It has been customary to arrange walls into panels when decorating them, and of this mode of treatment we give one ill.u.s.tration (Fig.

63); yet nothing can be more absurd than such a treatment, unless the wall is architecturally (structurally) arched. A wall may be so formed that some parts are thick, so as to give the required strength, while other portions are thin. In such a case the wall would be formed of arched recesses and thickened piers alternately. This being the case, the decoration should be so applied as to emphasise, or render apparent, this arched structure; but if the wall is of one thickness throughout, its division into arches is absurd and foolish.

[Ill.u.s.tration: Fig. 63.]

We sometimes see great follies, and even gross untruths, perpetrated with the view of bringing about the so-called decoration of a room.

Thus it is not unfrequently that we meet with imitation pillars, recesses, and arches as the so-called ornamentation of a room.

In low music halls we are not surprised by such decorations, for we do not look for truth or any manifestation of delicacy of feeling in such places. Falsity and the untrue appear in natural juxtaposition with the debased and the vulgar. Sham marble pillars, a fict.i.tious and merely imitative architecture, an a.s.sumed and unreal, yet coa.r.s.e and vulgar, gorgeousness, are the natural adjuncts of immorality and vice; but such falsities cannot be tolerated in the abodes of those who pretend to purity and truth, nor in the buildings which they frequent; yet even the new Albert Hall has sham marble pillars (I say this to our shame), and but recently I visited a church near Edgware, in which there is a display of false decoration such as I never before saw.

Here we find sham pillars, giving a false architecture; sham niches, containing sham statues; sham clouds, forming an absurd ceiling; and almost every falsity which a falsely const.i.tuted mind could perpetrate.

How strange it is that in a church, where purity and truth are taught, the whole of the decorations should be a sham! It is said that if you want to hear a fierce quarrel, and to see true hatred, you must seek it in religious sects and among theological discussionists. On the same principle, I suppose, we must prepare ourselves for a display of the worst art-falsity in the sacred edifice. Perhaps the idea is that of contrast. As the teetotal lecturer had a drunken man by him as a frightful example of what was to be avoided, so the decorations of this church may be intended as a warning, rather than as an example of what should be followed. Happily such churches as this are rare, and it can be truly said that ecclesiastical architecture and decoration has made great strides with us in recent years, and that in very many instances it is rigidly truthful as well as beautiful.

Before leaving the consideration of wall decorations, I must object to all imitations, as sham marbles, granites, etc., for no wall can be satisfactory which is to any extent a display of false grandeur; and this is curious, that in many cases it costs more to produce an imitation marble staircase than it would to line the same walls with the marbles imitated. I have known a case in which the imitation has cost double what the genuine stone would have cost, and such a case is not exceptional, for hand-polished work is always expensive. To imitations of marbles and granites, as I have already said, I strongly object, and of the genuine stone I am not fond, unless sparingly and judiciously used. My objections to its free use are these:--1st.

Harmony of colour depends upon great exactness of tint. This exactness is rarely attainable in the case of two marbles. One stone may, however, be brought into direct and perfect harmony with a coloured wall, by the tint of the wall being carefully suited to the marble.

2nd. The true artist thinks less of the costliness of the material of which he forms his works than of the art-effect produced. Thus the old Greeks, who were full of art-feeling and refinement, coloured the buildings which they constructed of white marble, and they certainly thereby improved them; for colour, if harmoniously employed, lends to objects a new charm--a charm which they would not without it possess.

I must further say, before leaving our present subject, that all walls, however decorated, should serve as a background to whatever stands in front of them. Thus they must retire even behind the furniture by their un.o.btrusiveness.

The order of arrangement in furnishing must be this. The living beings in a room should be most attractive and conspicuous, and the dress of man should be of such a character as to secure this. Ladies can now employ any amount of colour in their attire; but poor man, however n.o.ble, cannot by his dress be distinguished from his butler; and, worst of all, both are dressed in an unbecoming and inartistic manner.

Next come the furniture and draperies--the one or the other having prominence according to circ.u.mstances; then come the wall and floor, both of which are to serve as backgrounds to all that stands in front of them. In decorating walls, or in judging of the merit or suitability of wall decorations, this must always be taken into consideration, that they are but enriched backgrounds; and it should also be remembered that the nature of the enrichment applied is determined, to a great extent, by the character of the architecture of the building of which the wall forms a part.

We come now to consider wall-papers, which are hangings prepared with the view of enabling us to decorate our walls at comparatively small cost. I may confess that I am not very fond of wall-papers under any circ.u.mstances. I prefer a tinted or painted wall. Yet they are largely used, and will be for a long time to come. I have already said that if wall-papers are used they should not be joined together with straight lines, and that we ought to consider them as so much art-material which should be used artistically.

As to the nature of the pattern which a wall-paper should have, it is almost impossible to speak, as there are endless varieties; but as a rule it may be said that those consisting of small, simple, repeated parts, which are low-toned or neutral in colour, are the best. Most wall-paper patterns are larger than is desirable. The pattern can scarcely be too simple, and it should in all cases consist of flat ornament.

