cornice of cream and gold. Above this the chief wall space is filled by a large horizontal panel of crimson silk damask of special design, showing the rose, shamrock, and thistle ; this panel is framed by gold mouldings rounded and ornamented at the corners. Above this is the window space; the windows are filled with cut glass, and the spaces between them are decorated with paintings of Terpsichorean figures. The ceiling is coved where it joins the walls ; the cove has richly carved stiles in cream and gold, and between the stiles panels with raised ornaments also in cream and gold on enamel blue ground. Immediately below the cove there is a frieze with a brown ground and raised ornament in cream and gold. The ceiling has fiat coupled beams with carved drops at the intersections ; these beams arc filled entirely by a large key or fretwork pattern, which is gilded solid and burnished; the sunk panels between the beams are formed into octagons, in which there is > X X w < Cm OF THP ^- NIVERSIT BUCKINGHAM PALACE. 151 a series of rich and delicate raised ornaments in gold, with touclies of cream on a blue ground ; the effect given by the ceiling is that of enamel work in gold, blue, and cream. The panels have electric lights in their centres. At each end of this ball-room is a fine arched recess. One of these is filled by the organ and minstrels' gallery ; the gallery front is corbelled over on rounded diminishing corbels, below which are semicircular arches. The organ is gilded and the gallery front is enriched by gilded metal and crimson silk damask. The arch at the opposite end frames a splendid sculptured doorway, in which white marble, gilded metal, and silvered glass give the leading colour characteristics. The side entrances, of which ^there are four, are square in general form, and have in their upper portion a frieze of statuary marble figures on a gold ground. This frieze has one long central, horizontal panel, and a square one at each side ; these square panels continue the lines of the side enrichments of the doorways. The recesses of these entrances have very large plates of silvered glass. The candelabra are splendid specimens of Eenaissance work in gilded bronze. The furni- ture is carved and gilded, and upholstered in crimson satin damask. The door through the arch at the end of the ball-room gives admission to the Approach Gallery, which has walls of crimson silk damask, in panels framed by pilasters, which are decorated with paintings on a gold ground; at each end are richly sculptured doorways, with groups of figures in the arch- ways. One of the doors opens upon the State Dining -Room. (See Plates XXVIII. and XXIX.) This entrance door, seen from the side of the dining room, presents a splendid appearance ; it is deeply recessed, and has a broad framework of moulded and carved work with wreaths and festoons richly detailed and solidly gilded. The walls of the room are of pinkish terra-cotta ; portraits in frames of \ 'S^ ORNAMENTAL INTERIORS. Louis Quatorzo design line the wall on one side, while at one end, silvered glass panels with gold-work frames descending over part of the glass, form a special feature. The ceiling has its centre divided into three cupolas framed by massive beams of carved and gilded work; the sides are coved with arches springing from projecting consoles coupled together by minor arches. The Blue Dkawino-Room, Buckinguam Palace. (Looking towards the State Dining-Room.) The Bll'e Drawing-Room has its walls covered by light blue silk damask between ranges of onyx columns, which have gilt capitals and bases. The centre of the ceiling is formed into circular panels ; the sides form a large cove with finely curved brackets springing from the caps of the Corinthian pillars ; between the brackets the ceiling has coff'ered panels in cream and gold. (Sec Plato XXVTT.) BUCKINGHAM PALACE. '53 The Saloon has imitation lapis-lazuli columns with gold caps and bases. The ceiling is in a series of domes covered by a diamond pattern diminishing towards the centre, the frame- work of the design being formed by interlacing circles of largo radius. The White Drawing-Room is a fine example of the Louis The White Drawino-Room, Buckingham Palace. Quatorze style of decoration. The panels are enriched by carved and gilded work, the pilasters being also carved and gilt. The Throne Eoom has a ceiling with panels of heraldic forms and armorial bearings in enamel effects on a diamond diaper. Over the throne there is a dome of carved and gilded scale work with a large closely rayed star in the centre. 15+ ORNAMEXTAL INTERIORS. The Green Drawing-Eoom has lattice-work pilasteis in gilded carved work, with wreaths and festoons also of carved work forming the frieze. The Picture Gallery is a long and lofty apartment well lighted from the roof, which is of open-work hammer-beam con- struction. The beams are connected with each other by arched timbers which span the spaces between them. The construction of the roof naturally divides it transversely into three parts, which may be described roughly as centre nave and side aisles, but none of the divisions descend upon the wall space, which is clear throughout the entire length of the gallery. It is filled with masterpieces by the famous Flemish painters. In an adjoining room hangs the large painting of "Cimabue," by which Sir Frederick Leighton worthily made his first mark in the world of art. There are several minor galleries, such as the New Gallery, which opens from one side of the ball-room ; it is decorated in cream and gold. Another gallery has panels of beautifully executed flower-vases standing against soft sky effects ; over the semi-circular heads of the flower panels are horizontal oblong panels with figure designs. Another is finished in crimson damask silk with gold ornaments and cream grounds. In many of the apartments are splendid candelabra in metal, or metal, wood, and marble. The chandeliers in some of the rooms are elaborate examples of crystal work made to receive wax candles ; in most of the others, they are arranged for electric light. The furniture is usually Roman or Roman Renaissance in style ; it has the classic elegance and fulness in its lines, is carved in masterly style, gilded, and in parts burnished. The coverings are usually of crimson silk damask. All these state apartments, which are in truth well worthy of the name, are on the first floor. Entering from the grand staircase we have gone in our imperfect survey around an immense quadrangle of palatial buildings, and emerge again < bo .a p-i -I S7\ JAMES'S PALACE. 155 on the other side of the Grand Staircase from which we started. On the Ground Floor are some rooms devoted to the use of the officials of the Eoyal household. The Household Dining-Eoom has Sicilian marble columns, the dado is white and gold, the wall filling is a raised flock pattern painted terra-cotta colour, the ceiling is cream and gold. There are some good pictures on the walls, among them Stan- field's " Opening of London Bridge." The doors on this floor are of polished mahogany with gold mouldings. The Household Drawing-Room has Sienna marbled pilasters, white and blue ceiling, grey panels in walls; many of the spaces are filled by portraits of royal personages, among them those of the Emperor and Empress of the French. The carpet as red ground with panels of black and brown. The Eoom of 1853 has polished granitic pillars and pilasters. Some portions of the wall have sunk oval panels into which portraits are inserted. The ceiling is white and blue ; the walls have panels of grey with white and gold mouldings. ST. James's palace. There are some apartments of noble proportions in this building, the throne-room, and the two reception-rooms leading to it, being very fine in effect. The ball-room walls are covered with amber figured silk ; the window draperies, matching the walls in colour, have trimmings of violet and gold ; the wood- work is in ivory colour and gold ; the whole has a very regal effect. Another room has crimson figured silk on the walls, with richly gilt moulding and pilasters. In the Presence Chamber three very large portraits of the Queen, the Prince Consort, jind George IV. in their royal robes, and an amplitude of throne hangings, pillars, sky, and steps around them. Each picture is surrounded by a well-designed and massive carved 156 ORNAMENTAL INTERIORS. frame, solidly gilt, and at least a yard in breadth ; the whole effect conveys an unmistakable impression of royal magnifi- cence. The Throne, raised on three steps covered in crimson, is carved and gilded, and covered with rich silk velvet with gold embroidery. The canopy above has a rich cornice of gilded carving, and over it the royal arms in solid gilding. The deep valance hanging from the cornice is in crimson velvet embroi- dered in gold and colours. The rich crimson velvet hangings behind the throne have the royal arms splendidly emblazoned in raised golden embroi- dery and heraldic colours ; the draperies hanging from the canopy enclose the throne on each side. The wall on the right, when one faces the throne, is divided into three panels j in the centre of each of these is a portrait of one of the members of the Koyal Family. The walls are covered with richly figured crimson silk damask ; the curtains of the windows are of the same material, and are fringed and embroidered. The woodwork is in pale green with gilded mouldings. The Eoyal Closet or Withdrawing Eoom is covered with light blue silk damask of the same pattern as that of the throne- room. The woodwork is of pale greenish blue with gold mouldings. Most of the forms and details in these apartments are classic ; but the decorator, very curiously, has stencilled over the cyma recta, corona, modillions, and other parts of the cornice, little ornaments, which, if they have any style at all, are assuredly not classic. However, these ornaments are so small and the colours so modestly retiring that they injure the general effect very little, as they are quite overpowered by the massive gilding and the bold colourings of the wall coverings. The Picture Gallery, which contains portraits of the kings and queens of England, gives an impression of dull green. THE HOLLOW AY SANATORIUM. 