The Decoration of Houses Part 13

XIV

BEDROOMS

The history of the bedroom has been incidentally touched upon in tracing the development of the drawing-room from the mediaeval hall. It was shown that early in the middle ages the sleeping-chamber, which had been one of the first outgrowths of the hall, was divided into the _chambre de parade_, or incipient drawing-room, and the _chambre au giste_, or actual sleeping-room.

The increasing development of social life in the sixteenth century brought about a further change; the state bedroom being set aside for entertainments of ceremony, while the sleeping-chamber was used as the family living-room and as the scene of suppers, card-parties, and informal receptions--or sometimes actually as the kitchen. Indeed, so varied were the uses to which the _chambre au giste_ was put, that in France especially it can hardly be said to have offered a refuge from the promiscuity of the hall.

[Ill.u.s.tration: _PLATE LIV._

BEDROOM. PALACE OF FONTAINEBLEAU. LOUIS XIV PERIOD.

(LOUIS XVI BED AND CHAIR, MODERN SOFA.)]

As a rule, the bedrooms of the Renaissance and of the seventeenth century were very richly furnished. The fas.h.i.+on of raising the bed on a dais separated from the rest of the room by columns and a bal.u.s.trade was introduced in France in the time of Louis XIV. This innovation gave rise to the habit of dividing the decoration of the room into two parts; the walls being usually panelled or painted, while the "alcove," as it was called, was hung in tapestry, velvet, or some rich stuff in keeping with the heavy curtains that completely enveloped the bedstead. This use of stuff hangings about the bed, so contrary to our ideas of bedroom hygiene, was due to the difficulty of heating the large high-studded rooms of the period, and also, it must be owned, to the prevalent dread of fresh air as of something essentially unwholesome and pernicious.

In the early middle ages people usually slept on the floor; though it would seem that occasionally, to avoid cold or dampness, the mattress was laid on cords stretched upon a low wooden framework. In the fourteenth century the use of such frameworks became more general, and the bed was often enclosed in curtains hung from a tester resting on four posts. Bed-hangings and coverlet were often magnificently embroidered; but in order that it might not be necessary to transport from place to place the unwieldy bedstead and tester, these were made in the rudest manner, without attempt at carving or adornment. In course of time this primitive framework developed into the sumptuous four-post bedstead of the Renaissance, with elaborately carved cornice and _colonnes torses_ enriched with gilding. Thenceforward more wealth and skill were expended upon the bedstead than upon any other article of furniture. Gilding, carving, and inlaying of silver, ivory or mother-of-pearl, combined to adorn the framework, and embroidery made the coverlet and hangings resplendent as church vestments. This magnificence is explained by the fact that it was customary for the lady of the house to lie in bed while receiving company. In many old prints representing suppers, card-parties, or afternoon visits, the hostess is thus seen, with elaborately dressed head and stiff brocade gown, while her friends are grouped about the bedside in equally rich attire. This curious custom persisted until late in the eighteenth century; and under such conditions it was natural that the old cabinet-makers should vie with each other in producing a variety of ornate and fanciful bedsteads. It would be useless to enumerate here the modifications in design marking the different periods of decoration: those who are interested in the subject will find it treated in detail in the various French works on furniture.

It was natural that while the bedroom was used as a _salon_ it should be decorated with more elaboration than would otherwise have been fitting; but two causes combined to simplify its treatment in the eighteenth century. One of these was the new fas.h.i.+on of _pet.i.ts appartements_. With artists so keenly alive to proportion as the old French designers, it was inevitable that such a change in dimensions should bring about a corresponding change in decoration. The bedrooms of the eighteenth century, though sometimes elaborate in detail, had none of the pompous richness of the great Renaissance or Louis XIV room (see Plate LIV). The pretentious dais with its screen of columns was replaced by a niche containing the bed; plain wood-panelling succeeded to tapestry and embroidered hangings; and the heavy carved ceiling with its mythological centre-picture made way for light traceries on plaster.

