The saloon and gallery are the two gala rooms borrowed from Italy by northern Europe. The saloon has already been described in the chapter on Hall and Stairs. It was a two-storied apartment, usually with clerestory, domed ceiling, and a gallery to which access was obtained by concealed staircases (see Plates XLII and XLIII). This gallery was often treated as an arcade or loggia, and in many old Italian prints and pictures there are representations of these saloons, with groups of gaily dressed people looking down from the gallery upon the throngs crowding the floor. The saloon was used in Italy as a ball-room or gambling-room--gaming being the chief social amus.e.m.e.nt of the eighteenth century.

In England and France the saloon was rarely two stories high, though there are some exceptions, as for example the saloon at Vaux-le-Vicomte. The cooler climate rendered a clerestory less necessary, and there was never the same pa.s.sion for grandiose effects as in Italy. The saloon in northern Europe was always a stately and high-studded room, generally vaulted or domed, and often circular in plan; but it seldom reached such imposing dimensions as its Italian prototype, and when more than one story high was known by the distinctive designation of _un salon a l'italienne_.

The gallery was probably the first feature in domestic house-planning to be borrowed from Italy by northern Europe. It is seen in almost all the early Renaissance chateaux of France; and as soon as the influence of such men as John of Padua and John Shute a.s.serted itself in England, the gallery became one of the princ.i.p.al apartments of the Elizabethan mansion. There are several reasons for the popularity of the gallery. In the cold rainy autumns and winters north of the Alps it was invaluable as a sheltered place for exercise and games; it was well adapted to display the pictures, statuary and bric-a-brac which, in emulation of Italian collectors, the Northern n.o.bles were beginning to acquire; and it showed off to advantage the long line of ancestral portraits and the tapestries representing a succession of episodes from the _aeneid_, the _Orlando Innamorato_, or some of the interminable epics that formed the light reading of the sixteenth century. Then, too, the gallery served for the processions which were a part of the social ceremonial in great houses: the march to the chapel or banquet-hall, the escorting of a royal guest to the state bedroom, and other like pageants.

In France and England the gallery seems for a long time to have been used as a saloon and ball-room, whereas in Italy it was, as a rule, reserved for the display of the art-treasures of the house, no Italian palace worthy of the name being without its gallery of antiquities or of marbles.

In modern houses the ball-room and music-room are the two princ.i.p.al gala apartments. A music-room need not be a gala room in the sense of being used only for large entertainments; but since it is outside the circle of every-day use, and more or less a.s.sociated with entertaining, it seems best to include it in this chapter.

Many houses of average size have a room large enough for informal entertainments. Such a room, especially in country houses, should be decorated in a gay simple manner in harmony with the rest of the house and with the uses to which the room is to be put. Rooms of this kind may be treated with a white dado, surmounted by walls painted in a pale tint, with boldly modelled garlands and attributes in stucco, also painted white (see Plate XIII). If these stucco decorations are used to frame a series of pictures, such as fruit and flower-pieces or decorative subjects, the effect is especially attractive. Large painted panels with eighteenth-century _genre_ subjects or pastoral scenes, set in simple white panelling, are also very decorative. A coved ceiling is best suited to rooms of this comparatively simple character, while in state ball-rooms the dome increases the general appearance of splendor.

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

BALL-ROOM, ROYAL PALACE, GENOA. LATE XVIII CENTURY.

(EXAMPLE OF STUCCO DECORATION.)]

A panelling of mirrors forms a brilliant ball-room decoration, and charming effects are produced by painting these mirrors with birds, b.u.t.terflies, and garlands of flowers, in the manner of the famous Italian mirror-painter, Mario dei Fiori--"Mario of the Flowers"--as he was called in recognition of his special gift. There is a beautiful room by this artist in the Borghese Palace in Rome, and many Italian palaces contain examples of this peculiarly brilliant style of decoration, which might be revived to advantage by modern painters.