157 dingy red, and silver white. It belongs to the melancholy school of aesthetic decoration. The Banqueting Hall is much better. The walls are covered by a rich paper of very bold design, in which bluish grey and grey are freely used; the dado is warm red, and there are several bits of fine harmony in green and red. The carpet is crimson. The Entrance Hall has columns of deep crimson marone with gold ornament highly polished; the walls are covered with a pattern in which bluish grey and green are the prominent, but not too prominent, colours. Some of the staircase walls are covered with green and gold embossed leather paper. The carpets are crimson. The Guard Room has the woodwork in black with Chinese ornament in gold and colours. The walls are decorated with trophies of armour on a plain reddish background. MANCHESTER TOWN HALL. The decoration of the Manchester Town Hall has, as its principal feature, paintings illustrating events in the history of Manchester from the Roman period till the present time. These are being executed by Ford Madox Brown. They are balanced by rich armorial paintings on the roof, representing the arms of the countries and cities with which Manchester is connected by its trade. THE HOLLOWAY SANATORIUM. The Recreation Hall of this building is very richly decorated. It is Gothic in style and has an open timbered roof; the wood- work is stained and varnished, and has ornaments in gold. The plaster work of the roof, which is in about one hundred and eighty panels, is painted a light soft greyish blue ; in the centre of each panel there is an ornament in gold ; the grounds of the centres of ornaments are filled with carmine, and the gold ornament is 1 5 8 CRN A ME NT A L INTERIORS. firmly outlined with dark brown. The rest of each panel has the ground powdered over with small gold ornaments, somewhat resembling butterflies in form. The different designs used as ornaments are fifty in number, so that at no part is it possible to see the same design in two places at once. Besides these, there are special designs for the roof dormer panels. These, though different in design, are in the same colours as the other I)anels. It is to be remarked, that although some of the panels are forty or fifty feet from the floor, the birds, flowers, or conven- tional ornaments in them are not exaggerated at all in size to suit the great height. Whether from the power of the gold, or the admirable lighting of the roof by the dormers, the orna- ment, to the smallest detail, is fairly seen, while its moderate size gives an appearance of jewel-like richness. The frieze or border at junction of sloping roof and perpen- dicular wall, has a darker blue ground, with figures in gold, outlined with brown. The gold throughout is lacquered to pre- vent it shining unduly. Till this was done the gold absorbed the reflections of darker colours, so that in some positions it did not tell at all. The cornice at the head of the wall is richly ornamented in gold and c(>lours, and has beneath it an ornamen- tal frieze of scale work, on which conventional flowers in citrine are placed. The frieze is in green, citrine, touches of carmine, and gold, the flowers being outlined with brown. The arched windows have over them conventional lird;^, roses, and other designs in tints of cream, pink, red, and delicate shades of blue on a gold ground. The spandrels filling the spaces between and over the arches have figures in full colours standing on the band at the springing of the arch. The rest of the spandrel is filled by fay-like, winged figures, amidst small ornament of natural form but semi-conventional arrangement. The figures, as well as the ornaments, are in gold on a pale grooii ground. THE HOLLOW AY SANATORIUM. '59 It was intended to fill the spaces below between the window with trefoil niches, with sitting figures depicting the sciences ; below these was to be a broad band of ornament, and then liistorical groups, with figures rather larger, were to fill up the space down to the top of dado. By this arrangement a nice proportion of scale would bo attained. The three-feet high figures, which are some twenty feet from the ground, would be supplemented by a lower series rather larger in size, which come under the corbels of the roof and between the windows. The panels be- low, from the dado to six feet above it, were to have historical subjects with still larger figures, but none of the figures were to be quite life-size, so that there should be a gradual diminution in the size of the figures as they receded from the eye. This, we think, tends very much to give an appearance of greater size and space to a building. Mr. Holloway, however, rejected this intended arrangement, as it was his in- tention to introduce life-size portraits. This intention he has carried out to the detriment, we think, of the decorative scheme of the hall, for the large scale, modern dress, and undecorative style of these portraits are not in harmony with the rest of the decoration. The portraits are admirably painted by Mr. Girodet, but placed as they are as wall decorations without frames they hardly seem in their proper place. The end walls have each two lunettes ranging with the nrched window heads ; these have figures on a rough stippled gold Sappho. One of the fignrea at the springing of the arch, Recreation Hall, Sanatorium, Virginia Water. i6o ORNAMENTAL INTERIORS. ground. The colours are strong, full, and decorative, to har- monise with the elaborate decoration of the hall. The subjects are Lyric and Epic Poetry at the one end, and Legend and His- tory at the other. There are no east shadows in the pictures, but sufficient shading or modelling is used to give roundness to the figures without forcing them unduly from their purpose as deco- rative subjects, or causing them to trench upon the function of purely pictorial art. (See headings to Chapters II., III., and V.) The designing of the ornament and the colour arrangement, as well as the painting of the figures down to the springing of the arch, are by the author. The staircase and hall, which follow the style of the Sainte- Chapelle at Paris, but, unfortunately, without its gilding, was done by J. A. Hewitt. The dining-hall has ornament by Mr. Imrie, with panels in Watteau style by students of the Art Training School, South Kensington. All the decorative works in the building were directed and superintended by Mr. Martin-HoUoway. SALLE DE LEYS AT ANTWERP TOWN HALL. The Salle de Leys at Antwerp, already referred to on page 40 in connection with its dado and wall treatment, presents a good specimen of Flemish Renaissance style. Baron Leys seems, in his decorative pictures, to be rigidly true to costume and accessories ; with this truth he combines a rude force thoroughly medieval in character ; his pictures are not graceful in design, but they have an intense directness which is absent from many graceful pictures. Though the work in this room is almost entii-ely modern, there is a true unity and completeness of effect which are masterly in their way. This effect is not got by any finikin imitation of mediaeval work, but by the complete harmony that exists between the materials employed. Most of the fittings of the Salle are in dark veined PLATE XXX. The Ball Room, Blckingham Palace. Thk Crimson Drawiko Room, AVixpsor Castle. II DECORATION AT ANTWERP AND BRUSSELS. i6i marble, that is to say, the chimney-piece, which is carried up to the ceiling, and the architraves of the doors are in marble ; the doors, dado, and beams of the ceiling are in oak, enriched in parts by gilding. Dull green harmonising with the marble is the prevailing colour of the textile fabrics of the room. Ionic columns appear in the chimney-piece, and classic mouldings are used throughout the marble work of the room. The only important piece of carving is the heraldic panel over the chimney. Throughout there is a noble simplicity which makes this room worth attention as a notable example of Flemish Renaissance. (See illustration at beginning of this chapter.) SALLE DES MARIAGES AT BRUSSELS. In the decoration of the Salle des Manages the artist, M. Cardon, symbolises the purpose of the room and indicates the virtues of marriage. In the central compartment the good city of Brussels, under the aspect of a young wife, seems to preside at the union of her children. She is seated in a chair of state, which has a back of figured gold. Her veil descends from her , forehead in the style familiar in the pictures of Memling, and her robe, clinging above to her wholesome form, spreads out below into voluminous and somewhat stiff folds of soft yellow. At the sides are two pages. Each holds in one hand the mediseval representation of the torch of Hymen with the escutcheon of the city or province, and in the other a diamond-shaped shield, with the emblematic device of male and female hands clasping each other. The words Maricz et tenez^ appear on the one, and Unefois maries^ maintenez^ on the other. It is the spirit of the old loyal Flemings that speaks in these brief words. Above, on each side of the chair of the city, is a winged figure displaying a broad ribbon of gold and offering a wreath. All the composition is backed by an imitation of tapestry ; M 1 62 ORNAMENTAL INTERIORS. this has a ground of vert de chypre^ soft and warm, pleated at wide intervals, in the style of tapestries; the pattern has the cypher of the town interwoven with leafage and flowers agree- ing in symbolism with the intention of the figures. The right-hand compartment has a winged figure, standing on conventionalised clouds, and intended to personify Justice. The left-hand figure represents Law. The ceiling accords in colour with the walls. It has five heavy beams finished inside with mouldings, which form the ceiling into a series of sunk panels. These have a gold field, with the devices and mottoes of the corporation amidst flowers of scarlet and blue. The corbels which sustain the beams are sculptured with the arms of the patrician families of the town ; they are relieved by a frieze of Gothic foliage, interspersed with symbolic devices. (See heading to Chapter XX.) WINDSOR CASTLE. The Vandyke Eoom has its walls covered by crimson silk damask, the dado is of cedar with gilded mouldings, the ceiling and cornice white and gold. The Zuccarelli Eoom has crimson silk walls, dado and cornice of oak, partly gilded, and ceiling of cream, blue, and gold. The State Ante-room and Presence Chamber have tapestry-covered walls and mythological subjects for their ceiling decorations. The Waterloo Chamber has oak and gold dado, brown and gold raised ornament on walls ; the ceiling is in two tints of red and gold ; soft green is used on beams and frieze, and heraldic colours on the shields. The Grand Eeception Eoom has raised ornaments gilded on a cream ground, the wall panels are filled with figure subjects in tapestry. Views of several of these apartments are given on page vi., and in Plates XXX. and XXXI. PLATE XXX r. The Watkkloo Chamber, Windsor Castle. Ik Thk Gbekx Deawino Room, Windsor Castle. ^ A Pankl The Story of Camhuscan Bold. Designed by J. M. S. for the bass side of a Piano by Messrs. Broadwood. CHAPTER XVII. THEATRICAL DECORATIONS AND SCENERY. THE THEATRE ROYAL, DRURY LANE. RUEY LANE Theatre has been decorated very rapidly by Messrs. Gillow and Co. The style chosen is Yerj simple, but is exceedingly good of its kind. The ornaments are gilded solid, and the groundwork is in cream colour. The effect is enhanced very