The other change in the decoration of French bedrooms was due to the subst.i.tution of linen or cotton bed and window-hangings for the sumptuous velvets and brocades of the seventeenth century. This change has usually been ascribed to the importation of linens and cottons from the East; and no doubt the novelty of these gay _indiennes_ stimulated the taste for simple hangings. The old inventories, however, show that, in addition to the imported India hangings, plain white linen curtains with a colored border were much used; and it is probably the change in the size of rooms that first led to the adoption of thin washable hangings. The curtains and bed-draperies of damask or brocatelle, so well suited to the high-studded rooms of the seventeenth century, would have been out of place in the small apartments of the Regency. In studying the history of decoration, it will generally be found that the supposed vagaries of house-furnis.h.i.+ng were actually based on some practical requirement; and in this instance the old decorators were doubtless guided rather by common sense than by caprice. The adoption of these washable materials certainly introduced a style of bedroom-furnis.h.i.+ng answering to all the requirements of recent hygiene; for not only were windows and bedsteads hung with unlined cotton or linen, but chairs and sofas were covered with removable _housses_, or slip-covers; while the painted wall-panelling and bare brick or parquet floors came far nearer to the modern sanitary ideal than do the papered walls and nailed-down carpets still seen in many bedrooms. This simple form of decoration had the additional charm of variety; for it was not unusual to have several complete sets of curtains and slip-covers, embroidered to match, and changed with the seasons. The hangings and covers of the queen's bedroom at Versailles were changed four times a year.

Although bedrooms are still "done" in chintz, and though of late especially there has been a reaction from the satin-damask bedroom with its dust-collecting upholstery and knick-knacks, the modern habit of lining chintz curtains and of tufting chairs has done away with the chief advantages of the simpler style of treatment. There is something illogical in using washable stuffs in such a way that they cannot be washed, especially in view of the fact that the heavily lined curtains, which might be useful to exclude light and cold, are in nine cases out of ten so hung by the upholsterer that they cannot possibly be drawn at night. Besides, the patterns of modern chintzes have so little in common with the _toiles imprimees_ of the seventeenth and eighteenth centuries that they scarcely serve the same decorative purpose; and it is therefore needful to give some account of the old French bedroom hangings, as well as of the manner in which they were employed.

The liking for _cotonnades_ showed itself in France early in the seventeenth century. Before this, cotton materials had been imported from the East; but in the seventeenth century a manufactory was established in France, and until about 1800 cotton and linen curtains and furniture-coverings remained in fas.h.i.+on. This taste was encouraged by the importation of the _toiles des Indes_, printed cottons of gay color and fanciful design, much sought after in France, especially after the government, in order to protect native industry, had restricted the privilege of importing them to the _Compagnie des Indes_. It was not until Oberkampf established his manufactory at Jouy in 1760 that the French _toiles_ began to replace those of foreign manufacture. Hitherto the cottons made in France had been stamped merely in outline, the colors being filled in by hand; but Oberkampf invented a method of printing in colors, thereby making France the leading market for such stuffs.

The earliest printed cottons having been imported from India and China, it was natural that the style of the Oriental designers should influence their European imitators. Europe had, in fact, been prompt to recognize the singular beauty of Chinese art, and in France the pa.s.sion for _chinoiseries_, first aroused by Mazarin's collection of Oriental objects of art, continued unabated until the general decline of taste at the end of the eighteenth century. Nowhere, perhaps, was the influence of Chinese art more beneficial to European designers than in the composition of stuff-patterns. The fantastic gaiety and variety of Chinese designs, in which the human figure so largely predominates, gave fresh animation to European compositions, while the absence of perspective and modelling preserved that conventionalism so essential in pattern-designing. The voluminous acanthus-leaves, the fleur-de-lys, arabesques and ma.s.sive scroll-work so suitable to the Genoese velvets and Lyons silks of the sixteenth and seventeenth centuries, would have been far too magnificent for the cotton stuffs that were beginning to replace those splendid tissues. On a thin material a heavy architectural pattern was obviously inappropriate; besides, it would have been out of scale with the smaller rooms and lighter style of decoration then coming into fas.h.i.+on.

