The Art of Interior Decoration Part 3

The story of the evolution of textiles (any woven material) is fascinating, and like the history of every art, runs parallel with the history of culture and progress in the art of living,--physical, mental and spiritual.

To those who feel they would enjoy an exhaustive history of textiles we recommend a descriptive catalogue relating to the collection of textiles in the South Kensington Museum, prepared by the Very Rev.

Daniel Rock, D.D. (1870).

In the introduction to that catalogue one gets the story of woven linens, cottons, silks, paper, gold and silver threads, interspersed with precious jewels and gla.s.s beads--all materials woven by hand or machine.

The story of textiles includes: 1st, woven materials; 2nd, embroidered materials; 3rd, a combination of the two, known as "tapestry." If one reads their wonderful story, starting in a.s.syria, then progressing to Egypt, the Orient, Greece, Rome and Western Europe, in any history of textiles, one may obtain quickly and easily a clear idea of this department of interior decoration from the very earliest times.

The first European silk is said to have been in the form of transparent gauze, dyed lovely tones for women of the Greek islands, a form of costume later condemned by Greek philosophers.

We know that embroidery was an art three thousand years ago, in fact the figured garments seen on the a.s.syrian and Egyptian bas-reliefs are supposed to represent materials with embroidered figures--not woven patterns--whereas in the Bible, when we read of embroidery, according to the translators, this sometimes means woven stripes.

PLATE IX

An ideal dining-room of its kind, modern painted furniture, Empire in design. In this case yellow with decoration in white.

Curtains, thin yellow silk.

Note the Empire electric light fixtures in hand-carved gilded wood, reproductions of an antique silver applique. Even the steam radiators are here cleverly concealed by wooden cases made after Empire designs.

The walls are white and panelled in wood also white.

[Ill.u.s.tration: _Dining-room in Country House, Showing Modern Painted Furniture. Style Directoire._]

The earliest garments of Egypt were of cotton and hemp, or mallow, resembling flax. The older Egyptians never knew silks in any form, nor did the Israelites, nor any of the ancients. The earliest account of this material is given by Aristotle (fourth century). It was brought into Western Europe from China, via India, the Red Sea and Persia, and the first to weave it outside the Orient was a maiden on the Isle of Cos, off the coast of Asia Minor, producing a thin gauze-like tissue worn by herself and companions, the material resembling the Seven Veils of Salome. To-day those tiny bits of gauze one sees laid in between the leaves of old ma.n.u.script to protect the illuminations, as our publishers use sheets of tissue paper, are said to be examples of this earliest form of woven silk.

The Romans used silk at first only for their women, as it was considered not a masculine material, but gradually they adopted it for the festival robes of men, t.i.tus and Vespasian being among those said to have worn it.

The first silk looms were set up in the royal palaces of the Roman kings in the year 533 A.D. The raw material was brought from the East for a long time but in the sixth century two Greek monks, while in China, studied the method of rearing silk worms and obtaining the silk, and on their departure are said to have concealed the eggs of silk worms in their staves. They are accredited with introducing the manufacture of silk into Greece and hence into Western Europe. After that Greece, Persia and Asia Minor made this material, and Byzantium was famed for its silks, the actual making of which got into the hands of the Jews and was for a long time controlled by them.

Metals (gold, silver and copper) were flattened out and cut into narrow strips for winding around cotton twists. These were the gold and silver threads used in weaving. The Moors and Spaniards instead of metals used strips of gilded parchment for weaving with the silk.

We know that England was weaving silk in the thirteenth century, and velvets seem to have been used at a very early date. The introduction of silk and velvet into different countries had an immediate and much-needed influence in civilising the manners of society. It is hard to realise that in the thirteenth century when Edward I married Eleanor of Castile, the highest n.o.bles of England when resting at their ease, stretched at full length on the straw-covered floors of baronial halls, and jeered at the Spanish courtiers who hung the walls and stretched the floors of Edward's castle with silks in preparation for his Spanish bride.

The progress of art and culture was always from the East and moved slowly. Do not go so far back as the thirteenth century. James I of England owned no stockings when he was James VI of Scotland, and had to borrow a pair in which to receive the English amba.s.sador.

In the eleventh century Italy manufactured her own silks, and into them were woven precious stones, corals, seed pearls and coloured gla.s.s beads which were made in Greece and Venice, as well as gold and silver spangles (twelfth and thirteenth centuries).

Here is an item on interior decorations from Proverbs vii, 16; "I have woven my bed with cords, I have covered it with painted tapestry brought from Egypt." There were painted tapestries made in Western Europe at a very early date, and collectors eagerly seek them (see Plate XIV). In the fourteenth century these painted tapestries were referred to as "Stained Cloth."

Embroidery as an art, as we have already seen, antedates silk weaving. The youngest of the three arts is tapestry. The oldest embroidery st.i.tches are: "the feather st.i.tch," so called because they all took one direction, the st.i.tches over-lapping, like the feathers of a bird; and "cross-st.i.tch" or "cus.h.i.+on" style, because used on church cus.h.i.+ons, made for kneeling when at prayer or to hold the Ma.s.s book.

Hand-woven tapestries are called "comb-wrought" because the instrument used in weaving was comb-like.

"Cut-work" is embroidery that is cut out and appliqued, or sewed on another material.

