The Art of Interior Decoration Part 2

[Ill.u.s.tration: _Another View of the Same Office_]

We grow up to, into, and out of colour schemes. Each of the Seven Ages of Man has its appropriate setting in colour as in line. One learns the dexterous manipulation of colour from furnis.h.i.+ng, as an artist learns from painting.

Refuse to accept a colour scheme, unless it appeals to your individual taste--no matter who suggests it. To one not very sensitive to colour here is a valuable suggestion. Find a bit of beautiful old silk brocade, or a cretonne you especially like, and use its colour combinations for your room--a usual device of decorators. Let us suppose your silk or cretonne to have a deep-cream background, and scattered on it green foliage, faded salmon-pink roses and little, fine blue flowers. Use its prevailing colour, the deep cream, for walls and possibly woodwork; make the draperies of taffeta or rep in soft apple-greens; use the same colour for upholstery, make shades for lamp and electric lights of salmon-pink, then bring in a touch of blue in a sofa cus.h.i.+on, a footstool or small chair, or in a beautiful vase which charms by its shape as well by reproducing the exact tone of blue you desire. There are some who insist no room is complete without its note of blue. Many a room has been built up around some highly prized treasure,--lovely vase or an old j.a.panese print.

A thing always to be avoided is monotony in colour. Who can not recall barren rooms, without a spark of attraction despite priceless treasures, dispersed in a meaningless way? That sort of setting puts a blight on any gathering. "Well," you will ask, "given the task of converting such a sterile stretch of monotony into a blooming joy, how should one begin?" It is quite simple. Picture to yourself how the room would look if you scattered flowers about it, roses, tulips, mignonette, flowers of yellow and blue, in the pell-mell confusion of a blooming garden. Now imitate the flower colours by _objets d'art_ so judiciously placed that in a trice you will admire what you once found cold. As if by magic, a white, cream, beige or grey room may be transformed into a smiling bower, teeming with personality, a room where wit and wisdom are spontaneously let loose.

If your taste be for chintzes and figured silks, take it as a safe rule, that given a material with a light background, it should be the same in tone as your walls; the idea being that by this method you get the full decorative value of the pattern on chintz or silk.

Figured materials can increase or diminish the size of a room, open up vistas, push back your walls, or block the vision. For this reason it is unsafe to buy material before trying the effect of it in its destined abode.

Remember that the matter of _background_ is of the greatest importance when arranging your furniture and ornaments. See that your piano is so placed that the pianist has an unbroken background, of wall, tapestry, a large piece of rare old sills, or a mirror. Clyde Fitch, past-master at interior decoration, placed his piano in front of broad windows, across which at night were drawn crimson damask curtains. Some of us will never forget Geraldine Farrar, as she sat against that background wearing a dull, clinging blue-green gown, going over the score,--from memory,--of "Salome."

The aim is to make the performer at the piano the object of interest, therefore place no diverting objects, such as pictures or ornaments, on a line with the listener's eye, except as a vague background.

There can be no more becoming setting for a group of people dining by candle or electric light, than walls panelled with dark wood to the ceiling, or a high wainscoting.

A beautiful sitting-room, not to be forgotten, had light violet walls, dull-gold frames on the furniture which was covered in deep-cream brocades, bits of old purple velvets and violet silks on the tables, under large bowls of Benares bronze filled with violets. The grand piano was protected by a piece of old brocade in faded yellows, and our hostess, a well-known singer, usually wore a simple Florentine tea-gown of soft violet velvet, which together with the lighter violet walls, set off her fair skin and black hair to beautiful advantage.

Put a figured, many-coloured sofa cus.h.i.+on behind the head of a pretty woman, and if the dominating colour is becoming to her, she is still pretty, but change it to a solid black, purple or dull-gold and see how instantly the degree of her beauty is enhanced by being thrown into relief.

PLATE VII

Gives attractive corner by a window, the heavy silk brocade curtains of which are drawn. A standard electric lamp lights the desk, both modern-painted pieces, and the beautiful old flower picture, black background with a profusion of colours in lovely soft tones, is framed by a dull-gold moulding and gives immense distinction. The chair is Venetian Louis XV, the same period as desk in style.

Not to be ignored in this picture is a tin sc.r.a.p basket beautifully proportioned and painted a vivid emerald green; a valuable addition a note of cheerful colour. The desk and wooden standard of lamp are painted a deep blue-plum colour, touched with gold, and the silk curtains are soft mulberry, in two tones.