much by the good use that is made of rich red plush in the draperies of the boxes and for the curtains of the stage. The whole effect is one of simple, stately richness. We should, however, have been glad if something had been done to enrich the ceiling and the parts of the gallery wall which abut on the proscenium. No doubt the fine proportions and grand spaces of this theatre lend themselves readily to good decoration ; moreover, the raised M 2 1 54 ORNAMENTAL INTERIORS. ornament introduced some years ago is so good and so effective that only a very inferior decorator could or would spoil it. The carpeting of the stalls is in harmony with the draperies of the boxes and of the curtain. The ample space given to the stalls, and the noble widths of passage between them, make Drury Lane a pleasant contrast to the cramped condition of this part of the house in many other theatres. The large stage gives scope for scenic effects of a grand kind; this is taken advantage of to the full by the present management, which has shown excellent capacity for producing effectively picturesque scenery, good grouping of crowds, and artistically designed costumes, and thus realising very splendid stage pictures impossible on a smaller stage. THE LYCEUM. The Lyceum has also been decorated recently, the style chosen being Pompeian, or rather that imitation of old Eoman wall decoration that Raphael made use of in the Loggias of the Vatican. The work is clever and spirited, but looks almost too busy and disturbed, from the strong contrast between the dark hues of the ornamental forms and the light colour of the ground. The Lyceum stage is small, and the pictures presented on it are sometimes unduly cramped ; and though the scenery is usually effective and picturesque, it cannot be said that it is always remarkable for breadth of effect, or even for exact truth- fulness. The taste which rules here seems to lean sometimes more to the florid than to the refined ; incongruities are allowed to appear which a severer taste would have banished : thus in the exterior view of a church an otherwise excellent mediaeval architectural effect was injured to some extent by the intro- duction of a delineation of some nineteenth-century cast-iron railings. THEATRICAL DECORATION. 165 Great intelligence and energy have, however, been shown by the management in enlisting modern science to enhance the weird situations of some of the plays produced. Electricity, gas flames, coloured beams of light and clouds of steam have been made use of to secure effects of startling vividness or of poetical beauty. A great part of the decorative effect of a stage picture sometimes depends on the richness, variety, and correct- ness of the costumes. In this matter of stage-dress the Lyceum management has shown knowledge, liberality, and taste. THE princess's. This theatre has lately become famous for its refined and beautiful realisations of classical scenes. No doubt the influence of the fine backgrounds and distances used by Mr. Alma Tadema in many of his pictures has been strongly felt by the painters of the scenery at the Princess's, and to Tadema therefore may be traced the inspiration of many of the pleasing views given at the Princess's. Some of the plays put upon the boards of this theatre in recent years have been the occasion for some excellent examples of consistent and well-thought-out scenery, which has been usually supplemented by rich and varied costumes, and by artistic groupings and arrangements of figures, colours, and decorative accessories. THE ADELPHI. The interior of this theatre is very nicely proportioned, and has light and graceful raised ornament on the front of the boxes and round the stage opening ; the ceiling is curved in section and is encircled by lunette openings at the base ; the design and ornamentation throughout show originality and a fine taste for elegant effect. ]66 ORNAMENTAL INTERIORS. ST. JAMES'S THEATRE. The style of decoration adopted here belongs to the Louis Quinze period, the groundwork being in dull cream or very- light drab, with the raised ornament gilded. The arrangement at and over the stage opening is rather straggling and wanting in unity, while the Watteau painting immediately over the stage, though quite in keeping with the style of the rest of the work, strikes one as out of place, because it is unsupported by any similar kind of painting in other parts of the theatre. But the effect as a whole is one of lightness and elegance, due in part to the restraint shown in the colouring and in part to the graceful lines of the raised ornament. THE ROYALTY. This theatre has the fronts of the boxes and gallery covered with crimson velvet on which enwreathed plaques with gold grounds are displayed. Gilding and mother-of-pearl are used for the pillars and frieze. The drop curtain has a Japanese screen, vase, flowers, and other accessories painted with bold, rich, and artistic effect. THE SAVOY. Ornamental subjects in painting have been discarded, and the decoration consists entirely of delicate plaster modelled after the manner of the Italian Eenaissance. The main colour- tones are white, pale yellow, and gold gold used only for backgrounds, or in large masses for gilding relief- work or mouldings. The back walls of the boxes and the corridors are in two tones of Venetian red. No painted act-drop is used, but a curtain of creamy satin, quilted, having a fringe at the bottom, and a valance of embroidery of the character of Spanish work, keeps up the consistency of the colour scheme. This curtain is THEATRICAL DECORATION. 167 arranged to drape from the centre. The stalls are covered with blue plush of an inky hue, and the balcony seats are of stamped velvet of the same tint, while the curtains of the boxes are of yellowish silk, brocaded with a pattern of decorative flowers, in broken colour. Okikntai, Va.-jE. Staised-Gi.ass Window Screen. SketchecT bv J. M. S. CHAPTER XVllI. NOTES ON COLOUR, THE TREATMENT OF BACKGROUNDS, FRIEZES, ETC. j^^ ]N one of Sir Frederick Leighton's pictures wc have an instance of very effective treatment of colour. A shepherd and two nymphs are placed in a landscape swimming in mellow sunlight. The foliage is of a warm brownish green ; the skin of the shepherd is warm brown, and he wears a leopard's skin and crimson drapery. The first nymph is painted of a lovely flesh colour, and is draped by white, inclining in parts to yellow. She reclines on blue drapery. The other nymph has equally lovely flesh tints, but her drapery is orange and orange-yellow contrasted with purple. Another very successful treatment of colour is found in L. Alma Tadema's picture, "A Hearty .Welcome." A mother, newly returned, embraces her daughter in a garden of poppies, which is backed by Pompeian square columns, while we catch, over the garden wall, a glimpse of architectural forms standing out against the sky. The foreground is formed by poppies painted in all their glory of crimson and scarlet ; but these colours are overpowered by the strong ruddy orange of the ARRANGEMENTS OF COLOUR. 169 square pillars which catch the light of the declining sun. Against the strong orange of the pillars, the garden wall appears of a yellowish green orange, something like enriched yellow ochre; the house appearing over the top of the wall is white and shining against a blue sky. The immediate foreground and right hand of the picture are in subdued tints. Another picture, "Fredegonda," has beautiful cool delicate bluish-green tints in the background, contrasting with the bold warm green of the front. " Cymon and Iphigenia," another picture by Sir Frederick Leighton, is an arrangement of flesh colour of various tints mingled w^th amber, red, crimson, and purple. It is decorative rather than natural in colour effect, but it is a masterly painting nevertheless, and possesses great breadth of effect, beauty of drawing, and grace of painting and modelling. Niches for Statues should be painted a decided colour, such as marone red. If the statues are old and stained the tone of the background should be lowered to suit. Background to Prints and Photographs. A rich yellow- brown or leather colour gives lustre to the black of the print and the tones of the photograph. Background for Water-Colour Sketches. "When exhibit- ing his Koman sketches at the Arts Club dining-room, Keeley Halswelle hung ordinary brown wrapping paper on the walls as a background, as he thought the slatey blue and grey white colour of the walls unsuitable as background to his drawings. J. A. M. Whistler used a similar but lighter yellowish brown background to show off his sketches in the Dowdeswelle Gallery ; the space above was covered with gold paper, and the floor was painted a yellowish citrine. Though perhaps good for showing the drawings effectively, this scheme of colouring proved too monotonous to be pleasing as a room decoration. In her book, " The Art of Decoration," Mrs. Haweis says : "A plain ultramarine ceiling dotted with gold stars is sometimes lyo ORNAMENTAL INTERIORS. very agreeable ; but the stars must be very small, and smaller towards the centre than towards the sides. Of course they must be scattered at irregular intervals. A blue ceiling painted with a conventional cloud border in a much paler blue is pretty also ; and when blue is not liked in other parts of the room the mass above carries out the right proportions in the least obtrusive manner. For instance, with a room furnished with various reds, a considerable share of amber and yellow, softened together with spaces of Spanish leather, which, though including many colours, tells as brown. " A Venetian red wall and an olive green ceiling may have a frieze of orange containing these reds and greens, the- green nearest the red, the red nearest the green, or the frieze should partake noticeably of the tertiary citrine, which is formed by the admixture of orange and green. " A plain red coiling sometimes has the happiest effect. It requires carrying out by red in the furniture. A gold ceiling contrasts beautifully with almost any coloured wall and does not bring the roof down." In the interiors of many Flemish churches the grey of the stone predominates, but a bay or chapel behind the high-altar of one of the churches of Ghent is done with primitive colours after the style of the decorations of the Sainte-Chapelle of Paris. The colours used are alternate diapers of vermilion and green. These diapers are divided by gold outlined with black or dark brown. In the centre of each of the diapers is an emblem, also in gold and black. A lighter shade of red is used in some of the minor parts. Now though these decorations are done in staringly strong red colour, and though the green used when examined closely and in detail looks very crude, yet the effect as a whole is rich, brilliant, and splendid, and ncnther gaudy nor crude. If softer or more broken colours had been used under the same conditions of light and surroundings it would probably have looked dull, muddy, and spiritless. None ARRANGEMENTS OF 0i->3 1,558 15581603 Jacobean- ,aboutie03, including the Italian Renais- sance. &c., first introduced about 1540. THE HOUSE OI' STUAUT. James I. . . . 