The lighting of the company drawing-room--to borrow its French designation--should be evenly diffused, without the separate centres of illumination needful in a family living-room. The proper light is that of wax candles. Nothing has done more to vulgarize interior decoration than the general use of gas and of electricity in the living-rooms of modern houses. Electric light especially, with its harsh white glare, which no expedients have as yet overcome, has taken from our drawing-rooms all air of privacy and distinction. In pa.s.sageways and offices, electricity is of great service; but were it not that all "modern improvements" are thought equally applicable to every condition of life, it would be difficult to account for the adoption of a mode of lighting which makes the _salon_ look like a railway-station, the dining-room like a restaurant. That such light is not needful in a drawing-room is shown by the fact that electric bulbs are usually covered by shades of some deep color, in order that the glare may be made as inoffensive as possible.

[Ill.u.s.tration: _PLATE x.x.xVI._

SALON, PALACE OF FONTAINEBLEAU.]

The light in a gala apartment should be neither vivid nor concentrated: the soft, evenly diffused brightness of wax candles is best fitted to bring out those subtle modellings of light and shade to which old furniture and objects of art owe half their expressiveness.

The treatment of the _salon de compagnie_ naturally differs from that of the family drawing-room: the latter is essentially a room in which people should be made comfortable. There must be a well-appointed writing-table; the chairs must be conveniently grouped about various tables, each with its lamp;--in short, the furniture should be so disposed that people are not forced to take refuge in their bedrooms for lack of fitting arrangements in the drawing-room.

The old French cabinet-makers excelled in the designing and making of furniture for the _salon de famille_. The term "French furniture"

suggests to the Anglo-Saxon mind the stiff appointments of the gala room--heavy gilt consoles, straight-backed arm-chairs covered with tapestry, and monumental marble-topped tables. Admirable furniture of this kind was made in France; but in the grand style the Italian cabinet-makers competed successfully with the French; whereas the latter stood alone in the production of the simpler and more comfortable furniture adapted to the family living-room. Among those who have not studied the subject there is a general impression that eighteenth-century furniture, however beautiful in design and execution, was not comfortable in the modern sense. This is owing to the fact that the popular idea of "old furniture" is based on the appointments of gala rooms in palaces: visitors to Versailles or Fontainebleau are more likely to notice the ma.s.sive gilt consoles and benches in the state saloons than the simple easy-chairs and work-tables of the _pet.i.ts appartements_. A visit to the Garde Meuble or to the Musee des Arts Decoratifs of Paris, or the inspection of any collection of French eighteenth-century furniture, will show the versatility and common sense of the old French cabinet-makers. They produced an infinite variety of small _meubles_, in which beauty of design and workmanship were joined to simplicity and convenience.

The old arm-chair, or _bergere_, is a good example of this combination. The modern upholsterer pads and puffs his seats as though they were to form the furniture of a lunatic's cell; and then, having expanded them to such dimensions that they cannot be moved without effort, perches their dropsical bodies on four little casters. Any one who compares such an arm-chair to the eighteenth-century _bergere_, with its strong tapering legs, its snugly-fitting back and cushioned seat, must admit that the latter is more convenient and more beautiful (see Plates VIII and x.x.xVII).

The same may be said of the old French tables--from desks, card and work-tables, to the small _gueridon_ just large enough to hold a book and candlestick. All these tables were simple and practical in design: even in the Louis XV period, when more variety of outline and ornament was permitted, the strong structural lines were carefully maintained, and it is unusual to see an old table that does not stand firmly on its legs and appear capable of supporting as much weight as its size will permit (see Louis XV writing-table in Plate XLVI).

The French tables, cabinets and commodes used in the family apartments were usually of inlaid wood, with little ornamentation save the design of the marquetry--elaborate mounts of chiselled bronze being reserved for the furniture of gala rooms (see Plate X). Old French marquetry was exquisitely delicate in color and design, while Italian inlaying of the same period, though coa.r.s.er, was admirable in composition. Old Italian furniture of the seventeenth and eighteenth centuries was always either inlaid or carved and painted in gay colors: chiselled mounts are virtually unknown in Italy.

[Ill.u.s.tration: _PLATE x.x.xVII._

ROOM IN THE PALACE OF FONTAINEBLEAU.

LOUIS XV PANELLING, LOUIS XVI FURNITURE.]

The furniture of the eighteenth century in England, while not comparable in design to the best French models, was well made and dignified; and its angularity of outline is not out of place against the somewhat cold and formal background of an Adam room.

English marquetry suffered from the poverty of ornament marking the wall-decoration of the period. There was a certain timidity about the decorative compositions of the school of Adam and Sheraton, and in their scanty repertoire the laurel-wreath, the velarium and the cornucopia reappear with tiresome frequency.