The French designer, while influenced by Chinese compositions, was too artistic to be satisfied with literal reproductions of his Oriental models. Absorbing the spirit of the Chinese designs, he either blent mandarins and paG.o.das with Italian grottoes, French landscapes, and cla.s.sical masks and trophies, in one of those delightful inventions which are the fairy-tales of decorative art, or applied the principles of Oriental design to purely European subjects. In comparing the printed cottons of the seventeenth and eighteenth centuries with modern chintzes, it will be seen that the latter are either covered with monotonous repet.i.tions of a geometrical figure, or with realistic reproductions of some natural object. Many wall-papers and chintzes of the present day represent loose branches of flowers scattered on a plain surface, with no more relation to each other or to their background than so many real flowers fixed at random against the wall.

This literal rendering of natural objects with deceptive accuracy, always condemned by the best artists, is especially inappropriate when brought in close contact with the highly conventionalized forms of architectural composition. In this respect, the endlessly repeated geometrical figure is obviously less objectionable; yet the geometrical design, as produced to-day, has one defect in common with the other--that is, lack of imagination. Modern draughtsmen, in eliminating from their work that fanciful element (always strictly subordinated to some general scheme of composition) which marked the designs of the last two centuries, have deprived themselves of the individuality and freshness that might have saved their patterns from monotony.

This rejection of the fanciful in composition is probably due to the excessive use of pattern in modern decoration. Where much pattern is used, it must be as monotonous as possible, or it will become unbearable. The old decorators used few lines, and permitted themselves more freedom in design; or rather they remembered, what is now too often forgotten, that in the decoration of a room furniture and objects of art help to make design, and in consequence they were chiefly concerned with providing plain s.p.a.ces of background to throw into relief the contents of the room. Of late there has been so marked a return to plain panelled or painted walls that the pattern-designer will soon be encouraged to give freer rein to his fancy. In a room where walls and floor are of uniform tint, there is no reason why the design of curtains and chair-coverings should consist of long straight rows of b.u.t.tercups or crocuses, endlessly repeated.

[Ill.u.s.tration: _PLATE LV._

BATH-ROOM, PITTI PALACE, FLORENCE.

LATE XVIII CENTURY. DECORATED BY CACIALLI.]

It must not be thought that the old designs were unconventional.

Nature, in pa.s.sing through the medium of the imagination, is necessarily transposed and in a manner conventionalized; and it is this transposition, this deliberate selection of certain characteristics to the exclusion of others, that distinguishes the work of art from a cast or a photograph. But the reduction of natural objects to geometrical forms is only one of the results of artistic selection. The Italian fresco-painters--the recognized masters of wall-decoration in the flat--always used the naturalistic method, but subject to certain restrictions in composition or color. This applies also to the Chinese designers, and to the humbler European pattern-makers who on more modest lines followed the same sound artistic traditions. In studying the _toiles peintes_ manufactured in Europe previous to the present century, it will be seen that where the design included the human figure or landscape naturalistically treated (as in the fables of aesop and La Fontaine, or the history of Don Quixote), the pattern was either printed entirely in one color, or so fantastically colored that by no possibility could it pa.s.s for an attempt at a literal rendering of nature. Besides, in all such compositions (and here the Chinese influence is seen) perspective was studiously avoided, and the little superimposed groups or scenes were either connected by some decorative arabesque, or so designed that by their outline they formed a recurring pattern. On the other hand, when the design was obviously conventional a variety of colors was freely used. The introduction of the human figure, animals, architecture and landscape into stuff-patterns undoubtedly gave to the old designs an animation lacking in those of the present day; and a return to the _pays bleu_ of the Chinese artist would be a gain to modern decoration.

Of the various ways in which a bedroom may be planned, none is so luxurious and practical as the French method of subdividing it into a suite composed of two or more small rooms. Where s.p.a.ce is not restricted there should in fact be four rooms, preceded by an antechamber separating the suite from the main corridor of the house.