Carpets which were used in Western Europe in the Middle Ages are seldom seen. The Kensington Museum owns two specimens, both of them Spanish, one of the fourteenth and one of the fifteenth century.

In speaking of Gothic art we called attention to the fostering of art by the Church during the Dark Ages. This continued, and we find that in Henry VIII's time those who visited monasteries and afterward wrote accounts of them call attention to the fact that each monk was occupied either with painting, carving, modelling, embroidering or writing. They worked primarily for the Church, decorating it for the glory of G.o.d, but the homes of the rich and powerful laity, even so early as the reign of Henry III (1216-1272), boasted some very beautiful interior decorations, tapestries, painted ceilings and stained gla.s.s, as well as carved panelling.

Bostwick Castle, Scotland, had its vaulted ceiling painted with towers, battlements and pinnacles, a style of mural decoration which one sees in the oldest castles of Germany. It recalls the illumination in old ma.n.u.scripts.

CHAPTER V

CANDLESTICKS, LAMPS, FIXTURES FOR GAS AND ELECTRICITY, AND SHADES

Candlesticks, lamps, and fixtures for gas and electricity must accord with the lines of your architecture and furniture. The mantelpiece is the connecting link between the architecture and the furnis.h.i.+ng of a room. It is the architect's contribution to the furnis.h.i.+ng, and for this reason the keynote for the decorator.

In the same way lighting fixtures are links between the construction and decoration of a room, and can contribute to, or seriously divert from, the decorator's design.

It is important that fixtures be so placed as to appear a part of the decoration and not merely to illuminate conveniently a corner of the room, a writing-desk, table or piano.

PLATE X

The dining-room of this apartment is Italian Renaissance--oak, almost black from age, and carved.

The seat pads and lambrequin over window are of deep red velvet.

The walls are stretched with dull red _brocotello_ (a combination of silk and linen), very old and valuable. The chandelier is Italian carved wood, gilded.

Attention is called to the treatment of the windows. No curtains are used, instead, boxes are planted with ivy which is trained to climb the green lattice and helps to temper the light, while the window shades themselves are of a fascinating glazed linen, having a soft yellow background and design of fruit and vines in brilliant colours.

[Ill.u.s.tration: _Dining-room Furniture, Italian Renaissance_]

In planning your house after arranging for proper wall s.p.a.ce for your various articles of furniture, keep in mind always that lights will be needed and must be at the same time conveniently placed and distinctly decorative.

One is astonished to see how often the actual balance of a room is upset by the careless placing of electric fixtures. Therefore keep in mind when deciding upon the lighting of a room the following points: first, fixtures must follow in line style of architecture and furniture; second, the position of fixtures on walls must carry out the architect's scheme of proportion, line and balance; third, the material used in fixtures--bra.s.s, gilded wood, gla.s.s or wrought iron--must contribute to the decorator's scheme of line and colour; fourth, as a contribution to colour scheme the fixtures must be in harmony with the colour of the side walls, so as not to cut them up, and the shade should be a _light_ note of colour, not one of the _dark_ notes when illuminated.

This brings us to the question of shades. The selecting of shapes and colours for shading the lights in your rooms is of the greatest importance, for the shades are one of the harmonics for striking important colour notes, and their value must be equal by day and by night; that is, equally great, _even if different_. Some shades, beautiful and decorative by daylight, when illuminated, lose their colour and become meaningless blots in a room. We have in mind a large silk lamp shade of faded sage green, mauve, faun and a dull blue, the same combination appearing in the fringe--a combination not only beautiful, but harmonising perfectly with the old Gothic tapestry on the nearby wall. Nothing could be more decorative in this particular room during the day than the shade described; but were it not for the sh.e.l.l-pink lining, gleaming through the silk of the shade when lighted, it would have no decorative value at all at night.

In ordering or making shades, be sure that you select colours and materials which produce a diffused light. A soft thin pink silk as a lining for a silk or cretonne shade is always successful, and if a delicate pink, never clashes with the colours on the outside. A white silk lining is cold and unbecoming. A dark shade unlined, or a light coloured shade unlined, even if pink, unless the silk is s.h.i.+rred very full, will not give a diffused, yellow light.

It is because Italian parchment-paper produces the desired _glow_ of light that it has become so popular for making shades, and, coming as it does in deep soft cream, it gives a lovely background for decorations which in line and colour can carry out the style of your room.

Figured Italian papers are equally popular for shades, but their characteristic is to decorate the room by daylight only, and to impart no _quality_ to the light which they shade. Unless in pale colours, they stop the light, absolutely, throwing it down, if on a lamp, and back against the wall, if on side brackets. Therefore decorators now cut out the lovely designs on these figured papers and use them as appliques on a deep cream parchment background.

When you decide upon the shape of your shades do not forget that successful results depend upon absolutely correct proportions. Almost any shape, if well proportioned as to height and width, can be made beautiful, and the variety and effect desired, may be secured by varying the colours, the design of decoration, if any, or the texture or the length of fringe.

The "umbrella" shades with long chiffon curtains reaching to the table, not unlike a woman's hat with loose-hanging veil, make a charming and practical lamp shade for a boudoir or a woman's summer sitting-room, especially if furnished in lacquer or wicker. It is a light to rest or talk by, not for reading nor writing.

The greatest care is required in selecting shades for side-wall lights, because they quickly catch the eye upon entering a room and materially contribute to its appearance or detract from it.