The use to which the family drawing-room is put should indicate the character of its decoration. Since it is a room in which many hours of the day are spent, and in which people are at leisure, it should contain what is best worth looking at in the way of pictures, prints, and other objects of art; while there should be nothing about its decoration so striking or eccentric as to become tiresome when continually seen. A fanciful style may be pleasing in apartments used only for stated purposes, such as the saloon or gallery; but in a living-room, decoration should be subordinate to the individual, forming merely a harmonious but un.o.btrusive background (see Plates x.x.xVI and x.x.xVII). Such a setting also brings out the full decorative value of all the drawing-room accessories--screens, andirons, _appliques_, and door and window-fastenings. A study of any old French interior will show how much these details contributed to the general effect of the room.

Those who really care for books are seldom content to restrict them to the library, for nothing adds more to the charm of a drawing-room than a well-designed bookcase: an expanse of beautiful bindings is as decorative as a fine tapestry.

The boudoir is, properly speaking, a part of the bedroom suite, and as such is described in the chapter on the Bedroom. Sometimes, however, a small sitting-room adjoins the family drawing-room, and this, if given up to the mistress of the house, is virtually the boudoir.

The modern boudoir is a very different apartment from its eighteenth-century prototype. Though it may preserve the delicate decorations and furniture suggested by its name, such a room is now generally used for the prosaic purpose of interviewing servants, going over accounts and similar occupations. The appointments should therefore comprise a writing-desk, with pigeon-holes, drawers, and cupboards, and a comfortable lounge, or _lit de repos_, for resting and reading.

[Ill.u.s.tration: _PLATE x.x.xVIII._

LIT DE REPOS, EARLY LOUIS XV PERIOD.]

The _lit de repos_, which, except in France, has been replaced by the clumsy upholstered lounge, was one of the most useful pieces of eighteenth-century furniture (see Plate x.x.xVIII). As its name implies, it is shaped somewhat like a bed, or rather like a cradle that stands on four legs instead of swinging. It is made of carved wood, sometimes upholstered, but often seated with cane (see Plate x.x.xIX). In the latter case it is fitted with a mattress and with a pillow-like cushion covered with some material in keeping with the hangings of the room. Sometimes the _d.u.c.h.esse_, or upholstered _bergere_ with removable foot-rest in the shape of a square bench, is preferred to the _lit de repos_; but the latter is the more elegant and graceful, and it is strange that it should have been discarded in favor of the modern lounge, which is not only ugly, but far less comfortable.

[Ill.u.s.tration: _PLATE x.x.xIX._

LIT DE REPOS, LOUIS XV PERIOD.]

As the boudoir is generally a small room, it is peculiarly suited to the more delicate styles of painting or stucco ornamentation described in the third chapter. A study of boudoir-decoration in the last century, especially in France, will show the admirable sense of proportion regulating the treatment of these little rooms (see Plate XL). Their adornment was naturally studied with special care by the painters and decorators of an age in which women played so important a part.

It is sometimes thought that the eighteenth-century boudoir was always decorated and furnished in a very elaborate manner. This idea originates in the fact, already pointed out, that the rooms usually seen by tourists are those in royal palaces, or in such princely houses as are thrown open to the public on account of their exceptional magnificence. The same type of boudoir is continually reproduced in books on architecture and decoration; and what is really a small private sitting-room for the lady of the house, corresponding with her husband's "den," has thus come to be regarded as one of the luxuries of a great establishment.

The prints of Eisen, Marillier, Moreau le Jeune, and other book-ill.u.s.trators of the eighteenth century, show that the boudoir in the average private house was, in fact, a simple room, gay and graceful in decoration, but as a rule neither rich nor elaborate (see Plate XLI). As it usually adjoined the bedroom, it was decorated in the same manner, and even when its appointments were expensive all appearance of costliness was avoided.[35]

The boudoir is the room in which small objects of art--prints, mezzotints and _gouaches_--show to the best advantage. No detail is wasted, and all manner of delicate effects in wood-carving, marquetry, and other ornamentation, such as would be lost upon the walls and furniture of a larger room, here acquire their full value. One or two well-chosen prints hung on a background of plain color will give more pleasure than a medley of photographs, colored photogravures, and other decorations of the cotillon-favor type. Not only do mediocre ornaments become tiresome when seen day after day, but the mere crowding of furniture and gimcracks into a small room intended for work and repose will soon be found fatiguing.

Many English houses, especially in the country, contain a useful room called the "morning-room," which is well defined by Robert Kerr, in _The English Gentleman's House_, as "the drawing-room in ordinary." It is, in fact, a kind of undress drawing-room, where the family may gather informally at all hours of the day. The out-of-door life led in England makes it specially necessary to provide a sitting-room which people are not afraid to enter in muddy boots and wet clothes. Even if the drawing-room be not, as Mr. Kerr quaintly puts it, "preserved"--that is, used exclusively for company--it is still likely to contain the best furniture in the house; and though that "best" is not too fine for every-day use, yet in a large family an informal, wet-weather room of this kind is almost indispensable.

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

PAINTED WALL-PANEL AND DOOR, CHaTEAU OF CHANTILLY. LOUIS XV.

(EXAMPLE OF CHINOISERIE DECORATION.)]

