Читать книгу The House in Good Taste - Elsie de Wolfe - Страница 4

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I know of nothing more significant than the awakening of men and women throughout our country to the desire to improve their houses. Call it what you will—awakening, development, American Renaissance—it is a most startling and promising condition of affairs.

It is no longer possible, even to people of only faintly æsthetic tastes, to buy chairs merely to sit upon or a clock merely that it should tell the time. Home-makers are determined to have their houses, outside and in, correct according to the best standards. What do we mean by the best standards? Certainly not those of the useless, overcharged house of the average American millionaire, who builds and furnishes his home with a hopeless disregard of tradition. We must accept the standards that the artists and the architects accept, the standards that have come to us from those exceedingly rational people, our ancestors.

Our ancestors built for stability and use, and so their simple houses were excellent examples of architecture. Their spacious, uncrowded interiors were usually beautiful. Houses and furniture fulfilled their uses, and if an object fulfils its mission the chances are that it is beautiful.

It is all very well to plan our ideal house or apartment, our individual castle in Spain, but it isn't necessary to live among intolerable furnishings just because we cannot realize our castle. There never was a house so bad that it couldn't be made over into something worth while. We shall all be very much happier when we learn to transform the things we have into a semblance of our ideal.

How, then, may we go about accomplishing our ideal?

By letting it go!

By forgetting this vaguely pleasing dream, this evidence of our smug vanity, and making ourselves ready for a new ideal.

By considering the body of material from which it is good sense to choose when we have a house to decorate.

By studying the development of the modern house, its romantic tradition and architectural history.

By taking upon ourselves the duty of self-taught lessons of sincerity and common sense, and suitability.

By learning what is meant by color and form and line, harmony and contrast and proportion.

When we are on familiar terms with our tools, and feel our vague ideas clearing into definite inspiration, then we are ready to talk about ideals. We are fit to approach the full art of home-making.

We take it for granted that every woman is interested in houses—that she either has a house in course of construction, or dreams of having one, or has had a house long enough wrong to wish it right. And we take it for granted that this American home is always the woman's home: a man may build and decorate a beautiful house, but it remains for a woman to make a home of it for him. It is the personality of the mistress that the home expresses. Men are forever guests in our homes, no matter how much happiness they may find there.

You will express yourself in your house, whether you want to or not, so you must make up your mind to a long preparatory discipline. You may have only one house to furnish in your life-time, possibly, so be careful and go warily. Therefore, you must select for your architect a man who isn't too determined to have his way. It is a fearful mistake to leave the entire planning of your home to a man whose social experience may be limited, for instance, for he can impose on you his conception of your tastes with a damning permanency and emphasis. I once heard a certain Boston architect say that he taught his clients to be ladies and gentlemen. He couldn't, you know. All he could do is to set the front door so that it would reprove them if they weren't!

Who does not know, for instance, those mistaken people whose houses represent their own or their architects' hasty visits to the fine old châteaux of the Loire, or the palaces of Versailles, or the fine old houses of England, or the gracious villas of Italy? We must avoid such aspiring architects, and visualize our homes not as so many specially designated rooms and convenient closets, but as individual expressions of ourselves, of the future we plan, of our dreams for our children. The ideal house is the house that has been long planned for, long awaited.

IN THIS HALL, SIMPLICITY, SUITABILITY AND PROPORTION ARE OBSERVED

Fortunately for us, our best architects are so very good that we are better than safe if we take our problems to them. These men associate with themselves the hundred young architects who are eager to prove themselves on small houses. The idea that it is economical to be your own architect and trust your house to a building contractor is a mistaken, and most expensive, one. The surer you are of your architect's common sense and professional ability, the surer you may be that your house will be economically efficient. He will not only plan a house that will meet the needs of your family, but he will give you inspiration for its interior. He will concern himself with the moldings, the light-openings, the door-handles and hinges, the unconsidered things that make or mar your house. Select for your architect a man you'd like for a friend. Perhaps he will be, before the house comes true. If you are both sincere, if you both purpose to have the best thing you can afford, the house will express the genius and character of your architect and the personality and character of yourself, as a great painting suggests both painter and sitter. The hard won triumph of a well-built house means many compromises, but the ultimate satisfaction is worth everything.

I do not purpose, in this book, to go into the historic traditions of architecture and decoration—there are so many excellent books it were absurd to review them—but I do wish to trace briefly the development of the modern house, the woman's house, to show you that all that is intimate and charming in the home as we know it has come through the unmeasured influence of women. Man conceived the great house with its parade rooms, its grands appartements but woman found eternal parade tiresome, and planned for herself little retreats, rooms small enough for comfort and intimacy. In short, man made the house: woman went him one better and made of it a home.

The virtues of simplicity and reticence in form first came into being, as nearly as we can tell, in the Grotta, the little studio-like apartment of Isabella d'Este, the Marchioness of Mantua, away back in 1496. The Marchioness made of this little studio her personal retreat. Here she brought many of the treasures of the Italian Renaissance. Really, simplicity and reticence were the last things she considered, but the point is that they were considered at all in such a restless, passionate age. Later, in 1522, she established the Paradiso, a suite of apartments which she occupied after her husband's death. So you see the idea of a woman planning her own apartment is pretty old, after all.