[Ill.u.s.tration: _Corner of Room, Showing Painted Furniture, Antique and Modern_]

Study values--just why and how much any decorative article decorates, and remember in furnis.h.i.+ng a room, decorating a wall or dining-room table, it is not the intrinsic value or individual beauty of any one article which counts. Each picture on the wall, each piece of furniture, each bit of silver, gla.s.s, china, linen or lace, each yard of chintz or silk, every carpet or rug must be beautiful and effective _in relation to the others used_, for the _art_ of interior decoration lies in this subtle, or obvious, relations.h.i.+p of furnis.h.i.+ngs.

We acknowledge as legitimate all schemes of interior decoration and insist that what makes any scheme good or bad, successful, or unsuccessful presuming a knowledge of the fundamentals of the art, is the fact that it is planned in reference to the type of man or woman who is to live in it.

A new note has been struck of late in the arranging of bizarre, delightful rooms which on entering we p.r.o.nounce "very amusing."

Original they certainly are, in colour combinations, tropical in the impression they make,--or should we say Oriental?

They have come to us via Russia, Bakst, Munich and Martine of Paris.

Like Rheinhardt's staging of "Sumurun," because these blazing interiors strike us at an unaccustomed angle, some are merely astonished, others charmed as well. There are temperaments ideally set in these interiors, and there are houses where they are in place. We cannot regard them as epoch-making, but granted that there is no attempt to conform to two of the rules for furnis.h.i.+ng,--_appropriateness_ and _practicality_, the results are refres.h.i.+ngly new and entertaining. This is one of the instances where exaggeration has served as a healthy antidote to the tendency toward extreme dinginess rampant about ten years ago, resulting from an obsession to antique everything. The reaction from this, a flaming rainbow of colours, struck a blow to the artistic sense, drew attention back to the value of colour and started the creative impulse along the line of a happy medium.

Whether it be a furnished porch, personal suite (as bedroom, boudoir and bath), a family living-room, dining-room, formal reception-room, or period ballroom, never allow members of your household or servants to destroy the effect you have achieved with careful thought and outlay of money, by ruthlessly moving chairs and tables from one room to another. Keep your wicker furniture on the porch, for which it was intended. If it strays into the adjacent living-room, done in quite another scheme, it will absolutely thwart your efforts at harmony, while your porch-room done in wicker and gay chintzes, striped awnings and geranium rail-boxes, cries out against the intrusion of a chair dragged out from the house. Remember that should you intend using your period ballroom from time to time as an audience room for concerts and lectures, you must provide a complete equipment of small, very light (so as to be quickly moved) chairs, in your "period," as a necessary part of your decoration.

The current idea that a distinguished room remains distinguished because costly tapestries and old masters hang on its walls, even when the floor is strewn with vulgar, hired chairs, is an absurd mistake.

Each room from kitchen to ballroom is a stage "set,"--a harmonious background for certain scenes in life's drama. It is the man or woman who grasps this principle of a distinguished home who can create an interior which endures, one which will hold its own despite the ebb and flow of fas.h.i.+on. Imposing dimensions and great outlay of money do not necessarily imply distinction, a quality depending upon unerring good taste in the minutest details, one which may be achieved equally in a stately mansion, in a city flat, or in a cottage by the sea.

The question of background is absorbingly interesting. A vase, with or without flowers, to add to the composition of your room, that is, to make "a good picture," must be placed so that its background sets it off. Let the Venetian gla.s.s vase holding one rose stand in such a position that your green curtain is its background, and not a photograph or other picture. One flower, carefully placed in a room, will have more real decorative value than dozens of costly roses strewn about in the wrong vases, against mottled, line-destroying backgrounds.

Flowers are always more beautiful in a plain vase, whether of gla.s.s, pottery, porcelain or silver. If a vase chances to have a decoration in colour, then make a point of having the flowers it holds accord in colour, if not in shade, with the colour or colours in the vase.

There is a general rule that no ornament should ever be placed in front of a picture. The exception to this rule occurs when the picture is one of the large, architectural variety, whose purpose is primarily mural decoration,--an intentional background, as tapestries often are, serving its purpose as nature does when a vase or statue is placed in a park or garden. One sees in portraits by some of the old masters this idea of landscape used as background. Bear in mind, however, that if there is a central design--a definite composition in the picture, or tapestry, no ornament should ever be so placed as to interfere with it. If you happen to own a tapestry which is not large enough for your s.p.a.ce by one, two or three feet, frame it with a plain border of velvet or velveteen, to match the dominating colour, and a shade darker than it appears in the tapestry. This expedient heightens the decorative effect of the tapestry.