If the ornament is very good, and the pattern is the work of a true artist, it may be larger, for then the parts will be balanced and harmonised in a manner that could not be expected from a less skilful hand; but even if by the most talented designer, it must ever be remembered that he has designed it at random, and not as a suitable decoration for any particular room. The man who selects the pattern for a particular wall must choose that which is suitable to the special case.

The effect of a wall-paper is materially affected by many circ.u.mstances. Thus, by the quant.i.ty of light admitted to the room--whether the room is dark or light; by the aspect, whether it receives the sun's rays direct or does not; by the character of the light, as whether direct from the sky, or reflected from a green lawn, or red-brick wall. All these things must be considered, and what looks well in the pattern-book may look bad on a wall.

[Ill.u.s.tration: Fig. 64.]

[Ill.u.s.tration: Fig. 65.]

[Ill.u.s.tration: Fig. 66.]

[Ill.u.s.tration: Fig. 67.]

As to colour, the best wall-paper patterns are those which consist of somewhat strong colours in very small ma.s.ses--ma.s.ses so small that the general effect of the paper is rich, low-toned, and neutral, and yet has a glowing colour-bloom; but these are rarely to be met with.

It was a fashion some time since to make wall-papers in imitation of woven fabrics, and this fashion has not wholly disappeared yet, absurd though it be. It arose through the accident of a designer of wall-paper patterns having been a shawl pattern designer, and having a number of small shawl patterns on hand, which he disposed of as wall-paper patterns. A pattern which is suitable for a woven fabric is rarely suitable to a printed fabric, and especially when the one pattern is to be seen in folds on a moving object, and the other flat on a fixed surface. And at all times imitation by one material of another is untruthful, and it becomes specially absurd when we think that almost every material is capable of producing some good art-effect which no other material can. We should always seek to make each material as distinctive in its art-character as we can, and to cause each to appear as beautiful as possible in that particular manner in which it can most naturally be worked.

[Ill.u.s.tration: Fig. 68.]

A word should be said about the particular character which a wall-paper pattern should have, but the remarks which I am now about to make will apply equally to all patterns employed as wall decorations. If we view trees or plants, as we see them against the sky as a background, they are objects which point upwards and have a bilateral symmetry--their halves are alike (Figs. 64 and 65)--or are more or less irregular in form, and when seen in this view we may regard them as natural wall decorations. Our wall patterns, then, may point upwards, as in Fig. 61, and be bilateral or otherwise; but it must be remembered that when the flowers of a primrose protrude from a bank they are regular radiating, or star, ornaments. I think that it is legitimate for us to use on a wall star, or regular radiating ornaments, as well as those having an upward tendency.

[Ill.u.s.tration: Fig. 69.]

I have said that when seen from the side plants are bilateral, or are more or less irregular. As I have referred to plants as furnishing us with types of ornament, I should not be doing rightly were I to leave this statement in its present form; for the tendency of the vital force of all plants is to produce structures of rigidly symmetrical character; but insects, which eat buds and leaves, and blights, winds, and frosts, so act upon plants as to destroy their normal symmetry, hence we find an apparent want of symmetry in the arrangement of the parts of plants.

Respecting the colouring of cornices, a few words should be said. 1st.

Bright colours may here be employed. 2nd. As a rule, get red in shadow or in shade, blue on flat or hollow surfaces, especially those that recede from the eye, and yellow on rounded advancing members. 3rd. Use for red either vermilion or carmine; for blue, ultramarine either pure or with white; for yellow, middle chrome much diluted with white. 4th.

Use red very sparingly, blue abundantly, the pale yellow in medium quant.i.ty.

Besides primary colours, none others need be used on the cornice. It is a mistake to use many, or dull, colours, here, but gold may be used instead of yellow. With the view of explaining the principles which we have just enunciated by diagrams, we give four ill.u.s.trations (Figs.

66, 67, 68, 69), which I advise the student to try and colour in accordance with the principles just set forth.

CHAPTER V.

CARPETS.

It is not my intention in this chapter to consider in detail the various kinds of carpet which are common in our market, nor even to review the history of their manufacture, interesting as it would be to do so; for we must confine ourselves more particularly to an examination of the art-qualities which they present, and to the particular form of pattern which may be applied to them with advantage.

Although we cannot here enter into a consideration of the manufacture of carpets, I cannot too strongly recommend all who intend preparing designs for them to consider minutely the powers of the carpet loom; for the nature of the effect produced will depend to a large extent upon the knowledge which the designer possesses of the capabilities of the manufacture for which he designs patterns. In the case of any manufacture it is highly desirable, if not absolutely essential, that the designer of the patterns to be wrought should be acquainted with the process by which his design is to be converted into the particular material for which the pattern has been prepared; for this knowledge, even when not absolutely essential, gives an amount of freedom and power which nothing else can supply.