In ball-rooms of great size and importance, where the walls demand a more architectural treatment, the use of an order naturally suggests itself. Pilasters of marble, separated by marble niches containing statues, form a severe but splendid decoration; and if white and colored marbles are combined, and the whole is surmounted by a domed ceiling frescoed in bright colors, the effect is extremely brilliant.

In Italy the architectural decoration of large rooms was often entirely painted (see Plate XLIV), the plaster walls being covered with a fanciful piling-up of statues, porticoes and bal.u.s.trades, while figures in Oriental costume, or in the masks and parti-colored dress of the _Comedie Italienne_, leaned from simulated loggias or wandered through marble colonnades.

The Italian decorator held any audacity permissible in a room used only by a throng of people, whose mood and dress made them ready to accept the fairy-tales on the walls as a fitting background to their own masquerading. Modern travellers, walking through these old Italian saloons in the harsh light of day, while cobwebs hang from the audacious architecture, and the cracks in the plaster look like wounds in the cheeks of simpering nymphs and shepherdesses, should remember that such apartments were meant to be seen by the soft light of wax candles in crystal chandeliers, with fantastically dressed dancers thronging the marble floor.

Such a ball-room, if reproduced in the present day, would be far more effective than the conventional white-and-gold room, which, though un.o.bjectionable when well decorated, lacks the imaginative charm, the personal note, given by the painter's touch.

Under Louis XIV many French apartments of state were panelled with colored marbles, with an application of attributes or trophies, and other ornamental motives in fire-gilt bronze: a sumptuous mode of treatment according well with a domed and frescoed ceiling. Tapestry was also much used, and forms an admirable decoration, provided the color-scheme is light and the design animated. Seventeenth and eighteenth-century tapestries are the most suitable, as the scale of color is brighter and the compositions are gayer than in the earlier hangings.

Modern dancers prefer a polished wooden floor, and it is perhaps smoother and more elastic than any other surface; but in beauty and decorative value it cannot be compared with a floor of inlaid marble, and as all the dancing in Italian palaces is still done on such floors, the preference for wood is probably the result of habit. In a ball-room of any importance, especially where marble is used on the walls, the floor should always be of the same substance (see floors in Plates XXIX, x.x.x, and LV).

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

SALOON IN THE VILLA VERTEMATI. XVI CENTURY.

(EXAMPLE OF FRESCOED WALLS AND CARVED WOODEN CEILING.)]

Gala apartments, as distinguished from living-rooms, should be lit from the ceiling, never from the walls. No ball-room or saloon is complete without its chandeliers: they are one of the characteristic features of a gala room (see Plates V, XIX, x.x.xIV, XLIII, XLV, L). For a ball-room, where all should be light and brilliant, rock-crystal or cut-gla.s.s chandeliers are most suitable: reflected in a long line of mirrors, they are an invaluable factor in any scheme of gala decoration.

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

SALA DELLO ZODIACO, ROYAL PALACE, MANTUA. XVIII CENTURY.

(EXAMPLE OF STUCCO DECORATION.)]

The old French decorators relied upon the reflection of mirrors for producing an effect of distance in the treatment of gala rooms. Above the mantel, there was always a mirror with another of the same shape and size directly opposite; and the glittering perspective thus produced gave to the scene an air of fantastic unreality. The gala suite being so planned that all the rooms adjoined each other, the effect of distance was further enhanced by placing the openings in line, so that on entering the suite it was possible to look down its whole length. The importance of preserving this long vista, or _enfilade_, as the French call it, is dwelt on by all old writers on house-decoration. If a ball-room be properly lit and decorated, it is never necessary to dress it up with any sort of temporary ornamentation: the true mark of the well-decorated ball-room is to look always ready for a ball.