No matter how elaborately the rest of the house is furnished, the appointments of the morning-room should be plain, comfortable, and capable of resisting hard usage. It is a good plan to cover the floor with a straw matting, and common sense at once suggests the furniture best suited to such a room: two or three good-sized tables with lamps, a comfortable sofa, and chairs covered with chintz, leather, or one of the bright-colored horsehairs now manufactured in France.

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

Sa triste amante abandonnee Pleure ses maux et ses plaisirs.

FRENCH BOUDOIR, LOUIS XVI PERIOD.

(FROM A PRINT BY LE BOUTEUX.)]

FOOTNOTES:

[34] Much of the old furniture which appears to us unnecessarily stiff and monumental was expressly designed to be placed against the walls in rooms used for general entertainments, where smaller and more delicately made pieces would have been easily damaged, and would, moreover, have produced no effect.

[35] The ornate boudoir seen in many XVIIIth-century prints is that of the _femme galante_.

XI

GALA ROOMS: BALL-ROOM, SALOON, MUSIC-ROOM, GALLERY

European architects have always considered it essential that those rooms which are used exclusively for entertaining--gala rooms, as they are called--should be quite separate from the family apartments,--either occupying an entire floor (the Italian _piano n.o.bile_) or being so situated that it is not necessary to open them except for general entertainments.

In many large houses lately built in America, with ball and music rooms and a hall simulating the two-storied Italian saloon, this distinction has been disregarded, and living and gala rooms have been confounded in an agglomeration of apartments where the family, for lack of a smaller suite, sit under gilded ceilings and cut-gla.s.s chandeliers, in about as much comfort and privacy as are afforded by the public "parlors" of one of our new twenty-story hotels. This confusion of two essentially different types of room, designed for essentially different phases of life, has been caused by the fact that the architect, when called upon to build a grand house, has simply enlarged, instead of altering, the _maison bourgeoise_ that has. .h.i.therto been the accepted model of the American gentleman's house; for it must not be forgotten that the modern American dwelling descends from the English middle-cla.s.s house, not from the aristocratic country-seat or town residence. The English n.o.bleman's town house was like the French _hotel_, with gates, porter's lodge, and court-yard surrounded by stables and offices; and the planning of the country-seat was even more elaborate.

A glance at any collection of old English house-plans, such as Campbell's _Vitruvius Britannicus_, will show the purely middle-cla.s.s ancestry of the American house, and the consequent futility of attempting, by the mere enlargement of each room, to turn it into a gentleman's seat or town residence. The kind of life which makes gala rooms necessary exacts a different method of planning; and until this is more generally understood the treatment of such rooms in American houses will never be altogether satisfactory.

Gala rooms are meant for general entertainments, never for any a.s.semblage small or informal enough to be conveniently accommodated in the ordinary living-rooms of the house; therefore to fulfil their purpose they must be large, very high-studded, and not overcrowded with furniture, while the walls and ceiling--the only parts of a crowded room that can be seen--must be decorated with greater elaboration than would be pleasing or appropriate in other rooms. All these conditions unfit the gala room for any use save that for which it is designed. Nothing can be more cheerless than the state of a handful of people sitting after dinner in an immense ball-room with gilded ceiling, bare floors, and a few pieces of monumental furniture ranged round the walls; yet in any house which is simply an enlargement of the ordinary private dwelling the hostess is often compelled to use the ball-room or saloon as a drawing-room.

A gala room is never meant to be seen except when crowded: the crowd takes the place of furniture. Occupied by a small number of people, such a room looks out of proportion, stiff and empty. The hostess feels this, and tries, by setting chairs and tables askew, and introducing palms, screens and knick-knacks, to produce an effect of informality. As a result the room dwarfs the furniture, loses the air of state, and gains little in real comfort; while it becomes necessary, when a party is given, to remove the furniture and disarrange the house, thus undoing the chief _raison d'etre_ of such apartments.

The Italians, inheriting the grandiose traditions of the Augustan age, have always excelled in the treatment of rooms demanding the "grand manner." Their unfailing sense that house-decoration is interior architecture, and must clearly proclaim its architectural affiliations, has been of special service in this respect. It is rare in Italy to see a large room inadequately treated. Sometimes the "grand manner"--the mimic _terribilita_--may be carried too far to suit Anglo-Saxon taste--it is hard to say for what form of entertainment such a room as Giulio Romano's Sala dei Giganti in the Palazzo del T would form a pleasing or appropriate background--but apart from such occasional aberrations, the Italian decorators showed a wonderful sense of fitness in the treatment of state apartments. To small dribbles of ornament they preferred bold forcible mouldings, coa.r.s.e but clear-cut free-hand ornamentation in stucco, and either a cla.s.sic severity of treatment or the turbulent bravura style of the saloon of the Villa Rotonda and of Tiepolo's Cleopatra frescoes in the Palazzo l.a.b.i.a at Venice.

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

SALON a L'ITALIENNE.

(FROM A PICTURE BY COYPEL.)]