The small sitting-room or boudoir opens into this antechamber; and next comes the bedroom, beyond which are the dressing and bath rooms.

In French suites of this kind there are usually but two means of entrance from the main corridor: one for the use of the occupant, leading into the antechamber, the other opening into the bath-room, to give access to the servants. This arrangement, besides giving greater privacy, preserves much valuable wall-s.p.a.ce, which would be sacrificed in America to the supposed necessity of making every room in a house open upon one of the main pa.s.sageways.

The plan of the bedroom suite can of course be carried out only in large houses; but even where there is no lack of s.p.a.ce, such an arrangement is seldom adopted by American architects, and most of the more important houses recently built contain immense bedrooms, instead of a series of suites. To enumerate the practical advantages of the suite over the single large room hardly comes within the scope of this book; but as the uses to which a bedroom is put fall into certain natural subdivisions, it will be more convenient to consider it as a suite.

Since bedrooms are no longer used as _salons_, there is no reason for decorating them in an elaborate manner; and, however magnificent the other apartments, it is evident that in this part of the house simplicity is most fitting. Now that people have been taught the unhealthiness of sleeping in a room with stuff hangings, heavy window-draperies and tufted furniture, the old fas.h.i.+on of painted walls and bare floors naturally commends itself; and as the bedroom suite is but the subdivision of one large room, it is obviously better that the same style of decoration should be used throughout.

For this reason, plain panelled walls and chintz or cotton hangings are more appropriate to the boudoir than silk and gilding. If the walls are without pattern, a figured chintz may be chosen for curtains and furniture; while those who prefer plain tints should use unbleached cotton, trimmed with bands of color, or some colored linen with applications of gimp or embroidery. It is a good plan to cover all the chairs and sofas in the bedroom suite with slips matching the window-curtains; but where this is done, the furniture should, if possible, be designed for the purpose, since the lines of modern upholstered chairs are not suited to slips. The habit of designing furniture for slip-covers originated in the middle ages. At a time when the necessity of transporting furniture was added to the other difficulties of travel, it was usual to have common carpenter-built benches and tables, that might be left behind without risk, and to cover these with richly embroidered slips. The custom persisted long after furniture had ceased to be a part of luggage, and the benches and _tabourets_ now seen in many European palaces are covered merely with embroidered slips. Even when a set of furniture was upholstered with silk, it was usual, in the eighteenth century, to provide embroidered cotton covers for use in summer, while curtains of the same stuff were subst.i.tuted for the heavier hangings used in winter.

Old inventories frequently mention these _tentures d'ete_, which are well adapted to our hot summer climate.

The boudoir should contain a writing-table, a lounge or _lit de repos_, and one or two comfortable arm-chairs, while in a bedroom forming part of a suite only the bedstead and its accessories should be placed.

The pieces of furniture needed in a well-appointed dressing-room are the toilet-table, wash-stand, clothes-press and cheval-gla.s.s, with the addition, if s.p.a.ce permits, of one or two commodes or chiffonniers.

The designing of modern furniture of this kind is seldom satisfactory; yet many who are careful to choose simple, substantial pieces for the other rooms of the house, submit to the pretentious "bedroom suit" of bird's-eye maple or mahogany, with its wearisome irrelevance of line and its excess of cheap ornament. Any study of old bedroom furniture will make clear the inferiority of the modern manufacturer's designs.

Nowhere is the old sense of proportion and fitness seen to better advantage than in the simple, admirably composed commodes and clothes-presses of the eighteenth-century bedroom.

The bath-room walls and floor should, of course, be water-proof. In the average bath-room, a tiled floor and a high wainscoting of tiles are now usually seen; and the detached enamel or porcelain bath has in most cases replaced the built-in metal tub. The bath-rooms in the larger houses recently built are, in general, lined with marble; but though the use of this substance gives opportunity for fine architectural effects, few modern bath-rooms can in this respect be compared with those seen in the great houses of Europe. The chief fault of the American bath-room is that, however splendid the materials used, the treatment is seldom architectural. A glance at the beautiful bath-room in the Pitti Palace at Florence (see Plate LV) will show how much effect may be produced in a small s.p.a.ce by carefully studied composition. A mere closet is here transformed into a stately room, by that regard for harmony of parts which distinguishes interior architecture from mere decoration. A bath-room lined with precious marbles, with bath and wash-stand ranged along the wall, regardless of their relation to the composition of the whole, is no better architecturally than the tiled bath-room seen in ordinary houses: design, not substance, is needed to make the one superior to the other.