The only chair seen in most modern ball-rooms is the folding camp-seat hired by the hundred when entertainments are given; but there is no reason why a ball-room should be even temporarily disfigured by these makeshifts, which look their worst when an effort is made to conceal their cheap construction under a little gilding and satin. In all old ball-rooms, benches and _tabourets_ (small seats without backs) were ranged in a continuous line along the walls. These seats, handsomely designed, and covered with tapestry, velvet, or embroidered silk slips, were a part of the permanent decoration of the room. On ordinary occasions they would be sufficient for a modern ball-room; and when larger entertainments made it needful to provide additional seats, these might be copied from the seventeenth-century _perroquets_, examples of which may be found in the various French works on the history of furniture. These _perroquets_, or folding chairs without arms, made of natural walnut or gilded, with seats of tapestry, velvet or decorated leather, would form an excellent subst.i.tute for the modern cotillon seat.

The first rule to be observed in the decoration of the music-room is the avoidance of all stuff hangings, draperies, and substances likely to deaden sound. The treatment chosen for the room must of course depend on its size and its relation to the other rooms in the house.

While a music-room should be more subdued in color than a ball-room, sombre tints and heavy ornament are obviously inappropriate: the effect aimed at should be one of lightness and serenity in form and color. However small and simple the music-room may be, it should always appear as though there were s.p.a.ce overhead for the notes to escape; and some form of vaulting or doming is therefore more suitable than a flat ceiling.

While plain panelling, if well designed, is never out of keeping, the walls of a music-room are specially suited to a somewhat fanciful style of decoration. In a ball-room, splendor and brilliancy of effect are more needful than a studied delicacy; but where people are seated, and everything in the room is consequently subjected to close and prolonged scrutiny, sprightliness of composition should be combined with variety of detail, the decoration being neither so confused and intricate as to distract attention, nor so conventional as to be dismissed with a glance on entering the room.

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

FRENCH TABLE.

(TRANSITION BETWEEN LOUIS XIV AND LOUIS XV PERIODS.)]

The early Renaissance compositions in which stucco low-reliefs blossom into painted arabesques and tendrils, are peculiarly adapted to a small music-room; while those who prefer a more architectural treatment may find admirable examples in some of the Italian eighteenth-century rooms decorated with free-hand stucco ornament, or in the sculptured wood-panelling of the same period in France. At Remiremont in the Vosges, formerly the residence of a n.o.ble order of canonesses, the abbess's _hotel_ contains an octagonal music-room of exceptional beauty, the panelled walls being carved with skilfully combined musical instruments and flower-garlands.

In larger apartments a fanciful style of fresco-painting might be employed, as in the rooms painted by Tiepolo in the Villa Valmarana, near Vicenza, or in the staircase of the Palazzo Sina, at Venice, decorated by Longhi with the episodes of an eighteenth-century carnival. Whatever the design chosen, it should never resemble the formal treatment suited to ball-room and saloon: the decoration should sound a note distinctly suggestive of the purpose for which the music-room is used.

It is difficult to understand why modern music-rooms have so long been disfigured by the clumsy lines of grand and upright pianos, since the cases of both might be modified without affecting the construction of the instrument. Of the two, the grand piano would be the easier to remodel: if its elephantine supports were replaced by slender fluted legs, and its case and sounding-board were painted, or inlaid with marquetry, it would resemble the charming old clavecin which preceded the pianoforte.

Fewer changes are possible in the "upright"; but a marked improvement could be produced by straightening its legs and subst.i.tuting right angles for the weak curves of the lid. The case itself might be made of plainly panelled mahogany, with a few good ormolu ornaments; or of inlaid wood, with a design of musical instruments and similar "attributes"; or it might be decorated with flower-garlands and arabesques painted either on the natural wood or on a gilt or colored background.

Designers should also study the lines of those two long-neglected pieces of furniture, the music-stool and music-stand. The latter should be designed to match the piano, and painted or inlaid like its case. The revolving mushroom that now serves as a music-stool is a modern invention: the old stools were substantial circular seats resting on four fluted legs. The manuals of the eighteenth-century cabinet-makers contain countless models of these piano-seats, which might well be reproduced by modern designers: there seems no practical reason why the accessories of the piano should be less decorative than those of the harpsichord.

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

LIBRARY OF LOUIS XVI, PALACE OF VERSAILLES.

(LOUIS XV WRITING-TABLE WITH BUST.)]