16031625 Charles I. Commonwealth 1649-1660 Charles II. . . ;660 1685 Henry Vll.'s Chapel begun 15C3 (Prior Bolton supposed its architect). Ford's Hospital, Coventry, founded 15i;9 (finished about 1525). King's College Chapel, finished 1515. Henry VIF.'s Chapel finished 1519. Thombury Castle finished 1521 (begun 1511). Hampton Court begun 1.520-1540. Eton College finished, 1522, under Prior Bolton. Hengrave Hall, Suffolk, built 1538; also later parts of Kenil worth Castle. Hampton Court finished 1540. Weston Hall, Warwickshire, 1545. In this reign John of Padua, architect to the King, and Hans Holbein, introduced Italian Renaissance. Moreton Hall built 1559. Losely House, Surrey, 1562. Boughton, Malherbe, Kent, 1573. Gilling Custlo and WoUaton Hall, Nottinghamshire, 1580. Haddon Hall, 1589. Bramhill House, Hampshire, 1603. Crewe Hall. John Thorpe, architect. Robert Adams (elder), sur- veyor to the Queen, died 1595. James II. William IH. Mary II. Anne . Hatfield House, 1611. Audley End, 1616. Temple, New- sham, 1619. Inigo Jones visited Italy, 1604. 16251649 ; Inigo Jones commenced Banqueting House, 1619 ; finished I 1621.-York Stairs built 1626 (probably Jones). Gar- den Pi'ont of Somerset House, 1632 (Jones). Inigo Jones died 1651. Greenwich Palace built, 1663, by Sir Christopher Wren. The Monument, 1671-1677 (Wren). St. Paul's Cathedral commenced 1675 (Wren). } 16851688 t 1702 1694 17021714 1689 Greenwich Hospital, 1696 (Wren). j Grinling Gibbons, carver. ! Sir Christopher Wren finishes St. Paul's Cathedral, 1710 j George I. George II, Gi;oEoiAN,about 1717 ^^eorge III George IV. THE HOUSE OP HAKOVEB. 1714 1727 , Blenheim House built 1715, Sir John Vanburgh, arehiteet. I Sir Christopher Wren died 1723. 17271760 Colin Campbell, architect, died 1734. Nicholas Hawks- j moor died 1736. AV. Kent, architect, died 1748. T. Chippendale, carver, publishes first work, 1754. James I Gibbs died 1751 ; ai chitect for Radclifi'e Library. 1760-1820 R. and J. Adam built Admiralty Office Gateway, 1760. G. Dance, senior, died 17ri8. Eiirl Derby's House, Gros- Venor Square, 1773 (Adam). Somerset House begun 1776 (Chambers, architect). Sir Robert Taylor, archi- tect, died 1788. James Stuart, architect, died 17.-^. Sir William Chambers, architect, died 1806. Henry Holland died 1796. James Wyatt, architect, died 1313. 182018,30 John Nash, architect. Dance, junior, architect, died 1825. APPENDIX. Note T. The Distribution of the Architectural Styles. understand one subject fairly it is some- times necessary to take into consideration several other subjects. To comprehend the distribution of the architectural styles it is necessary to have an intelli- gent theory of deluges. Adhemar supplies this theory. He demonstrates that just as there is a miniature deluge caused by the fluctua- tion of the tides from low to high water every six hours, there is a similar fluc- tuation on a much larger scale every 10,500 years. This larger fluctuation is called a deluge. The cause of these great periodic floods is the elliptical orbit of the earth round the sun and the position of the sun with regard to this orbit. These give rise to the changes known as the precession of the equinoxes. When the northern liemisphere is so turned to the sun that it receives for a series of ages more heat and light during each year than is obtained by the southern hemisphere, the ice at the north pole melts and floats away as sea towards the south, while, owing to the paucity of heat, the ice at the southern pole gradually grows larger and larger and the water deeper and deeper. At present the sea nearest the north pole is never found deeper than three hundred fathoms, while in the Antarctic regions the sounding-line has been tried with four thousand fathoms, and on one occasion with ten thousand fathoms, without touching bottom. Besides being deeper, a glance at the map of the world will show p 2 2 1 2 APPENDIX. that the seas of the southern hemisphere are also much greater in area tlian those of the northern. Consequently we may say that it is now high water in the southern hemisphere and low water in the north. Previous to the last deluge, however, these conditions were reversed, as they will be reversed again, according to Adhemar, in 6,300 years. Le Hon, a disciple of Adhemar, shows that at the period of greatest cold, and consequently at the high water point in the northern hemisphere, the grand northern mass of ice reached very nearly as far south as 66 degrees ; that the sites of most of the principal European cities were under water ; that Ireland was a group of four islands ; England was also four islands, and divided from Scotland by a strait. All Siberia and part of Mongolia were then under water, and one vast northern ocean stretched from the Mediterranean to the Sea of Okotsk. When we go to the seashore at low tide we observe, if the shore is undulating, many pools of salt water left by the receding tide. A similar thing may be seen on a larger scale in Asia ; here the pools are the Black Sea, the Caspian, the Sea of Aral, Lake Balkash, Lake Baikal, the Dead Sea, and other relics of the last high tide. One, the Black Sea, is still connected with the main ocean ; the others aro isolated pools gradually drying up. If we adopt this theory, Avhich is supported both by geology and astronomy, we shall find that the distribution of styles becomes much easier to comprehend. For we have, while the high tide lasts, an easy communication by Avater between Atlantis, Egypt, Phoenicia, Assyria, India, China, and Japan. The Dead Sea, the Red Sea, and the Mediterranean would be connected with the great Northern Ocean ; Southern Asia w^ould thus form one great island which might be coasted on all sides without the vessel going out of sight of land. The distribution of art styles to America may have been effected through the eastern side of Asia, or it may have been the result of the deluge sweeping some of the inhabitants of Atlantis to Mexico, Peru, and Central America, as related by Mexican traditions. Communication with other and more distant countries may have been effected by the same means. Even the style of New Zealand, which in some instances is identical in form and decoration with some specimens of Indian work, may owe its birth to the influence of early Atlantean artists. According to Adhemar, about five thousand years before Noah's deluge would be the period of the high water point in the northern hemisphere ; from that date the north began to receive gradually the APPEXDJX. 213 preponderance of light and heat during the year which had for five thousand years before been given to the south. The results are these : the ice at the north pole instead of growing larger begins to diminish, while that at the south begins to increase. The melted ice of the north floats away southward, and the waters of the north gradually retire inch, by inch from the islands, knitting them, in some instances, to the continents. On the other hand, in the south and west, where the preponderance of water now is, the sea began to encroach on the land. In five thousand years after, that is about the year 2348 B.C., the turning-point is reached ; the seas in the north have greatly diminished and those in the south have greatly increased. But a still greater change approaches. The great bulk of ice still unmelted at the north pole at last breaks up and floats away as icebergs, attracted by the greater mass in the south ; immediately the centre of gravity is changed, not by imperceptible degrees, as heretofore, but suddenly and rapidly ; the great mass of the northern seas and ice sweeps across the equator towards the south, and submerges on its route islands and continents, some permanently, some momentarily ; while behind in the north what were small islands before become by the retiring of the waters the mountain peaks of mighty continents. Though the water movement at this last great deluge, as shown by masses of rock carried by the ice, w^as mainly from north to south, geographical peculiarities, such as ranges of mountains or highlands, may have diverted it in an oblique direction, and the cataclysm may have taken on occasion a south-easterly or a south-westerly course. It is probable, too, that the pole does not always continue in the same position ; wherever, in the last deluge, the greatest bulk of the masses of ice and water from the north united with those of the south, the centre of the mass became the south pole, and the part of the world directly opposite would be the north pole. This breaking away of the ice and consequent deluge is naturally accompanied by great atmospheric disturbances, and the water coming in contact with volcanoes or other subterranean fires produces earth- quakes. Hence the Egyptians related to Plato that their mother country Atlantis was destroyed and sunk by earthquakes and showers of cinders and ashes ; but these agents as a rule play but a small part in the revolutions going on in the earth, though an exceptional case may have occurred in this instance. It is the change in the level of the water produced by correspond- ing change in the earth's centre of gravity that causes the old lands 2 14 APPENDIX. to disappear and new continents to disclose themselves ; indeed tlie soundings taken by H. M. ship Challenger and the United States ship Dolphin show that Atlantis still juts boldly up high above the level of the bed of the Atlantic, though the greater part of what was once a flourishing land is now covered by water. This flood has left its mark in Europe and America very plainly ; vast blocks of stone have been carried on the ice from Sweden and Finland to Germany, Poland, and Russia, and erratic boulders have been found as far south as Fontainebleau. The steppes of Russia, the sands of Gascony, and the stratum of sand and clay, more than two hundred yards thick, whicJi covers Holland belong to this deposit. The whole of America which is situated between Newfoundland and the Upper Mississippi is thickly strewn with boulders from regions near the pole carried by the ice and stranded at the altitude of five hundred yards. New England can show blocks of considerable size that are situated four hundred yards higher than the rocks from which they have come. Some blocks, torn from Canada, have been carried to Oliio, five hundred miles away. These fragments are some- times twenty or thirty feet thick. The icy flood which could carry boulders of such dimensions could also carry wooden houses, ships, men, women, and animals, and a limited part of the work of distribution of nature and art may have been done in that way ; and this may account for startling similarities between the art works of peoples, such as the Egyptians and Peru- vians, now separated by what seem to be insuperable obstacles. But the main part of the distribution of the styles was undoubtedly done by direct exportation from the mother country. The Egyptian evi- dence in the case between Egypt and Atlantis is very clear, and bears every mark of truth. The likelihood of direct communication with Phoenicia is also very probable, judging both from the inherited instincts of the Phoenicians, who succeeded the Atlanteans as a colonising and trading power, and the geographical position of their country. It is likewise evident that Assyria, India, and China also partook of the benefits of the Atlantean arts either by direct contact between the natives of Atlantis and those of Assyria, India, and China, or by transmission from one to the other at a time before the flood, when communication by water between these four countries was much more direct than at present. The similarities and differences between Egyptian, Indian, Assy- rian, Chinese, Japanese, Peruvian, and Mexican may be stated thus. The mother country had probably two styles of construction, one adapted for stone, the other for wood. Those countries in which APPENDIX. 