XV

THE SCHOOL-ROOM AND NURSERIES

One of the most important and interesting problems in the planning and decoration of a house is that which has to do with the arrangement of the children's rooms.

There is, of course, little opportunity for actual decoration in school-room or nursery; and it is only by stretching a point that a book dealing merely with the practical application of aesthetics may be made to include a chapter bordering on pedagogy. It must be remembered, however, that any application of principles presupposes some acquaintance with the principles themselves; and from this standpoint there is a certain relevance in studying the means by which the child's surroundings may be made to develop his sense of beauty.

The room where the child's lessons are studied is, in more senses than one, that in which he receives his education. His whole view of what he is set to learn, and of the necessity and advantage of learning anything at all, is tinged, more often than people think, by the appearance of the room in which his studying is done. The aesthetic sensibilities wake early in some children, and these, if able to a.n.a.lyze their emotions, could testify to what suffering they have been subjected by the habit of sending to school-room and nurseries whatever furniture is too ugly or threadbare to be used in any other part of the house.

In the minds of such children, curious and lasting a.s.sociations are early established between the appearance of certain rooms and the daily occupations connected with them; and the aspect of the school-room too often aggravates instead of mitigating the weariness of lesson-learning.

There are, of course, many children not naturally sensitive to artistic influences, and the parents of such children often think that no special care need be spent on their surroundings--a curious misconception of the purpose of all aesthetic training. To teach a child to appreciate any form of beauty is to develop his intelligence, and thereby to enlarge his capacity for wholesome enjoyment. It is, therefore, never idle to cultivate a child's taste; and those who have no p.r.o.nounced natural bent toward the beautiful in any form need more guidance and encouragement than the child born with a sense of beauty.

The latter will at most be momentarily offended by the sight of ugly objects; while they may forever blunt the taste and narrow the views of the child whose sluggish imagination needs the constant stimulus of beautiful surroundings.

If art is really a factor in civilization, it seems obvious that the feeling for beauty needs as careful cultivation as the other civic virtues. To teach a child to distinguish between a good and a bad painting, a well or an ill-modelled statue, need not hinder his growth in other directions, and will at least develop those habits of observation and comparison that are the base of all sound judgments.

It is in this sense that the study of art is of service to those who have no special apt.i.tude for any of its forms: its indirect action in shaping aesthetic criteria const.i.tutes its chief value as an element of culture.

The habit of regarding "art" as a thing apart from life is fatal to the development of taste. Parents may conscientiously send their children to galleries and museums, but unless the child can find some point of contact between its own surroundings and the contents of the galleries, the interest excited by the pictures and statues will be short-lived and ineffectual. Children are not reached by abstract ideas, and a picture hanging on a museum wall is little better than an abstraction to the child's vivid but restricted imagination. Besides, if the home surroundings are tasteless, the unawakened sense of form will not be roused by a hurried walk through a museum. The child's mind must be prepared by daily lessons in beauty to understand the masterpieces of art. A child brought up on foolish story-books could hardly be expected to enjoy _The Knight's Tale_ or the _Morte d'Arthur_ without some slight initiation into the nature and meaning of good literature; and to pa.s.s from a house full of ugly furniture, badly designed wall-papers and worthless knick-knacks to a hurried contemplation of the Venus of Milo or of a model of the Parthenon is not likely to produce the desired results.

