Читать книгу The Englishman's House: A Practical Guide for Selecting and Building a House - C. J. Richardson - Страница 6

On this point there is no disputing about tastes, but to this may be added that the absence of taste is by no means uncommon. Having fixed on the style of house, the next question for decision, in respect to its general effect, should be that of its internal decoration. Congruity of design should exist between the two, for if an opposite course be adopted, a vulgarity will be introduced that will be highly displeasing to good taste. On the other hand, a slavish adherence to uniformity of internal with external character might produce so severe an adherence to system as to exclude the benefits that arise from judiciously chosen contrast. What has before been remarked in regard to the exterior, applies equally to the interior of a house—each should have in its general effect an agreement in appearance to its objects. In an antique apartment the light character of modern furniture would be evidently out of place, and vice versâ.

It is evidently impossible to direct attention to more than a few elements of success that may be arrived at in internal decoration. Independently of this, each person has his own views on the matter, that would be sure in the end to overrule any exact principles, or at least greatly modify them. The following observations however, are offered suggestively.

The facility with which the most beautiful designs in painting, &c., are transferred to paper for paper hangings, has brought these into very extensive use for decorative purposes. Formerly the best patterns were produced in France alone, but of late years the British manufactures have rivalled the Continental. The pattern in respect to size, colour, design, &c., should be so chosen as to be in accordance with the amount of light, the size, and other conditions of the room. A large pattern in a small room is equally out of place with the reverse condition. A light pattern again in a dark room, although advantageous in alleviating sombreness, is also incongruous. The general effect of a room on a spectator is thus largely influenced by these points, and consequently they should be carefully attended to. Frequently paint is preferred for covering walls of apartments, and where many pictures are introduced this may be advantageously employed, because the paintings alleviate the monotonous effect that would otherwise ensue. Painted walls are liable to injury by peeling off in places, especially where likely to meet with blows from furniture, &c. In damp weather, from the absorption of heat they generally become not only wet, but frequently stream with water. If the apartment is “smoky,” lines of sooty hue soon follow, and the room acquires a dirty appearance. This is avoided by the use of paper, which prevents the abstraction of heat and the consequent deposition of water; Beautiful effects may be produced by graining and other devices which are too well known to require enumeration. When flock paper on walls becomes dirty and requires renewing, if painted it looks extremely well, a diaper ornamental surface being produced by such means.

The mantel-piece of a room adds to or detracts from its general effect. In a well lighted apartment, with light furniture, white marble is decidedly preferable. Whereas serpentine, black, or coloured marbles, grey and even red granite, may all agree in rooms but moderately lighted.

The cornice and ceiling decorations equally require adaptation to the character of the apartment. For these purposes beautiful designs have been suggested and employed. The material of which they are usually made is so plastic as to be capable of receiving and retaining the most intricate forms conducive to elegance and beauty. In some rooms such add greatly to the general effect, while in others, especially with painted walls, plain mouldings seem most appropriate.

A profusion of gold or gilding displays want of taste. A glaring example of this might be pointed out—a white marble mantel-piece supported by gilt angels five feet high which “graces” the drawing-room of a mansion in one part of this country. The outer room is a gorgeous display of gold, silver, and vulgarity. It serves, however, index-like, to point out at once the riches and “taste” of the owner. On the other hand, paintings and engravings in gilt frames have an excellent effect in setting off a room, provided that their size is in accordance with that of the apartment.

Stained deals, varnished, afford a good material for panelling, and for covering the walls of rooms. We have in our eye a dining-room thus fitted which has an effect approaching to some of the oaken fittings of olden times. The material is cheap and durable, whilst the surface can always be renewed in its freshness by a new coat of varnish. It has been largely adopted in churches for pews and other fittings, with the best possible results.

The minor objects of decoration, such as handles, finger-plates, bell-pulls, &c. &c., can only be here named. In many instances designs are given in the following pages, suggesting the most suitable either for indoor or outdoor use, according to the character of the room or entrance for which they are intended.

So much for the picturesque exterior and tasteful interior of a house; a few words however may be said in respect to its immediate surroundings, such as the lawns, gardens, pleasure grounds, &c.

The most picturesque villa would be a nonentity in a wrong situation. It would be opposed to what is usually called the “fitness of things;” a phrase that expresses much meaning without an exact definition. Hence “landscape gardening” has become an almost necessary adjunct to the art of architecture. An unframed picture has possibly every merit that the painter’s art can bestow on it, yet it lacks that finish which the exterior confers on it. So the well laid-out garden, the vista at its extremity, the carefully arranged parterre, the judicious management of floral culture, especially with regard to colour; neatly arranged walks, and many other exterior matters of detail, add to, enhance, and occasionally become indispensable adjuncts to the picturesque.

We give two examples of picturesque accessories to garden architecture; the first rather belongs to the secluded wood, to some sequestered spot of sylvan shade, whence rises a spring which tradition may designate as that of some beautiful nymph; where the limpid crystal flows in gentle, yet ceaseless streams, conveying “health to the sick and solace to the swain.” The last, a vignette at the end of this chapter, is the representation of a ruined fountain, designed in 1820 by one of the best teachers of drawing England ever possessed, the late C. J. M. Whichelo. The architect may suggest the addition of a garden, but it is no part of his business to supply the details; these rather belong to the horticulturist. Yet these should not be forgotten; a complete whole is always made up of minute parts, and by these littles an entirety of effect is produced, just as their individual importance is not lost sight of.

The Nymph’s Fountain.

In conclusion, it has been attempted in this introductory essay to enable the unprofessional reader to become acquainted with the general principles, and some practical details that should guide him in the selection of a site, and the erection of an elegant, convenient, and pleasant house, both externally and internally. So far as architecture and decorative art can aid such objects, the special details involved have to be perused in the text of this work. Fundamental ideas of such subjects have alone been here treated. A hope may be expressed that any suggestion or advice hitherto offered may not, in all cases, be without value. It is not given to all men to know all things. By the experience of others we gain fresh views of old ideas, invest them with new clothing, and in fact make out of that which is past, the material for something new. We rest on the apparently obsolete for suggestive ideas of improvement. Although the fashion of this world passeth away, yet as a dissolving view it reproduces itself in other forms, which, by the contrast of apparent novelty, and real or supposed merits, gain, either temporarily or permanently, the applause of mankind.

Old English Garden Plots.

Garden Fountain in Ruins.