215 stone was abundant would adopt the design adapted to stone. Where stone was scarce the wood treatment would be the mode. Some would show a combination of the two, and others might show in stone treatment adapted to wood, and vice versa. Examples of all these are apparent in the works of the nations we have mentioned. Egypt shows the stone treatment only, because the wooden buildings have perished, but there are delineations of such wooden erections in some of their art works. Moreover Beni-Hassan and the southern Temple of Karnac show in stone a kind of archi- tecture which, seems to have had its origin in wood. The Mexicans also show in some of their works stone ornamentation which has obviously been designed in the first instance for woodwork, and these same forms appear as woodwork in some specimens of Chinese architecture. Again, the tapering doorway, which was a characteristic of Egyp- tian and Greek architecture, appears very often in Peruvian architec- ture, in Etruscan, and curiously enough in Japanese. For the end of a wall at Nara, and another in Kioto, in Japan, are not only formed into the resemblance of this Egypto-Greek door, but the form is placed upon a substructure which exactly imitates the Cyclopean walls of Greece and Italy. {See A. J. Adhemar's " R(^volution de la Mer," Le Hon's " P^'iodicitd des Grands D(iluges," Donnelly's " At- lantis " for section of Azores and bed of the Atlantic ; Dresser's " Japan " for drawings of Egypto-Greco- Japanese doorways.) Note II. The Resemblance between the Antiquities of Egypt, Assyria, Peru, and Mexico. Prescott tells us that the Peruvians embalmed their kings. The people were divided into castes ; the calling, office, or trade descended from father to son, as they did in Egypt, and as they still do in India. Their architecture bore a strong resemblance to that of Egypt ; the Egyptian peculiarity of the tapering doorway is observed in the palaces of Peru. Mexico, again, reproduces the pyramidal structures which Egypt probably reproduced from the mother country ; and in the palace of Zayi, in Mexico, are reproduced, in general effect and with much of similar detail, the forms and ornamentation which mark Egyptian art. " We have already had occasion to notice the resemblance borne by the Mexicans to the ancient Egyptians in their religious ceremonies ; we shall be more struck with it in their scientific culture, especially their hieroglyphical writing and their astronomy." (Prescott' s His- tory of the Conquest of Mexico.) 2i6 - APPENDIX. Aiiollier writer says : " The first and strongest conviction which \Yill fiasli on the mind of every ripe antiquarian whilst surveying the lung series of Mexican and Toltecan monuments is their similarity to the monumental records of ancient Egypt. We see similar gradu- ated pyramids, similar marks of the same Ophite worship, and vestiges of the same triune and solar deity." Another says : " Eesearches in Yucatan have rendered yet more evident the existence of a style of art in ancient Mexico interesting alike for the analogies it presents to that of Egypt, and for the points of difference between them." Note III. Richness of the Houses of Early Kings. If we take into consideration the patriarchal despotisms which were the rule in early times, we can understand how the king's palace may represent the entire wealth of the inhabitants of a realm. In Peru under the Incas which was a survival of primitive rule in Palestine under Solomon, in Babylon under Nebuchadnezzar, the king seems to 'have been the chief owner of the wealth that came from con- quest, from commerce, from mines, and from all other sources other than the cultivation of the land, this last being taxed both for the king and for religion. With the Incas at least, " the sovereign was placed at immeasurable distance above his subjects ; he stood at the head of the priesthood, and presided at the most important religious festivals. He raised armies and usually commanded them in person. He imposed taxes, made laws, and provided for their execution by the appointment of judges whom he removed at pleasure. He was the source from which everything flowed all dignity, all power, all emolument ; he was, in short, in the well-known phrase of the European despot, ' himself the State.' " In islands of early Greece the habitations of the people would probably be mere huts, but the king had his halls, his treasure-house, carved and ornamented with gold. It is under such a despotism, when man has no rights, that great and enduring works are most easily carried out. In Egypt we can see the great pyramids, for which stones sixty and seventy feet long were brought from a distance of six hundred miles. In Peru we find stones thirty-eight feet long by eighteen broad and six feet thick transported fifteen leagues with- out the aid of beasts of burden ; carried over rivers and ravines, and raised to a height on the sierra, and there, without the aid of any iron tool, adjusted with hair-breadth accuracy to their brother stones. In Rome, under another form of patriarchal despotism, we find a St. APPENDIX. \^NIV^:EB.sitt) 2' 7 Peter's and a Vatican built and decorated througliouTTjylhe noblest pictures. But in England the vastness and stability of many of our works are circumscribed by the rights of the workers and the ques- tion of wages. Note IV. Lighting of Greek Temples. Some are of opinion that the interiors of Greek temples must have been monotonous, but a little study of the subject will show that this was not the case. Though there is a similarity in many of the ex- teriors, the interiors were wonderfully varied. The mode of lighting, as demonstrated by Fergusson in his book entitled " The Parthenon," is so ingenious, so artistic, and so well suited to varying circumstances, that it greatly helped the variety and attractiveness of the interiors of their temples. His arguments are broadly stated as follow : First. That as a rule all Greek Doric peristylar temples were lighted by opaions or clerestories, the light being admitted to these clerestories by an ingenious arrangement of the roof. Second. That Ionic temples, except of the largest class, were gene- rally lighted by windows, such as we would use when glass was not available. Third. That Corinthian temples were as a rule lighted by hypoe- thra, or pseudo-hypaethra * that is, by a great window in an open courtyard or hyptethron at the east or west end. Fourth. That no temple in the ancient world, with the solitary exception of the Pantheon at Rome, was lighted by a direct horizontal as contra-distinguished from a vertical opening. Mr. Fergusson claims that the Greek mode of lighting " renders the interior of the building as beautiful as the exterior, and is a more perfect mode of lighting statues than has been seen or practised any- Avhere in modern times." Note V. The Introduction of the Queen Anne Style. The following article, which was headed " The Style of the Future," ajjpeared in the Building News for April 16, 1875 : " There has been an amount of gratulation over the reintroduction of what is called the Queen Anne style that, to a mere spectator of the ways of architects, seems to be as misplace 1 as the enthusiasm of a French modiste over the introduction of an old-new jupon ; a style that has been treated with contempt for a long series of years Jias become all at once the fashion ; houses are built, and laudatory papers are read, and the Dutch mixture to which Queen Anne's name is 2i8 APPENDIX. tacked seems to be in a fair way of running some time. But wbitlier will it run ? How can it run any way except backwards ? The natural outcome of outside ornamental plaster is surely the stucco front of modern London ! " Mr. Norman Shaw has done some of the finest Domestic English (Gothic) work of this century ; Mr. CoUcutt has shown, in his Black- burn Museum and St. Bride Street warehouse, a Gothic power of simple etFect that is akin in feeling to the Greek ; and to Mr. J. J. Stevenson, Glasgow is, Ave believe, indebted for at least one specimen of ecclesiastical work which has a quaint elegance of feeling that is as refreshing as it is r.are. So it is not to be expected that in the hands of men like these its shakiness as a style, and the want of backbone in the Queen Anne, will be at first very apparent ; they cannot but enrich it with something with which it has no affinity, which will prevent the eye from dwelling on its slipshod weakness. But as servant-girls xvill dress as their mistresses, it is not to be thought but that that class of architects which we take the liberty of calling the ' headless ' (i.e., those who follow fashion in art as a woman does fashion in dress) will run on the line that the leaders have begun, and then chaos in architecture will have come again. We shall have ' A patchwork of Japan, And queer bits ot Queen Anne All mixed, upon the plan Of as you like, or as you can,' and the headless ones will at last have a style of architecture exactly suited to their powers. " The most bitter opponent of this style could scarcely desire a more candid confession of weakness than that given by Mr. J. J. Ste- venson, when he says, ' it is a bad style for students to cut their teeth upon ; ' meaning, we gather, that it is a bad foundation for an archi- tectural education ; if so, it must also be a bad foundation for our future architecture. It has no aim, no principle, and no particular beauty, so that it must depend for these on sources outside itself. Hence it would surely be far wiser to choose a good style