If we grant that in this modern world of hurry, imitation of tapestries is legitimate, the important question is, what are the best subjects, and what is the best use for such imitations?

The best use is undoubtedly that of wall-covering; and that was, indeed, the earliest object for which they were created. They were woven to cover great empty s.p.a.ces of unsightly masonry; and they are still infinitely useful and beautiful in grand apartments whose barren s.p.a.ces are too large for modern pictures, and which need the disguise of a suggestion of scenery or pictorial subject.

If tapestries must be painted, let them by all means follow the style of the ancient verdure or foliage tapestries, and be used for the same purpose--to cover an otherwise blank wall. This is legitimate, and even beautiful, but it is painting, and should be frankly acknowledged to be such, and no attempt made to have them masquerade as genuine and costly weavings. It is simply and always painting, although in the style and spirit of early tapestries. Productions of this sort, where real skill in textile painting is used, are quite worthy of admiration and respect.

I remember seeing, in the Swedish exhibit of women's work in the Woman's Building at the Columbian Exposition, a screen which had evidently been copied from an old bit of verdure tapestry. At the base were broad-leaved water-plants, each leaf carefully copied in blocks and patches of colour, with even the effect of the little empty s.p.a.ce--where one thread pa.s.ses to the back in weaving, to make room for one of another colour brought forward--imitated by a dot of black to simulate the tiny shadow-filled pen-point of a hole.

Now whether this was art or not I leave to French critics to decide, but it was at least admirable imitation; and any one able to cover the wall s.p.a.ces between bookcases in a library with such imitation would find them as richly set as if it were veritable tapestry.

This is a very different thing from a painted tapestry, perhaps enlarged from a photograph or engraving of a painting the original of which the tapestry-painter had never even seen--the destiny of which unfortunate copy, changed in size, colour, and all the qualities which gave value to the original, is probably to be hung as a picture in the centre of a s.p.a.ce of wall-paper totally antagonistic in colour.

When I see these things I long to curb the ambition of the unfortunate tapestry-painter until a course of study has taught him or her the proper use of a really useful process; for whether the object is to produce a decoration or a simulated tapestry, it is not attained by these methods.

The ordinary process of painting in dyes upon a wool or linen fabric woven in tapestry method, and fixing the colour with heat, enables the painter--if a true tapestry subject is chosen and tapestry effects carefully studied--to produce really effective and good things, and this opens a much larger field to the woman decorator than the ordinary unstudied shams which have thrown what might become in time a large and useful art-industry into neglect and disrepute.

I have seen the walls of a library hung with Siberian linen, stained in landscape design in the old blues and greens which give tapestry its decorative value, and found it a delightful wall-covering. Indeed we may lay it down as a principle in decoration that while we may use and adapt any decorative _effect_ we must not attempt to make it pa.s.s for the thing which suggested the effect.

Coa.r.s.e and carefully woven linens, used as I have indicated, are really far better than old tapestries for modern houses, because the design can be adapted to the specific purpose and the texture itself can be easily cleaned and is more appropriate to the close walls and less airy rooms of this century.

For costly wall-decoration, leather is another of the substances which have had a past of pomp and magnificence, and carries with it, in addition to beauty, a suggestion of the art of a race. Spanish leather, with its stamping and gilding, is quite as costly a wall covering as antique or modern tapestry, and far more indestructible. Perhaps it is needlessly durable as a mere vehicle for decoration. At all events j.a.panese artists and artisans seem to be of this opinion, and have transferred the same kind of decoration to heavy paper, where for some occult reason--although strongly simulating leather--it seems not only not objectionable, but even meritorious. This is because it simply transfers an artistic method from a costly substance, to another which is less so, and the fact may even have some weight that paper is a product of human manufacture, instead of human appropriation of animal life, for surely sentiment has its influence in decoration as in other arts.

Wood panelling is also a form of interior treatment which has come to us by inheritance from the past as well as by right of natural possession.