The next woman who took a stand that revealed genuine social consciousness was that half-French, half-Italian woman, Catherine de Vivonne, Marquise de Rambouillet. She seceded from court because the court was swaggering and hurly-burly, with florid Marie-de-Medicis at its head. And with this recession, she began to express in her conduct, her feeling, her conversation, and, finally, in her house, her awakened consciousness of beauty and reserve, of simplicity and suitability.

This was the early Seventeenth Century, mind you, when the main salons of the French houses were filled with such institutions as rows of red chairs and boxed state beds. She undertook, first of all, to have a light and gracefully curving stairway leading to her salon instead of supplanting it. She grouped her rooms with a lovely diversity of size and purpose, whereas before they had been vast, stately halls with cubbies hardby for sleeping. She gave the bedroom its alcove, boudoir, ante-chamber, and even its bath, and then as decorator she supplanted the old feudal yellow and red with her famous silver-blue. She covered blue chairs with silver bullion. She fashioned long, tenderly colored curtains of novel shades. Reticence was always in evidence, but it was the reticence of elegance. It was through Madame de Rambouillet that the armchair received its final distribution of yielding parts, and began to express the comfort of soft padded backward slope, of width and warmth and color.

It was all very heavy, very grave, very angular, this Hôtel Rambouillet, but it was devised for and consecrated to conversation, considered a new form of privilege! The précieuses in their later jargon called chairs "the indispensables of conversation."

I have been at some length to give a picture of Madame de Rambouillet's hôtel because it really is the earliest modern house. There, where the society that frequented it was analyzing its soul in dialogue and long platonic discussion that would seem stark enough to us, the word which it invented for itself was urbanité—the coinage of one of its own foremost figures.

It is unprofitable to follow on into the grandeurs of Louis XIV, if one hopes to find an advance there in truth-telling architecture. At the end of that splendid official success the squalor of Versailles was unspeakable, its stenches unbearable. In spite of its size the Palace was known as the most comfortless house in Europe. After the death of its owner society, in a fit of madness, plunged into the rocaille. When the restlessness of Louis XV could no longer find moorings in this brilliancy, there came into being little houses called folies, garden hermitages for the privileged. Here we find Madame de Pompadour in calicoes, in a wild garden, bare-foot, playing as a milkmaid, or seated in a little gray-white interior with painted wooden furniture, having her supper on an earthen-ware service that has replaced old silver and gold. Amorous alcoves lost their painted Loves and took on gray and white decorations. The casinos of little comédiennes did not glitter any more. English sentiment began to bedim Gallic eyes, and so what we know as the Louis XVI style was born.

And so, at that moment, the idea of the modern house came into its own, and it could advance—as an idea—hardly any further. For with all the intrepidity and passion of the later Eighteenth Century in its search for beauty, for all the magic-making of convenience and ingenuity of the Nineteenth Century, the fundamentals have changed but little. And now we of the Twentieth Century can only add material comforts and an expression of our personality. We raise the house beyond the reach of squalor, we give it measured heat, we give it water in abundance and perfect sanitation and light everywhere, we give it ventilation less successfully than we might, and finally we give it the human quality that is so modern. There are no dungeons in the good modern house, no disgraceful lairs for servants, no horrors of humidity.

MENNOYER DRAWINGS AND OLD MIRRORS SET IN PANELINGS

And so we women have achieved a house, luminous with kind purpose throughout. It is finished—that is our difficulty! We inherit it, all rounded in its perfection, consummate in its charms, but it is finished, and what can we do about a thing that is finished I Doesn't it seem that we are back in the old position of Isabella d'Este—eager, predatory, and "thingy"? And isn't it time for us to pull up short lest we sidestep the goal? We are so sure of a thousand appetites we are in danger of passing by the amiable commonplaces. We find ourselves dismayed in old houses that look too simple. We must stop and ask ourselves questions, and, if necessary, plan for ourselves little retreats until we can find ourselves again.

What is the goal? A house that is like the life that goes on within it, a house that gives us beauty as we understand it—and beauty of a nobler kind that we may grow to understand, a house that looks amenity.

Suppose you have obtained this sort of wisdom—a sane viewpoint. I think it will give you as great a satisfaction to re-arrange your house with what you have as to re-build, re-decorate. The results may not be so charming, but you can learn by them. You can take your indiscriminate inheritance of Victorian rosewood of Eastlake walnut and cocobolo, your pickle-and-plum colored Morris furniture, and make a civilized interior by placing it right, and putting detail at the right points. Your sense of the pleasure and meaning of human intercourse will be clear in your disposition of your best things, in your elimination of your worst ones.

When you have emptied the tables of rubbish so that you can put things down on them at need, placed them in a light where you can write on them in repose, or isolated real works of art in the middle of them; when you have set your dropsical sofas where you want them for talk, or warmth and reading; when you can see the fire from the bed in your sleeping-room, and dress near your bath; if this sort of sense of your rights is acknowledged in your rearrangement, your rooms will always have meaning, in the end. If you like only the things in a chair that have meaning, and grow to hate the rest you will, without any other instruction, prefer—the next time you are buying—a good Louis XVI fauteuil to a stuffed velvet chair. You will never again be guilty of the errors of meaningless magnificence.

To most of us in America who must perforce lead workaday lives, the absence of beauty is a very distinct lack. I think, indeed, that the present awakening has come to stay, and that before very long, we shall have simple houses with fireplaces that draw, electric lights in the proper places, comfortable and sensible furniture, and not a gilt-legged spindle-shanked table or chair anywhere. This may be a decorator's optimistic dream, but let us all hope that it may come true.