now, and build on that, rather than spend time and thought on a style that is confessedly bad as a foundation ; then after years of trying to make a drivelling style have some meaning, dressing it up in the best bits from other styles, and generally endeavouring to throw a cloak over its shaky imbecility, to be obliged to confess that the game was not worth the candle. " We think it will be much to be regretted if an architect like Mr. Norman Shaw, with such splendid talents for dealing with English APPENDIX. jiq Domestic Gothic as lie has shown in his Cragsicle and other works, shoiih] be led for any reason whatsoever to adopt permanently as his style what has been called the Queen Anne style. " The readiness with which second-class architects adopt whatever has obtained the sanction of their betters is, perhaps, not very sur- prising, but the arguments they use to justify their startling tran- sitions are wonderful in the extreme. The rampant worshipper of ' Savageness,' and all the rest of the elegant patter of the ' Seven Lamps,' the plaster-ornamentr.breaker and stucco- scorner of to- day becomes to-morrow your Queen Anne's man, with mild tastes for maudlin classic and outside ornamental plaster ; the opposing principles which, while they are the fashion, we are told are each the representatives of honesty, beauty, and truth in art, are so irrecon- cilable that we are tempted to doubt if the majority of architects reason on the subject at all. "It would be an endless task to point out the Queen Anne weak- nesses ; they will become visible even to the headless ones by-and-by, and the chief set-otf against these is, so far as we can gather, the perfectly flat line of the window arch. If there is anybody who does not think a perfectly level arch a weak monstrosity, let him adopt it by all means, but convenience is not at all sacrificed by using for windows a segmental arch rising one or two inches in three feet ; this arch is quite compatible with a good English style of building, and forms an agreeable contrast to a pointed archway, such as the entrance at Cragside ; but if a perfectly flat lintel is desirable, surely the English style furnishes plenty of precedents in the Tudor and other periods ; but to read the remarks of some of the apologists for the Dutch stylo of Queen Anne, one would think there were no square tops except in that delectable style. " If a man has the head power he can use a style and adapt it to himself; if not, he adapts himself to the style. From materials sup- plied by a far less promising and far less tractable style than the English, Mr. Thomson, of Glasgow, was able to produce perfect speci- mens of civic and domestic architecture, Avhich were at the same time perfect as specimens of advanced Greek, which is rather extraordinary, as everybody thought that Greek was perfected a couple of thousand years ago. Mr. Thomson's life and practice, it is true, were different from that of many of our architects. He was acquainted more or less with all styles, and selected Greek as the basis of his future work ; he mastered the style, was thoroughly imbued with the Greek feeling, and gathering kindred riches from sources unknown to or overlooked by the later Greeks, the style advanced in flexibleness and fulness 2 20 APPENDIX. of design under his hands. To carry out this work consistently he refused all work in which he had not full power to use his own style ; but his steady progress must have amply repaid him for the sacrifices he made, and the consciousness of reviving and carrying out a style till it reached the splendid culmination shown in the Union Street building and St. Vincent Street Church, was, rightly considered, a reward greater than has been vouchsafed to any other architect of this century. " And what might not be done with Gothic by a similar steady persistence ? Pointed or square heads is a very small part of the matter ; both are equally admissible in the proper hands. The source of mischief is in the flightiness of some of our chief men, who will not try steadily to overcome the slight intractabilities of Gothic, but must on a slight provocation or ditficulty desert it, or try to lead it to an ignoble termination. " Time after time this has happened with the English style in past ages and present ; it has been led away by ornament to the Decorated style, and reached an equally inappropriate culmination in the Per- pendicular ; and now, when by the labours of Pugin, Street, Burgos, Butterfield, and Shaw, it bids fair to reach a more excellent point than it ever did before, it would indeed be a ' sorry sight ' to see it drifting to the Queen Anne Dutch Mixture." Okikntal Vase. INDEX. r "A EEADING FROM HOMER," by Alma Tadema, 95 "A Hearty Welcome," by Alma Tadema, 168 Adam, E. and J., 49 ,, style, boudoir in, 104 ,, ,, drawing-room in, 104 Addey, J. P., 134, 135 Adelphi Theatre decorations, 1 65 Adliemar, theory of, 211, 215 Admiralty Offices, designs for, 75 Mgina, 26 Aglaophon, 27 "Agra" wall paper, by G. C. Haite, 60 Aias seizes Cassandra, 27 Aitchison, George, 73 Alcinoiis, Homer's description of his palace, 7 Alexander de Medicis, Hall of, 45 Alexandrian period, painters of, 27 All Saints, Margaret Street, 67 Alma Tadema, 95, 96, 165, 168 America, Central, 3 Amber used in Greek decoration, 24 Amateur decorators, 76, 77 Anet,[;Chateau of, 42 Anglo-Saxon ornament in Byzantium, 35 Antioch, 35 Antwerp, Town Hall, decoration of the Salle de Leys, 40, 160 Apelles, 27 Apollodorus, 27 Arabic, 4, 35 Aral, Sea of, 2 ,, ,, a relic of last flood, 2 1 2 Arch decoration, Abbaye of Helms- dale, 117 Architects mentioned : Adam, R. and J., 49 Aitchison, G., 73 Barry, Sir C, 146 Bell, Ingress, 75 Blomfield, A. W., 67 Brooks, James, 67 BuUant, 88 Burges, 52, 53, 54, 57, 60, 67, 71, 105, 220 Burnet, 75 Butterfield, 66, 67, 220 Chambers, 49 Collcutt, T. E., 70, 71, 73, 218 Crossland, W. H., 75 Delorme, 42, 88 Douglas, C, 54 ,, John, 73 ,, and Sellers, 73, 75 INDEX. Architects mentioned {continued) Eastlake, 53, 54, 55, 60 Edis, R W., 72, 73, 121 Emerson, 67 Gibbs, 49 Godwin, E. W., 60, 71, 73 Goldie, 67 George and Peto, 72, 73 Lefuel, H., 74, 75 Leiper, "W., 75 Lescot, 42, 88 Lindsay and Stark, 75 Paley and Austin, 67, 73 Pearson, J, L., 67 Pritchard, J., 67 Pugin, 50, 146, 220 Scott, Sir Gilbert, 67, 74 Sedding, J. D., 73 Seddon, J. P., 71, 73 Shaw, Norman, 69, 70, 72, 73, 75, 81, 218, 220 Smith, Thos. and Son, 67 Stevenson, 69, 218 Street, G. E., 65, 66, 67, 70, 73, 74, 220 Stuart and Eevett, 49 Thomson, "Greek," 75, 219 Vasari, 44 Viollet-le-Duc, 52, 53, 74 Waterhouse, 65, 66, 73, 105 Webb, A., and I. Bell, 75 Young, W., 91, 94, 113, 114, 126 Architects, versatility necessary to, 80, 81 Architectural styles, distribution of, 211 Architecture, Egyptian, Assyrian, Mexican, and Peruvian, resemb- lance between, 3, 214 Architecture, Lectiires on, by Euskin, 85 Architecture, Handbook of, 14, IG, SG Ardices, a Greek artist, 26 Aristides, 27 Armitage, Edward, Lectures by, 17.5 " Art of Decoration," by Mrs. Ilaweis, 79, 169 Artesian tapestry, 39, 40 Artists mentioned : Addey, J. P., 134, 135 Aglaophon, 27 Alma Tadema, 95, 96, 165, 108 Apelles, 27 Apollodorus, 27 Ardices, 26 Aristides, 27 Armitage, E., 175 Asclepiodorus, 27 Athenion, 27 Aumonier, Louisa, 62 Author, The, 63 Baldassare, 43 Batley, H. W., 72, 102, 111 Berain, 88 Botticelli, 48 Boucher, 91 Brewer, H. "VV., 73 Briggs, Eobert A., 120 Brophy, A. F., 61 Brown, Ford Madox, 157, 195 Bularchus, 25 Carletto, 46 Garden, M., 161 Charmadas, 26 Codman, W. C, 96 Cimon of Cleonse, 26 Cleanthes, 26 Cleophantes, 26 CoUing, J. K., 72 Cope, C. W., 148 Correggio, 46, 47, 182 INDEX. 123 Artists mentioned [continued) Cousin, 42, 88 Grace, John G., 63, 93, 130132, 171, 184 Crane, Walter, 60, 183 Cutler, T. W., 72 Uavis, Owen W., 56, 60 Day, Lewis F., 61, 72 Davison, Raffles, 73 De Witt, 91 Dinias, 26 Dionysius of Colophon, 27 Dresser, Dr., 62, 72, 215 Dyce, W., 148 Eumaras, 26 Euphranor, 27 Eupompus, 27 Felix and Wajniian, 101, 117 Fra Angelico, 48 Fra Filippino Lippi, 48 Ghirlandajo, 48 Giovanni d' Udine, 43 Giotto. 48 Girodet, 159 Gonjon, Jean, 42, 88 Grimshaw, A. L., 125 Haite, G. C, 60, 62 Halsw-elle, Keeley, 169 Hay, T. W., 62 Harris, J. 0., 131, 132 Heaton, Butler, and Bayne, 108 Hewitt, J. A., 160 Hogarth, 49 Hulme, F. E., 72 Hygiemon, 26 Imrie, 160 Jackson, Chas. W., 139 J. T, 104 Jones, Owen, 19, 53, 60, 140, 177 Kennard, F. J., 134 Lane, E. Q., 121 Artists mentioned {continued) Leighton, Sir F., 95, 154, 168, 169, 181, 183, 195 Lepautre, J., 88 Leys, Baron, 40, 160 Maclise, D., 148 Mansard, 88 Mantegna, Andrea, 48 Margetson, F., 101, 102, 103, 111^ 112, 114 Marks, H. S., 108, 183 Mas;.ccio, 48 Michelangelo, 44 Miller, Fred., 72 Minocci, P. P., 200 Melanthus, 27 Micon of Athens, 27 Morris, W., 57, 58, 59 Nicias, 27 Nicomachus, 27 Nightingale, F. J., 132, 133 Pamphilus, 27 Panaeaus, 27 Parrhasius, 27 Peruzzi, 43 Phidias, 27 Philocles of Egypt, 26 Pilon, 88 Poccetti, 43 Polygnotus, 26, 27 Poynter, E. J., 53, 57 Protogenes, 27 Raphael, 43, 48, 164 Robinson, G. T., 60 A. E., 137 Rogers, Mark, jun., 105, 106 Romano, Julio, 43 Ruskin, John, 85, 86, 87 Salviati, F., 44, 45 Sharp, T. W>, 61 J.. 99 224 INDEX. Artists mentioned 'continued) Silver, A,, 62 Smith, Bernard, 63, 116 Stanfield, 155 Talbert, B. J., 54, 55, 59, 60, 62, 63, 64, 72, 83 Telephanes of Sicyon, 26 Timanthes, 27 Turner, 86 Vinci, L. da, 48 Veronese, 46 Voysey, C. F. A., 58, 61 "Waring, J. B., 72 AVatteau, 91 Weidemann, F. J., 62 Wells, Andrew, 75, 99, 115, 128 Whistler, J. A. M., 169 White, J., 119 Wyatt, Digby, 53 Zeuxis, 26 " Arts applied to War," fresco by Sir F. Leighton, 195 Ascalon, 35 Aschour, Asshur, names of Assyria, 15 Asclepiodorus, 27 Asia Minor, 2 Assisi, 48 " Assumption of the Virgin," ceiling by Correggio, 46, 47 Assyria, 2, 3, 4, 212214 Assyrian decoration, 16 ,, construction, 16 colours, 17 , , palaces discovered, 1 4 ,, sculpture, 15, 16 Athenion, 27 Athens, 26, 27 Atlantis, 2, 3, 4, 212, 213 Atlas, 27 Atreus, treasury of, at Myoense, 8 Atzlan, 3 Aubusson tapestry, 91, 92 Aumonier, Louisa, 62 Austi'alia, 2 Azores, the peaks of the ancient Atlantis still above -water, 2 BAAL, ASSYMANGOD, 16 Backgrounds, 169 Baie, ruins at, 42 Baikal, Lake, relic of last flood, 212 Baldassare, 43 Balkash, Lake, relic of last flood, 2 1 2 Barber-Surgeons' Court Room, 41 Barry, Sir Charles, 146 Bath-room panels, 28, 124 Baths of Titus at Eome, 42 Batley, H. W., 72, 102, 111 ,, ,, morning- room decora- tion by, 72, PI. IV. Bayeux tapestry, 37, 38, 39 Beauchamp Chapel, Warwick, 35 Bedstead, painted, 180 Beni-Hassan, capitals of, 21, 25, 215 Berain, 88 Bergerades, 90 "Bluet" wallpaper, by C. F. A. Voysey, 61 Blomfield, Arthur W., 67 Bodleian Library, Oxford, 41 Bonomi, 17 Botta, 13, 14 Boucher, 91 Boudoir decoration, by J. G. Grace, 95 Boudoir ceiling, by Felix and Way- man, 101 Boudoir in Adam style, by Jackson and Graham, 