CHAPTER III

HOW TO DETERMINE CHARACTER OF HANGINGS AND FURNITURE-COVERING FOR A GIVEN ROOM

In a measure, the materials for hangings and furniture-coverings are determined more or less by the amount one wishes to spend in this direction. For choice, one would say silk or velvet for formal rooms; velvets, corduroys or chintz for living-rooms; leather and corduroy with rep hangings for a man's study or smoking-room; thin silks and chintz for bedrooms; chintz for nurseries, breakfast-rooms and porches.

In England, slip-covers of chintz (glazed cretonne) appear, also, in formal rooms; but are removed when the owner is entertaining. If the permanent upholstery is of chintz, then at once your room becomes informal. If you are planning the living-room for a small house or apartment, which must serve as reception-room during the winter months, far more dignity, and some elegance can be obtained for the same expenditure, by using plain velveteen, modern silk brocades in one colour, or some of the modern reps to be had in very smart shades of all colours.

If your furniture is choice, rarely beautiful in quality, line and colour, hangings and covers must accord. Genuine antiques demand antique silks for hangings and table covers; but no decorator, if at all practical, will cover a chair or sofa in the frail old silks, for they go to pieces almost in the mounting. Waive sentiment in this case, for the modern reproductions are satisfactory to the eye and improve in tone with age.

If you own only a small piece of antique silk, make a square of it for the centre of the table, or cleverly combine several small bits, if these are all you have, into an interesting cover or cus.h.i.+on. Nothing in the world gives such a note of distinction to a room as the use of rare, old silks, properly placed.

The fas.h.i.+on for cretonne and chintz has led to their indiscriminate use by professionals as well as amateurs, and this craze has caused a prejudice against them. Chintz used with judgment can be most attractive. In America the term chintz includes cretonne and stamped linen. If you are planning for them, put together, for consideration, all your bright coloured chintz, and in quite another part of your room, or decorator's shop, the chintz of dull, faded colours, as they require different treatment. A general rule for this material--bright or dull--is that if you would have your chintz _decorate_, be careful not to use it too lavishly. If it is intended for curtains, then cover only one chair with it and cover the rest in a solid colour. If you want chintz for all of your chairs and sofa, make your curtains, sofa cus.h.i.+ons and lamp shades of a solid colour, and be sure that you take one of the leading colours in the chintz. Next indicate your intention at harmony, by "bringing together" the plain curtains or chairs, and your chintz, with a narrow fringe or border of still another colour, which figures in the chintz. Let us suppose chintz to be black with a design in greens, mulberry and buff. Make your curtains plain mulberry, edged with narrow pale green fringe with black and buff in it, or should your chintz be grey with a design in faded blues and violets and a touch of black, make curtains of the chintz, and cover one large chair, keeping the sofa and the remaining chairs grey, with the bordering fringe, or gimp, in one or two of the other shades, sofa cus.h.i.+ons and the lamp shades in blues and violets (lining lamp shades with thin pink silk), and use a little black in the bordering fringe.

PLATE VIII

Shows an ideal mantel arrangement, faultless as a composition and beautiful and rare in detail. The exquisite white marble mantel is Italian, not French, of the time of Louis XVI.

Though the designs of this period are almost identical, one quickly learns to detect the difference in feeling between the work of the two countries. The Italians are freer, broader in their treatment, show more movement and in a way more grace, where the French work is more detailed and precise, hence at times, by contrast, seems stilted and rigid.

Enchantingly graceful are the two candelabra, also Louis XVI, while the central ornament is ideally chosen for size and design.

The dull gold frame of the mirror is very beautiful, and the painting above the gla.s.s interesting and unusual as to subject and execution.

The chair is a good example of Italian Louis XV.

[Ill.u.s.tration: _Example of a Perfect Mantel, Ornaments and Mirror_]

If you decide upon a very brilliant chintz use it only in one chair, a screen, or in a valance over plain curtains with straps to hold them back, or perhaps a sofa cus.h.i.+on. Whether a chintz is bright or dull, its pattern is important. As with silks, brocaded in different colours, therefore never use chintz where a chair or sofa calls for tufting. A tufted piece of furniture always looks best done in plain materials.

In using a chintz in which both colour and design are indefinite, the kind which gives more or less an impression of faded tapestry, you will find that the very indefiniteness of the pattern makes it possible to use the chintz with more freedom, being always sure of a harmonious background. The one thing to guard against is that on entering a room you must not be conscious either of several colours, or of any set design.

CHAPTER IV

THE STORY OF TEXTILES