It has a richness and sober dignity of effect which commends it in large or small interiors, in halls, libraries, and dining-rooms, whether they are public or private; devoted to grand functions, or to the constantly recurring uses of domesticity. Wood is so beautiful a substance in itself, and lends itself to so many processes of ornamentation, that hardly too much can be said of its appropriateness for interior decoration. From the two extremes of plain pine panellings cut into squares or parallelograms by machinery, and covered with paint in tints to match door and window casings, to the most elaborate carvings which back the Cathedral stalls or seats of ecclesiastical dignity, it is always beautiful and generally appropriate in use and effect, and that can hardly be said of any other substance. There are wainscotted rooms in old houses in Newport, where, under the acc.u.mulated paint of one or two centuries, great panels of old Spanish mahogany can still be found, not much the worse for their long eclipse. Such rooms, in the original brilliancy of colour and polish, with their parallel shadings of mahogany-red reflecting back the firelight from tiled chimney-places and scattering the play of dancing flame, must have had a beauty of colour hard to match in this day of sober oak and painted wainscottings.

[Ill.u.s.tration: PAINTED CANVAS FRIEZE]

[Ill.u.s.tration: BUCKRAM FRIEZE FOR DINING-ROOM]

One of the lessons gained by experience in treatment of house interiors, is that plain, flat tints give apparent size to small rooms, and that a satisfying effect in large ones can be gained by variation of tint or surface; also, that in a bedroom or other small room apparent size will be gained by using a wall covering which is light rather than dark.

Some difference of tone there must be in large plain surfaces which lie within the level of the eye; or the monotony of a room becomes fatiguing. A plain, painted wall may, it is true, be broken by pictures, or cabinets, or bits of china; anything in short which will throw parts of it into shadow, and illumine other parts with gilded reflections; but even then there will be long, plain s.p.a.ces above the picture or cabinet line, where blank monotony of tone will be fatal to the general effect of the room.

It is in this upper s.p.a.ce, upon a plain painted wall, that a broad line of flat decoration should occur, but on a wall hung with paper or cloth, it is by no means necessary.

Damasked cloths, where the design is shown by the direction of woven threads, are particularly effective and satisfactory as wall-coverings.

The soft surface is luxurious to the imagination, and the play of light and shadow upon the warp and woof interests the eye, although there is no actual change of colour.

Too much stress can hardly be laid upon the variation of tone in wall-surfaces, since the four walls stand for the atmosphere of a room.

Tone means quality of colour. It may be light or dark, or of any tint, or variations of tint, but the quality of it must be soft and charitable, instead of harsh and uncompromising.

Almost the best of modern inventions for inexpensive wall-coverings are found in what are called the ingrain papers. These have a variable surface, without reflections, and make not only a soft and impalpable colour effect, but, on account of their want of reflection, are good backgrounds for pictures.

In these papers the colour is produced by a mixture in the ma.s.s of paper pulp of atoms of varying tint, which are combined in the substance and make one general tint resulting from the mixture of several. In canvases and textiles, which are a more expensive method of producing almost the same mixed effect, the minute points of brilliance of threads in light and darkness of threads in shadow, combine to produce softness of tone, impossible to pigment because it has but one plain surface, unrelieved by breaking up into light and shadow.

Variation, produced by minute differences, which affect each other and which the eye blends into a general tone, produce quality. It is at the same time soft and brilliant, and is really a popular adaptation of the philosophy of impressionist painters, whose small dabs of pure colour placed in close juxtaposition and fused into one tone by the eye, give the purity and vibration of colour which distinguishes work of that school.

Some skilful painters can stipple one tone upon another so as to produce the same brilliant softness of effect, and when this can be done, oil-colour upon plaster is the best of all treatment for bedrooms since it fulfils all the sanitary and other conditions so necessary in sleeping-rooms. The same effect may be produced if the walls are of rough instead of smooth plaster, so that the small inequalities of surface give light and shadow as in textiles; upon such surfaces a pleasant tint in flat colour is always good. Painted burlaps and certain j.a.panese papers prepared with what may be called a textile or canvas surface give the same effect, and indeed quality of tint and tone is far more easily obtained in wall-coverings or applied materials than in paint, because in most wall-coverings there are variations of tint produced in the very substance of the material.