104 Brass and iron work, 204 Briggs, Robt. A., 120 Brewer, II. W., 73 INDEX. British Museum, examples of Egyp- tian decoration at, 20 British Architect, 73, 75 Bronze chair of Dagobert, 36 Brooks, James, 67 Brophy, A. F., 61 Brown, Ford Madox, 157, 195 Bruges, old Flemish table in museum at, 118 Brussels, decoration of the Salle des Manages, 41, 161, 185 Buckingham Palace, 148 155 Builder, 73 Bularchus, early Greek artist, 25 BuUant, Jean, 88 Burges, Wm., 52, 53, 54, 57, 60, 67, 71, 105, 220 Burmantoft's faience, 200 Burnett, Mr., 75 Butterfield, interiors by, 66, 67, 220 Byzantine decoration in Italy, 35 ,, mosaics, 48 ,, ornament, 33 35 CABINET, DEAWING-EOOM, IN style of 1873, 62 Cabinet in the Berlin Museum, 116 ,, wine, by Burges, 53 Cadogan, Earl, 91, 94 Candaules buys picture painted by Bularchus, 25 Ceiling of Ducal Palace, Venice, 46 Ceiling of Hall of Alexander de Medi- cis, Florence, 45 Ceiling of Countess of Derby's dress- ing-room, 50 Ceiling of Sistine Chapel, 44 ,, sculptured stone, 36 Ceiling decoration, Italian, 43, 44, 45 ,, drawing-room, by Sir F. Leighton, 95 Ceiling design, by F. Margetson, 103 ,, geometrical, 42 Ceilings, boudoir, by Felix and Way- man, 101 Ceilings, decoration of, 37, 42, 43 ,, foreshortening in, 45, 46, 181 184 Ceilings, Venetian school of, 48 Celtic Art, 4 , , resemblance to early Greek, 2 4 Ceramicus at Athens, 26 Challenger, H.M.S., soundings taken by, 2, 214 Chambers, Sir William, 49 Chambord, Chateau of, 42 Chantrey Chapel, Warwick, 35 Chapel, Exeter College, Oxford, 67 , , of Henry VII. , Westminster, 36 ,, St. George's, Windsor, 36 Chapter House, Salisbury Cathedral, 35 Charles V. at Antwerp, 40 " Canterbury Pilgrims," frieze by H. i Chai-madas, 26 S. Marks, 108, 183 Cardiff Castle, decoration of, 71, 105 Cardon, M., 161 Carletto, 46 Caspian Sea, 2, 214 Catalogue, Collinson and Lock's, 62, 63 Catherwood, Mexican explorer, 3 Chelsea House, decorations of, 91, 126 Cherubim, Phoenico-Egyptian, 6 Chicheu Itza, decorations at, 12 Chinese decoration, 12, 214 Chimney-piece, dining-room, by Eobt. A. Briggs, 119, 120 Chimney - piece, drawing - room, by Mark Rogers, jun., 105, 106 226 INDEX. Chimney-piece, by Alf. E. Eobineon, 138 Christchurcli Hall, Oxford, 36 Cliristianity, influence of, on decora- tion, 33 Christmas cards, Marcus Ward's, 63 Cimon of Cleonse, 26 Cleanthes, a Greek artist, 26 Cleophantes of Corinth, 26 Codman, W. C, 96 CoUcutt, T. E., 70, 71, 73, 218 CoUing, J. K., 72 Colour arrangements, Oriental, 177 180 Colour, lecture on, by John G. Crace, 171 Colour mixtures, 185 ,, contrasts, 171 Cope, C. W., 148 Cork, St. Fionn Barr, 67 Corcyra, or Corfu, Phasacia, 7 Corinth, famous for decorative paint- ing, 26 Corinthian order, origin of the two kinds, 25 Cornhill, St. Michael's, 67 Correggio, 46, 47, 182 Courts of Law, Strand, 65 ,, Assize, Manchester, 66 Cousin, 42, 88 Coventry, St. Mary's Hall, 40 Crace, John G., 53, 93, 130132, 171, 184 Crane, Walter, 60, 183 Crossland, W. H., 75 Cupola style of Byzantium at Ravenna and Venice, 35 Cutler, T. W., 72 Cuzco, temple at, 9 " Cymon and Iphigenia,' by Sir F. Leighton, 169 DADO TREATMENT AT ANT- werp, 40, 41 Dagobert, chair of, Plate V., 36 "Daisy Pattern," Morris's, 57 Darius, painting of, 25 Davis, Owen W., wall paper by, 56, 60 Davison, Raffles, 73 Day, L. F., 61 ,, ,, his "Every-day Art," 72 Decoration, 94, 118 Decorators, amateur, 76 architectural amateur, 80 Delorme, Philibert, 42, 88 Denderah, famous Zodiac decoration at, 21 Delphi, decorations at, 26 De Witt, 91 "Dictionaries of Architecture and MobiHer," VioUet-le-Duc's, 53 Dinias, 26 Dining-room decoration, 109 123 ,, at Buckingham Palace, 151 Dining-room at Hampworth Lodge, 117 Dining-room at Mr. Pearce's House, Glasgow, 115 Dining-room at South Kensington Museum, 116 Dining-room, by Richard Q. Lane, 121 Dining-room, by F. Margetson, 114 R. W. Edis, 121 B. J. Talbert, 64 J. White, 119, 120 W.Young, 113, 114 Diodorus, 21 Dionysius of Colophon, 27 Doge's Palace, Venice, 86 Dolphin, U.S.S., soundings taken by, 2, 214 INDEX. 227 Donnelly, 215 Dome at Parma, ceiling of, 46, 47 Dorians, 2 Doric order, 25 Douglas, John, 73 Douglas and Sellers, 75 Drawing-room, decoration of a small, 97, 98 Drawing-room decoration, by H. W. Batley, 95, 102 Drawing-room decoration, by H. and J. CooiJer, 100 Drawing-room decoration, by Collin- son and Lock, 94, 95 Drawing-room decoration, by John G. Grace, 93, 95 Drawing-room decoration, by John- stone, Norman, and Co., 91, 92 Drawing-room decoration, by J. T. Jackson, 104 Drawing-room decoration, by F. Mar- getson, 101 Drawing-room decoration, by Joseph Sharp, 99 Drawing-room decoration, by J. Moyr Smith, 96 Drawing-room decoration, by B. J. Talbert, 64 Drawing-room at Buckingham Palace, 152155 Drawing-room in Graeco-Eoman style, 102 Drawing-room frieze decoration, 88, 109 Drawing-room chimney-piece, by Mark Eogers, jun., 105, 106 Dresser, Dr., 62, 72, 215 Drury Lane Theatre decorations, 163 Dyce, W., 148 EASTLAKE, C. L.. 53, 54, 55, 60 Eaton Hall, decorations of, 105 108 Ecouen, Chateau of, 42 Edis, R. W., 72, 73, 121 Egypt: Egyptian a completed style in its earliest existing examples, 1 . Probably of Atlantean origin, 2, 3. Egyptian tradition regarding Atlan- tis, 2. Egyptian decoration, 18, 19, 20. Colours used, 19. Use of gold, 20. Ceiling decoration, 21. Pic- torial representations in the British Museum, 20. Resemblance to As- syrian, 14 Egyptian furniture, Plates II. and III. Egypto-Greek door, 215 Elpinice, 27 Embroidery used by the Greeks, 7, 24, 25 Embroidery used by the Saxons, 37 ,, ,, Normans, 37 ,, Marshall's new, 202 Emerson, 67 English examples of Saxon, Norman, and pointed styles, 35 " Entrance to Hall," by B. J. Talbert, 64, 65 "Epic Poetry," decorative painting, 22 " Erotideus," frieze by J. M. S., 68 " Etched Studies for Interior Decora- tion," Batley' s, 72, 102, 111 Etruscans, a Dorian colony, 2 Eumaras, 26 Euphranor, 27 Eupompus, 27 " Every-day Art," by L. F. Day, 72 ** Examples of Ancient and Modern Furniture, Tapestries, and Decora- tion," Talbert's, 63, 64, 65 Exeter College Chapel, Oxford, 67 Exhibition, Paris, 1867, 54 Q 2 228 INDEX. Exhibitions, London, 1851 and 1862, 52 Exhibitions, Fisheries and Inventions, 144 FAIEY TALE BOOKS, MAECUS Ward's new style of, 63 Fashion in architecture, 81, 82 Felix and Wayman, 101, 117 Fergusson, James, his restoration of Assyrian court, 16 Fergusson, James, " Handbook of Architecture," 14, 16, 86 Fergusson, James, "Parthenon," 217 Flemish tapestry, 40 Florentine school of decoration, 44 Fontainebleau, decorations at, 41, Plates VI., VIL, VIII., XL Foreshortening in ceiling decoration, 45, 46, 181184 Francis I., 38, 69 "Fredegonda," 169 French work, influence of, 73, 75 ,, styles, application to English interiors, 89, 90 French styles, drawing-room decora- tions in, by Felix and Wajonan, 101 Frescoes at the House of Lords, 147 ,, ,, Sistine Chapel, 48 ,, by Sir F. Leighton, 195 ,, spirit, invented by Gambler Parry, 195 Frieze, proportion of, 84 "Sunflower," by B. J. Tal- bert, 59 Frieze, Longfellow's " Skeleton in Armour," by Walter Crane, 183 Friezes, drawing-room, 88, 109 by H. 8. Marks, 108, 183 bvJ.M. S., 18, 29, 68, 88, 109 Furniture, Indian, 198 , , designed by Alma Tadema, 96 GEORGE AND PETO, 72, 73 Ghent, decoration of church at, 170 Gibbs, James, 49 Giotto, 48 Giovanni d' Udine, 43 Girodet, 159 " Girolamo " wall paper, of Wm. Woollaras and Co., 58 Gobelins tapestry, 40 I Godwin, E. W., 60, 71, 73 ; Goldie, G., 67 " Gothic Forms," Talbert's, 55, 63 Goujon, Jean, 42, 88 "Glacier" decoration, 203 Glasgow, new club at, 75 ,, Mr. Pearce's house, 99, 115, 128 Glasgow, St. Andrew's Hall, 75 ,, Union Bank telling-room, 67 Graining, 77, 78, 79 " Grammar of Ornament," 52 "Grammar of Japanese Ornament," Cutler's, 72 Grand Opera, Paris, 74 Gray's Inn Hall, 36 "Greek Antiquities," Stuart and Eevett's, 49 Greece, 2 Greek metal decoration, 7 ,, ornament, early, resembles Danish and Scandinavian work, 23 Greek painted decoration of various periods, 25, 26, 27, 28 Greek temples, lighting of, 217 Grimshaw, A. L., 125 INDEX. 229 "Grosvenor" wall paper, of Wm. "History." Decorative picture at WooUams and Co., 56 Sanatorium, Virginia Water, 14 j Hogarth, 49 ' HoUoway College, 75 ,, Sanatorium, decorations of, 157160 Homer's description of the palace of King Alcinoiis, 7 Homer's description of the palace of king Menelaus, 24 by J. P. Addey, 134, j Horsley, J. C, 148 House of Lords, 145 148 H ADDON HALL, 41 Haite, G. C, 60, 62 Hall decoration, 128136 Hall decoration at Buckingham Palace, 148 Hall decoration, Pompeian style, 136 135 Hall decoration, by J. 0. Harris, 131, Houses of early kings, richness of, 132 216 Hall decoration, by F. J. Kennard, \ Houses of Parliament, 53, 67 134 Hulme, F. E., 72 Hall decoration, by F. J. Nightingale, | Hygiemon, 26 132, 133 i Halswelle, Keeley, 169 | Hampton Court, Wolsey's Hall, 36, ' IMITATION IN AET, 78 40 : Imrie, Mr., 160 Hampworth Lodge, dining-room at, i India, 4, 212 117 "Handbook of Architecture," 14, 16, 86 Harris, J. 0., 131, 132 Haweis, Mrs., 79, 169 ,, ,, " Art of Decoration," 79, 169 Hay, T. AV., 62 Heaton, Butler, and Bayne, 108 Helmsdale, decorations at, 115, 117, 119 Hera, 25 Heracles, temple of, at Tyro, 8 ,, and the Nemsean lion, 27 Heraion at Samos, decoration of, 25 Hereford screen, 52 Herodotus, 8 Hewitt, J. A., 160 Hiram, king of Tyre, 7 Indian colour arrangements, 179 ,, furniture, 198 "Interior Decoration," F. Miller's, 72 Ionic colonies, 2 ,, volutes, origin of, 25 Iron and brass work, 204 Ivory used in Greek decoration, 24 ,, ,, Roman decoration, 9 JACKSON, CHAS. W., 139 Jackson, J. T., 104 Japan, 4, 215 Japanese ornament, 51, 156, 208 ,, paper, 208 Jews poor artificers, 7 Jones, Owen, 19, 53, 60, 140, 177 Judah, 6 Julio Romano, 43 230 IXDEX. "Jupiter Fulminatiug at the Vices," l)y Paul Veronese, 46 KAENAC, 21, 25, 215 Kensington Museum, 40, 53, 116, 177, 195, 199 Keim, Herr Adolph, new method of painting by, 192195 Keramic decoration, 199 Kennard, F. J., 134 Khorsahad, restoration of court at, Plate I Khorsabad, colours found at, 17 " King Henry VIII.," Shakesperean decorative panel, 88, 93 Kioto, Japan, 215 Kom-Omba, 21, 25 LANE, EICHARDQ., 121 Laodice, picture of, 27 Law Courts, Strand, 65 Layard, 13, 14 Le Hon, 212 Leathersellers' Hall, 41 "Lecture on Colour," by John G. Crace, 171 "Lectures on Architecture," by J. EusMn, 85 " Lectures on Painting," by E. Armitage, 175 Lefuel, H., 74, 75 "Legend." Decorative painting at Sanatorium, Virginia Water, 5 Leighton, Sir P., 95, 154, 168, 169, 181, 183, 195 Leijier, Wm., 75 Lepautre, Jean, 88 Lescot, 42, 88 Leys, Baron, decoration at Antwerp by, 40, 160 Library decoration, 124 127, 171, 184 ,, ,, at Chelsea House, 1 26 Library decoration, by A.L. Grimshaw, 125 Library decoration, by Johnstone, Norman, and Co., 124, 125 Library decoration for Mr. Joy of Boston, 184 Lincrusta, 95, 105, 110, 201, 208 Lindsay and Stark, 75 Liverpool, St. George's Hall, 67 Louis Quatorze and Quinze styles, 88, 89, 91, 101, 153, 166 Louis Seize style, 89, 91, Plate XL Louvre, 42, 73, 88 Lyceum Theatre decorations, 164 Lycia, 4 Lydia, 4 Lysicrates, monument of, 25 MACEDONIAN PERIOD IN Greece, 8 Macedonian or Ptolemaic period in Egypt, 20, 21 Maclise, D., 148 Magna-Grsecia, embroidery of, 25 Manchester Assize Courts, 66 Town HaU, 157, 195 Mandrocles, 25 Mansard, 88 Mantegna, 48 Manufacturers mentioned : H. A. BaU, 206 Barnard, Bishop, and Barnard, 205 G. C. Beissbarth Son, 204 T. and R. Boote, 200 Burke and Co., 201 A. CapeUo and Co., 201 Coalbrookdale Co., 206 Collinson and Lock, 62, 63, 71, 136 H. and J. Cooper, 100, 142, 143 INDEX. 