The daily intercourse with poor pictures, trashy "ornaments," and badly designed furniture may, indeed, be fittingly compared with a mental diet of silly and ungrammatical story-books. Most parents nowadays recognize the harmfulness of such a _regime_, and are careful to feed their children on more stimulating fare. Skilful compilers have placed Mallory and Chaucer, Cervantes and Froissart, within reach of the childish understanding, thus laying the foundations for a lasting appreciation of good literature. No greater service can be rendered to children than in teaching them to know the best and to want it; but while this is now generally conceded with regard to books, the child's eager eyes are left to fare as best they may on chromos from the ill.u.s.trated papers and on carefully h.o.a.rded rubbish from the Christmas tree.

The mention of the Christmas tree suggests another obstacle to the early development of taste. Many children, besides being surrounded by ugly furniture and bad pictures, are overwhelmed at Christmas, and on every other anniversary, by presents not always selected with a view to the formation of taste. The question of presents is one of the most embarra.s.sing problems in the artistic education of children. As long as they are in the toy age no great harm is done: it is when they are considered old enough to appreciate "something pretty for their rooms"

that the season of danger begins. Parents themselves are often the worst offenders in this respect, and the sooner they begin to give their children presents which, if not beautiful, are at least useful, the sooner will the example be followed by relatives and friends. The selection of such presents, while it might necessitate a little more trouble, need not lead to greater expense. Good things do not always cost more than bad. A good print may often be bought for the same price as a poor one, and the money spent on a china "ornament," in the shape of a yellow Leghorn hat with a kitten climbing out of it, would probably purchase a good reproduction of one of the Tanagra statuettes, a plaster cast of some French or Italian bust, or one of Cantagalli's copies of the Robbia bas-reliefs--any of which would reveal a world of unsuspected beauty to many a child imprisoned in a circle of _articles de Paris_.

The children of the rich are usually the worst sufferers in such cases, since the presents received by those whose parents and relations are not "well off" have the saving merit of usefulness. It is the superfluous gimcrack--the "ornament"--which is most objectionable, and the more expensive such articles are the more likely are they to do harm. Rich children suffer from the quant.i.ty as well as the quality of the presents they receive. Appet.i.te is surfeited, curiosity blunted, by the ma.s.s of offerings poured in with every anniversary. It would be better if, in such cases, friends and family could unite in giving to each child one thing worth having--a good edition, a first-state etching or engraving, or some like object fitted to give pleasure at the time and lasting enjoyment through life. Parents often make the mistake of thinking that such presents are too "serious"--that children do not care for good bindings, fine engravings, or reproductions of sculpture. As a matter of fact, children are quick to appreciate beauty when pointed out and explained to them, and an intelligent child feels peculiar pride in being the owner of some object which grown-up people would be glad to possess.

If the selection of such presents is made with a reasonable regard for the child's tastes and understanding--if the book chosen is a good edition, well bound, of the _Morte d'Arthur_ or of _Chaucer_--if the print represents some Tuscan Nativity, with a joyous dance of angels on the thatched roof, or a group of splendid hors.e.m.e.n and strange animals from the wondrous fairy-tale of the Riccardi chapel--the present will give as much immediate pleasure as a "juvenile" book or picture, while its intrinsic beauty and significance may become important factors in the child's aesthetic development. The possession of something valuable, that may not be knocked about, but must be handled with care and restored to its place after being looked at, will also cultivate in the child that habit of carefulness and order which may be defined as good manners toward inanimate objects.

Children suffer not only from the number of presents they receive, but from that over-crowding of modern rooms that so often makes it necessary to use the school-room and nurseries as an outlet for the overflow of the house. To the children's quarters come one by one the countless objects "too good to throw away" but too ugly to be tolerated by grown-up eyes--the bead-work cus.h.i.+ons that have "a.s.sociations," the mildewed Landseer prints of foaming, dying animals, the sheep-faced Madonna and Apostles in bituminous draperies, commemorating a paternal visit to Rome in the days when people bought copies of the "Old Masters."

Those who wish to train their children's taste must resolutely clear the school-room of all such stumbling-blocks. Ugly furniture cannot always be replaced; but it is at least possible to remove unsuitable pictures and knick-knacks.