This matter of variation without contrast in wall-surface, is one of the most important in house decoration, and has led to the increased use of textiles in houses where artistic effects have been carefully studied and are considered of importance.

Of course wall-paper must continue to be the chief means of wall-covering, on account of its cheapness, and because it is the readiest means of sheathing a plaster surface; and a continuous demand for papers of good and nearly uniform colour, and the sort of inconspicuous design which fits them for modest interiors will have the effect of increasing the manufacture of desirable and artistic things.

In the meantime one should carefully avoid the violently coloured papers which are made only to sell; materials which catch the eye of the inexperienced and tempt them into the buying of things which are productive of lasting unrest. It is in the nature of positive ma.s.ses and strongly contrasting colours to produce this effect.

If one is unfortunate enough to occupy a room of which the walls are covered with one of these glaring designs, and circ.u.mstances prevent a radical change, the simplest expedient is to cover the whole surface with a kalsomine or chalk-wash, of some agreeable tint. This will dry in an hour or two and present a nearly uniform surface, in which the printed design of the paper, if it appears at all, will be a mere suggestion. Papers where the design is carried in colour only a few shades darker than the background, are also safe, and--if the design is a good one--often very desirable for halls and dining-rooms. In skilfully printed papers of the sort the design often has the effect of a mere shadow-play of form.

Of course in the infinite varieties of use and the numberless variations of personal taste, there are, and should be, innumerable differences in application of both colour and materials to interiors. There are differences in the use of rooms which may make a sense of perfect seclusion desirable, as, for instance, in libraries, or rooms used exclusively for evening gatherings of the family. In such semi-private rooms the treatment should give a sense of close family life rather than s.p.a.ce, while in drawing-rooms it should be exactly the reverse, and this effect is easily secured by competent use of colour.

CHAPTER IX

LOCATION OF THE HOUSE

Besides the difference in treatment demanded by different use of rooms--the character of the decoration of the whole house will be influenced by its situation. A house in the country or a house in town; a house by the sea-sh.o.r.e or a house situated in woods and fields require stronger or less strong colour, and even different tints, according to situation. The decoration itself may be much less conventional in one place than in another, and in country houses much and lasting charm is derived from design and colour in perfect harmony with nature's surroundings. Whatever decorative design is used in wall-coverings or in curtains or hangings will be far more effective if it bears some relation to the surroundings and position of the house.

If the house is by the sea the walls should repeat with many variations the tones of sea and sand and sky; the gray-greens of sand-gra.s.ses; the blues which change from blue to green with every cloud-shadow; the pearl tints which become rose in the morning or evening light, and the browns and olives of sea mosses and lichens. This treatment of colour will make the interior of the house a part of the great out-of-doors and create a harmony between the artificial shelter and nature.

There is philosophy in following, as far as the limitations of simple colour will allow, the changeableness and fluidity of natural effects along the sh.o.r.e, and allowing the mood of the brief summer life to fall into entire harmony with the dominant expression of the sea. Blues and greens and pinks and browns should all be kept on a level with out-of-door colour, that is, they should not be too deep and strong for harmony with the sea and sky, and if, when harmonious colour is once secured, most of the materials used in the furnishing of the house are chosen because their design is based upon, or suggested by, sea-forms, an impression is produced of having entered into complete and perfect harmony with the elements and aspects of nature. The artificialities of life fall more and more into the background, and one is refreshed with a sense of having established entirely harmonious and satisfactory relations with the surroundings of nature. I remember a doorway of a cottage by the sea, where the moulding which made a part of the frame was an orderly line of carved c.o.c.kle-sh.e.l.ls, used as a border, and this little touch of recognition of its sea-neighbours was not only decorative in itself, but gave even the chance visitor a sort of interpretation of the spirit of the interior life.