231 Manufacturers mentioned {contimied) Cox and Son, 55, 64, 207 Craven, Dunnill, and Co., 200 DoultonandCo., 200 W. England and Sons, 200 Felix and "VVayman, 101, 117 Gillow and Co., 82, 144, 163 W. Godwin and Son, 200 Hart and Co., 207 Holland and Son, 54, 82 Heaton, Butler, and Bayne, 1 08 Jackson and Graham, 104, 121, 141 Jeffrey and Co., 59, 82, 98, 109, 208 Johnstone, Norman, and Co., 91, 95, 124, 125 Jones and Willis, 207 Liberty and Co , 95, 96, 122, 123, 141, 142, 143, 197, 208 Malkin, Edge, and Co., 200 L. G. Marshall, 202 Maw and Co., 200 McCaw, Stevenson, and Orr, 203 Mintons, 63, 200, 201 Minton, Hollins, and Co., 63, 200, 201 Morris and Co., 116 Alfred Newman and Co., 206 R. H. and J. Pearson, 206 Perry and Co., 144 Procter and Co., 199 Powell and Sons, 121 Eichardson, Ellson, and Co., 206 Dr. Salviati and Co., 104, 121, 201 Scott, Cuthbertson, and Co., 208 Skidmore, 54 Edward Smith, and Co., 200 Steele and Garland, 206 Steele and Wood, 200 Storey Bros, and Co., 202 Marcus Ward, 63 Vincent Robinson and Co., 144 1 Manufacturers mentioned {continued) Wilcock and Co., 82 Wm. AVoollams and Co., 56, 58, 69, 60, 98, 109, 208 Geo. Wright and Co., 206 Wright and Mansfield, 54 Marble inlay, 201 Margetson, Fred., 101, 102, 103, 111, 112, 114 Marks, H. S., frieze by, 108, 183 Masaccio, 48 Mediaeval furniture, examples of, Plate V. Melanthius, 27 Memorial Chapel, Windsor, 201 Merchant Taylors' Hall, 41 Metal in decoration, 6 ,, Solomon's Temple, 6 ,, palace of King Alcinoiis, 7 ,, Temple of the Sun, Cuzco, 9, 10 Metal in bronze gate of Eling Shal- manezar, 9 Mexico, 2, 3, 212, 215 Mexican decoration, 9, 11, 12, 214 ,, painting at Chicheultza, 12 ,, temple to the Unknown God, 12 Michelangelo, 44 Micon of Athens, 27 Middle Temple Hall, 36 Miller, Fred., ** Interior Decoration," 72 Minocci, Peter Paul, 200 Mongolia, 4, 212 Moon, temple consecrated to the, 10 Moorish, 4 Morning-room decoration, 72, Plate IV. Morris, William, 57, 58, 59 Mortlake tapestry, 40 232 INDEX. Mosaic, 201 Byzantine, 48 Munich Royal Library, 171 , , Allerheiligen Capelle, 1 7 1 NAPLES, NEW PROTESTANT Church at, G7 Napoleon III., works in his reign, 73, 74 Nero, Golden House of, 9 Newcastle Chapel, 35 Niches for statues, decoration of, 169 Nicias, a Greek artist, 27 Nicomachus, a Greek artist, 27 Nightingale, F. J., 132, 133 Nineveh, 2 "Nineveh and its Palaces," 17 ,, splendid colour and deco- ration at, 17 Nisroch, Assyrian god, 16 Norman ornaments, 37 ,, house in Bayeux tapestry, 38 ,, vaults, 35 Norse, Runic, Scandinavian, resem- blance to early Greek, 24 Notre-Dame, 74 " OBEDIENCE," BY GIOTTO, AT Assisi, 48 Old English style, 63, 64 Opera, Grand, Paris, 74 Oriental furniture, 141 143 ,, colour arrangements, 177 Osymandias, tomb of, 21 Overdoor decoration, 52 Oxford, Bodleian Library, 41 Christchurch Hall, 36 ,, Exeter College Chapel, 67 PAINTING, NEW MODE OF, 192 195 Painting, spirit fresco, 1 95 Palazzo Vecchio, Florence, 200 Palladia of Ilium, 27 Paley and Austin, 67, 73 Pamphilus, 27 Pansenus, nephew of Phidias, 27 Pantheon at Rome, 8,217 Paris, architecture of, 73 75 ,, Exhibition, 54, 71 ,, Grand Opera, 74 ,, Sainte-Chapelle, 160, 170 Parliament, Houses of, 53, 67, 145, 148 Parlour decoration, 137 140 ,, ,, by H. and J. Cooper, 100 Parlour decoration, by Charles AY. Jackson, 138, 139 Parma, ceiling of dome at, 46, 182 Parrhasius, 27 Parry, Gambier, spirit fresco invented by, 195 Parthenon at Athens, 26, 217 frieze of, 26, 48, 182 "Parthenon," Fergusson's, 217 Pausias, 27 Pausanias, 26 Pavilion, Prince of Wales's, 144 Pearce, Mr., decoi-ations at house of, 99, 115, 128 Peai'son, J. L., 67 Pelasgoi, an early people of Greece, 23, 24 Pelasgian art, similar in design to Danish, Runic, Celtic, 23, 24 Pella, palace of, 27 Persian colour arrangements, 177, 178 Persia, 2 Peru, 2 INDEX. 233 Peruvian antiquities, 215 ,, art characteristics, 3 ,, metal decoration, 9, 10, 11 ,, mummies in the Temple of the Sun, 10 Peruvian Temple of the Moon, 10 Peruzzi, 43 Phffiacia, Corcyra, or Corfu, 7 Phidias, 27 Philffi, 21, 25 Philocles of Egypt, 26 Phoenicia, 2, 4, 6, 212, 214 Phoenicians as metal-workers and arti- ficers, 6, 7 Phoenico-Egyptian cherubim, 6 Pianaforte panels by J. M.S., 124, 163, 179 Pilon, 88 Pirithous, 27 Pizarro, 10 Plato, his description of the destruc- tion of Atlantis, 2, 213 Poccetti, 43 Poicile at Athens, 26 Point of sight in decorative pictures, 48, 181, 182 Pointed style exemplified in the Temple Church, 35 Pompeii, 2, 48 Pompeian decoration, 29, 136 ,, ,, colours used in, 30, 31 Pompeian decoration, characteristics of design, 32 Pompeian style, hall decoration, 136 Portugal, 2 Poynter, E. J., 53, 57 Polygnotus, 26, 27 Prescott, historian of Mexico and Peru, 3, 9, 10, 11, 12, 215,216 Princess's Theatre decorations, 165 Pritchard, John, 67 Proportion in architecture, 70 , , interior decoration, 84 Protogenes, 27 Ptolemaic period in Egypt, colours used during, 21 Pugin, A. W., 50, 146, 220 Puzzeola, ruins at, 42 QUEEN ANNE STYLE, 68, 81, 83 . ,, ,, introduction of, 217220 RADCLIFFE CHAPEL, 67 Raphael, 43, 48, 164 Renaissance, 41 Flemish, 72, 118, 160 ,, French, 75, 105 Robinson, Alf. E., 137 Robinson, Gr. T., 60 Rogers, Mark, jun., 105, 106 Romano, Julio, 43 Rome, 4 Baths of Titus at, 42 Roman, 6 Roman decoration, three periods of, 29 ,, ,, colours and medi- ums used, 30 Roman decoration, characteristics of ornament, 32, 42, 44 Roman style, design in, by H, W. Batley, Plate IV. Romanesque, 34 Royalty Theatre decorations, 1 66 Runic, 4, 24, 35 Ruskin, John, 85, 86, 87 Rutland Cottage, decoration of dining- room at, 94, 95 SAINTE-CHAPELLE, PARIS, 160, 170 234 INDEX. Salle des Fetes, Fontainebleau, 41 ,, de Leys, Antwerp, 40, 160 ,, des Manages at Brussels, 41, 161, 185 Salle du Trone, Fontainebleau, 41 Salviati, Francesco, 44, 45 Sassanian, 4 "Sappho." Decorative painting at Sanatorium, Virginia Water, 159 Savoy Theatre decorations, 166 Saxon house, from Bayeux tapestry, 39 Saxon ornament, 4, 35, 37 " School of Athens," Raphael's, 48 Scott, Sir Gilbert, interiors by, 67, 74 Seddon, J. P., 71, 73 Sedding, J. D., 73 "Seven Lamps of Architecture," Euskin's, 86 Shakespearean decorative j)anel8 for frieze, 88, 93, 94, 109 Shahnanezar, gatgs of, 9 Shams, 78 Sharp, Joseph, 99 Sharp, T. W., 61 Shaw, Eichard Norman, 69, 70, 72, 73, 75, 81, 218, 220 Sidonians, 6 Sight, point of, in decorative pictures, 48, 181, 182 Silicine painting on glass, 204 Silver, A., 62 Sistine Chapel, ceiling of, 44 ,, ,, frescoes, 48 "Skeleton in Armour," frieze by Walter Crane, 183 Smith, Bernard, 63, 116 Smith, Thos., and Son, 67 Solomon's Temjile, 6, 16 South Kensington Museum decora- tions, 177, 195, 199 South Kensington Museum dining- room, 116 South Kensington Museum, tapestry at, 40 Sparta, brazen temple at, 8 Sta. Maria Maggiore at Eome, illus- tration of, 34 St Alban's, Baldwin's Gardens, 66 St. Andrew's Hall, Glasgow, 75 St. Cross, Winchester, 67 St. Fionn Barr, Cork, 67 St. George's Hall, Liverpool, 67 St. James's Palace, 155 157 ,, Theatre decorations, 106 St. Mark's, Venice, 35 St. Michael's, Cornhill, 67 St.Vital's, Eavenna, 35 Stained-glass window screens, 4, 123, 128, 168 Staircase decoration, 128 136 ,, ,, at Buckingham Palace, 149 Staircase decoration, by John Q. Grace, 130 Staircase decoration, by Andrew Wells, 128, 129 Staircase, Jacobean, by B. J. Talbert, 65 {Frontispiece) Stanfield, 155 Stevenson, J. J., 69, 218 " Stones of Venice," Euskin's, 86 Street, George Edmund, interiors by, 65, 66, 67, 70, 73, 74, 220 Stuart and Eevett's ' ' Greek Antiqui- ties," 49 Studio decoration, 141 "Sunflower" frieze, by B. J. Talbert, 59 Susa, city of, 25 Syria, 2 INDEX. 23s TALBERT, BEUCE JAMES, 54, 55, 59, 60, 62, 63, 64, 72, 83 Tapestry, 37 Tapestry, Bayeux, 38, 39, 40 ,, works at Mortlake, 40 ,, ,, Windsor, 40 ,, Gobelins, 40 ,, Arras, Aubusson, 40, 91 Tynecastle, 110, 202, 208 Taste, feminine, 76 Tectorium, 202 Telephanes of Sieyon, 26 Tergorine, 208 Theatrical decorations, 163 167 Thomson, "Greek," 75, 219 Tiles, figure, by Mintons, and Minton, Hollins, and Co., 63, 200 Tiles, trades and historical, by Mintons, and Minton, Hollins, and Co., 113 Timanthes, 27 Tiryns, or Tirynthos, discoveries at, 22 ,, early examples similar in pattern to work found in Denmark and Egypt, 22 Tirynthian decorative colours, 23 Titus, baths of, 42 Town Hall, Antwerp, Salle de Leys, 40, 160 Town Hall, Manchester, 157, 195 Wakefield, 70, 71 "Triumphal Procession of Csesar," Mantegna's, 48 Tuileries, 42, 73 Turner, 86 " Twelfth Night." Shakespearean decorative panel, 93, 109 Tynecastle tapestry, 110, 202, 208 UNION BANK TELLING-EOOM, Glasgow, 67 VARANGIAN GUARD AT BYZAN- tium, 35 Vasari, Giorgio, 44 Veronese, Paul, 46 Versailles, decoration of palace, 89 Viollet-le-Duc, 52, 74 Voysey, C. F. A., wall papers by, 58, 61 WAKEFIELD TOWN HALL, 70, 71 Wall coverings, Saxon, 37 ,, ,, in French styles, 90 Wall decoration, by F. Margetson, 112 ,, ,, by J. 0. Harris, 131 ,, ,, fabrics for, 197 Wall papers, 5661, 207, 208 Warwick Castle cedar room, 89, Plate XII. Waring, J. B., 72 Water-colour sketches, backgrounds for, 169 Waterhouse, Alfred, 65, 66, 73, 105 Watteau, 91 Webb and Bell, 75 Weidemann, F. J., 62 Wells, Andrew, 75, 99, 115, 128 Westminster Abbey, 36, 71 Hall, 36 Whistler, J. A. M., 169 White, J., 119 Whitehall Chapel, 41 Winchester, St. Cross, 67 Wine cabinet, by B urges, 53 Winds, Temple of the, at Athens, 25 Windsor, St. George's Chapel, 36 ,, tapestry, 40 Windsor Castle, State apartments at, 162 Wolsey's Hall, Hampton Court, 36, 40 236 Wyatt, Digby, 53 YOEK, CHUECH AT, 67 IiXDEX. ZAYI, PALACE OF, MEXICO, 215 Zeus, embroidered representation of, 26 Young, AV., architect, 91, 94, 113, i Zeus of Phidias, 27 ^^'*' ^26 j Zeuxis introduces a grand style of Yucay, palace of, in Peru, 11 form, 27 PRINTKU BY J. 8. VIRTUK AND CO., LIMITKD, CITY KOAI>, LOaUUN . iV" */^ cwy^ 14 DAY ll^V 14 DAY USE RFTURN TO DESK FROM WHICH BORROWED LOAN DEPT. This book is due on the last dare stamped below, or on the date to which renewed. Renewals only: Tel. No. 642-3405 Renewals may be made 4 days prior to date due. Renewed books are subjea to immediate recall. 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