The carpets most extensively in use are "Brussels;" but there are many other kinds both of better and inferior qualities. "Kidderminster carpet" (a carpet not now made by even one Kidderminster manufacturer) is a common fabric suited to the bedrooms of middle-cla.s.s houses; but the art-capabilities of this material are very small, as it can only have two colours in any line running throughout its length. This carpet consists of two thicknesses, which are imperfectly united, and is not durable. "Brussels carpeting," now made chiefly in Great Britain, is a good carpet for general purposes. Its surface consists of loops, and it may have five, or, if made of extra quality, six colours in any line running throughout its length. If with five colours in the same line the carpet will, in a sense, consist of five thicknesses of worsted; yet these are united into one fabric. In some cases a "Brussels carpet" is woven of very close texture, with the loops cut through; thus we have a "velvet pile" or "Wilton carpet"--a fabric which is very rich-looking, and durable.

Those called real "Axminster" carpets are, perhaps, the best made.

They are formed by the knotting together of threads by hand, consequently any number of colours may be used in their formation; but such are necessarily most costly. A "patent Axminster" carpet is made by a double process of hand-weaving, by which fine results are achieved, and any number of colours used. In the first weaving a rough "cloth" is formed, which is cut into strips called "chenille threads,"

and these are again woven into the carpet. This process is most ingenious, and the carpets produced by it are very good; but they are costly.

Some few years since a most ingenious process of manufacturing what are known as "tapestry" carpets was patented--a process resembling in its nature that of the patent Axminster manufacture, but differing in this particular, that the "warp" threads are coloured by printing, and thus the first process of weaving is dispensed with. These carpets are, like Brussels, made with a looped surface, and also with a pile.

They cannot be said to compare in any way with the patent Axminster carpets, which are of a pretentious and costly character, nor even with a good "Brussels;" but they are low in price, and meet a want, as is proved by their enormous sale.

Besides these varieties of carpet there are a number of kinds of foreign production, most of which are hand-made, and are very beautiful. By far the greater number of these have a "pile," although this is sometimes rough and uneven, yet rarely, if ever, inartistic; but a few are without pile; still these are not without that indescribable something which renders them estimable in the eye of an artist.

Having hastily noticed the chief kinds of carpet in use in this country, and we might say in almost all countries, we come to the question--what form of pattern, or what character of ornament, should form the "enrichment" of such a fabric?

When speaking in a previous chapter (see page 92) of wall decorations, we noticed that a wall-paper pattern, or, indeed, a wall pattern of any kind, might desirably have an upward direction and a bilateral symmetry. This can never be the case, however, with a carpet pattern, which must be equally extended all over the surface, or have a simple radiating symmetry, as Fig. 56; and this rule will apply whether the pattern be simple or complicated. It is not wrong, as we have said before, to have a radiating pattern on a wall, but it is wrong to have a bilateral pattern on a floor.

The reason of this is obvious. If such an object as we have indicated is placed on a wall, from whatever point the occupants of the room may view it, it is yet right way upwards to them; but if such an object were placed on a floor it would be wrong way upwards, or sideways, or oblique to most of those who viewed it; and to employ a pattern of this character in such a position is highly absurd, when a pattern can as readily be formed which will avoid this unpleasantness. What would we think were we asked to view a picture, or even to visit an apartment containing such, were this work of art presented to our view in an inverted manner? We should feel astonished at the absurdity; yet this would be no worse than expecting us to view a carpet while the pattern is to us in an inverted position.

And the principle which we have just set forth is one taught by a consideration of plants. If we wander over the moor, where we tread on Nature's carpet, we find that all the little plants which nestle in the short mossy gra.s.s are "radiating ornaments"--that is, they are pretty objects which consist of parts spreading regularly from a centre.

[Ill.u.s.tration: Fig. 70.]

[Ill.u.s.tration: Fig. 71.]

[Ill.u.s.tration: Fig. 72.]

[Ill.u.s.tration: Fig. 73.]

I cannot too strongly advise the young ornamentist to study the principles on which Nature works. Knowledge of the laws which govern the development of plant-growth is very desirable; but it is not our place to _imitate_ even the most beautiful of plant-forms--this being the work of the pictorial artists. Yet it is ours to study Nature's laws, and to observe all her beauty, even to her most subtle effects, and then we may safely pillage from her all that we can _consistently_ adapt to our own purposes. But in order that we produce ornament, we must infuse mind or soul into whatever we borrow from her. (See page 2.)

With the view of more fully impressing the manner in which Nature teaches us principles which we may apply in art, and of aiding the student in his inquiries, we will give one or two ill.u.s.trations. Thus Fig. 64 is a drawing of a spray of the guelder rose (_Viburnum opulus_) when seen from the side, or, as I might express it, when viewed as a wall decoration; and Fig. 70 is the same spray as seen from above, or, to use the same manner of expression, when seen as a floor pattern. Further, Fig. 71 represents a young plant of a species of speedwell (_Veronica_) as a wall ornament, and Fig. 72, the same plant when seen as a floor ornament; and Figs. 65 and 73 represent a portion of the goosegra.s.s (_Galium Aparine_) as seen in the same two views.