Suppose, on the other hand, that the summer house is placed in the neighbourhood of fields and trees and mountains; it will be found that strong and positive treatment of the interior is more in harmony with the outside landscape. Even heavier furniture looks fitting where the house is surrounded with ma.s.sive tree-growths; and deeper and purer colours can be used in hangings and draperies. This is due to the more positive colouring of a landscape than of a sea-view. The ma.s.ses of strong and slightly varying green in foliage, the red, brown, or vivid greens of fields and crops, the dark lines of tree-trunks and branches, as well as the unchanging forms of rock and hillside, call for a corresponding strength of interior effect.

It is a curious fact, also, that where a house is surrounded by myriads of small natural forms of leaves and flowers and gra.s.ses, plain s.p.a.ces of colour in interiors, or s.p.a.ces where form is greatly subordinated to colour, are more grateful to the eye than prominently decorated surface.

A repet.i.tion of small natural forms like the sh.e.l.ls and sea-mosses, which are for the most part hidden under lengths of liquid blue, is pleasing and suggestive by the sea; but in the country, where form is prominent and positive and prints itself constantly upon both mental and bodily vision, unbroken colour surfaces are found to be far more agreeable.

It will be seen that the principles of appropriate furnishing and adornment in house interiors depend upon circ.u.mstances and natural surroundings as well as upon the character and pursuits of the family who are to be lodged, and that the final charm of the home is attained by a perfect adaptation of principles to existing conditions both of nature and humanity.

In cottages of the character we are considering, furniture should be simpler and lighter than in houses intended for constant family living.

Chairs and sofas should be without elaborate upholstery and hangings, and cushions can be appropriately made of some well-coloured cotton or linen material which wind, and sun, and dampness cannot spoil, and of which the freshness can always be restored by laundering. These are general rules, appropriate to all summer cottages, and to these it may be added, that a house which is to be closed for six or eight months in the year should really, to be consistent, be inexpensively furnished.

These general rules are intended only to emphasise the fact that in houses which are to become in the truest sense homes--that is, places of habitation which represent the inhabitants, directions or rules for beautiful colour and arrangement of interiors, must always follow the guiding incidents of cla.s.s and locality.

CHAPTER X

CEILINGS

As ceilings are in reality a part of the wall, they must always be considered in connection with room interiors, but their influence upon the beauty of the average house is so small, that their treatment is a comparatively easy problem.

In simple houses with plaster ceilings the tints to be used are easily decided. The rule of gradation of colour from floor to ceiling prescribes for the latter the lightest tone of the gradation, and as the ceiling stands for light, and should actually reflect light into the room, the philosophy of this arrangement of colours is obvious. It is not, however, an invariable rule that the ceiling should carry the same tint as the wall, even in a much lighter tone, although greater harmony and restfulness of effect is produced in this way. A ceiling of cream white will harmonise well with almost any tint upon the walls, and at the same time give an effect of air and light in the room. It is also a good ground for ornament in elaborately decorated ones.

If the walls are covered with a light wall-paper which carries a floral design, it is a safe rule to make the ceiling of the same colour but a lighter shade of the background of the paper, but it is not by any means good art to carry a flower design over the ceiling. One sometimes sees instances of this in the bedrooms of fairly good houses, and the effect is naturally that of bringing the ceiling apparently almost to one's head, or at all events, of producing a very unrestful effect.

A wood ceiling in natural colour is always a good feature in a room of defined or serious purpose, like a hall, dining-room, or library, because in such rooms the colour of the side walls is apt to be strong enough to balance it. Indeed a wooden ceiling has always the merit of being secure in its place, and even where the walls are light can be painted so as to be in harmony with them. Plaster as a ceiling for bedrooms is open to the objection of a possibility of its detaching itself from the lath, especially in old houses, and in these it is well to have them strengthened with flat mouldings of wood put on in regular squares, or even in some geometrical design, and painted with the ceiling. This gives security as well as a certain elaborateness of effect not without its value.

For the ordinary, or comparatively inexpensive home, we need not consider the ceiling an object for serious study, because it is so constantly out of the line of sight, and because its natural colourless condition is no bar to the general colour-effect.