XII

THE LIBRARY, SMOKING-ROOM, AND "DEN"

In the days when furniture was defined as "that which may be carried about," the natural bookcase was a chest with a strong lock. These chests, packed with precious ma.n.u.scripts, followed the prince or n.o.ble from one castle to another, and were even carried after him into camp.

Before the invention of printing, when twenty or thirty books formed an exceptionally large library, and many great personages were content with the possession of one volume, such ambulant bookcases were sufficient for the requirements of the most eager bibliophile.

Occasionally the volumes were kept in a small press or cupboard, and placed in a chest only when their owner travelled; but the bookcase, as now known, did not take shape until much later, for when books multiplied with the introduction of printing, it became customary to fit up for their reception little rooms called _cabinets_. In the famous _cabinet_ of Catherine de Medici at Blois the walls are lined with book-shelves concealed behind sliding panels--a contrivance rendered doubly necessary by the general insecurity of property, and by the fact that the books of that period, whether in ma.n.u.script or printed, were made sumptuous as church jewelry by the art of painter and goldsmith.

Long after the establishment of the printing-press, books, except in the hands of the scholar, continued to be a kind of curiosity, like other objects of art: less an intellectual need than a treasure upon which rich men prided themselves. It was not until the middle of the seventeenth century that the taste for books became a taste for reading. France led the way in this new fashion, which was a.s.siduously cultivated in those Parisian _salons_ of which Madame de Rambouillet's is the recognized type. The possession of a library, hitherto the privilege of kings, of wealthy monasteries, or of some distinguished patron of letters like Grolier, Maioli, or de Thou, now came to be regarded as a necessity of every gentleman's establishment. Beautiful bindings were still highly valued, and some of the most wonderful work produced in France belongs to the seventeenth and eighteenth centuries; but as people began to buy books for the sake of what they contained, less exaggerated importance was attached to their exterior, so that bindings, though perfect as taste and skill could make them, were seldom as extravagantly enriched as in the two preceding centuries. Up to a certain point this change was not to be regretted: the mediaeval book, with its gold or ivory bas-reliefs bordered with precious stones, and its ma.s.sive jewelled clasps, was more like a monstrance or reliquary than anything meant for less ceremonious use.

It remained for the Italian printers and binders of the sixteenth century, and for their French imitators, to adapt the form of the book to its purpose, changing, as it were, a jewelled idol to a human companion.

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

SMALL LIBRARY AT AUDLEY END, ENGLAND. XVIII CENTURY.]

The subst.i.tution of the octavo for the folio, and certain modifications in binding which made it possible to stand books upright instead of laying one above the other with edges outward, gradually gave to the library a more modern aspect. In France, by the middle of the seventeenth century, the library had come to be a recognized feature in private houses. The Renaissance _cabinet_ continued to be the common receptacle for books; but as the shelves were no longer concealed, bindings now contributed to the decoration of the room.

Movable bookcases were not unknown, but these seem to have been merely presses in which wooden door-panels were replaced by gla.s.s or by a lattice-work of bra.s.s wire. The typical French bookcase _a deux corps_--that is, made in two separate parts, the lower a cupboard to contain prints and folios, the upper with shelves and glazed or latticed doors--was introduced later, and is still the best model for a movable bookcase. In rooms of any importance, however, the French architect always preferred to build his book-shelves into niches formed in the thickness of the wall, thus utilizing the books as part of his scheme of decoration.

There is no doubt that this is not only the most practical, but the most decorative, way of housing any collection of books large enough to be so employed. To adorn the walls of a library, and then conceal their ornamentation by expensive bookcases, is a waste, or rather a misapplication, of effects--always a sin against aesthetic principles.

The importance of bookbindings as an element in house-decoration has already been touched upon; but since a taste for good bindings has come to be regarded as a collector's fad, like acc.u.mulating snuff-boxes or _baisers-de-paix_, it seems needful to point out how obvious and valuable a means of decoration is lost by disregarding the outward appearance of books. To be decorative, a bookcase need not contain the productions of the master-binders,--old volumes by Eve and Derome, or the work of Roger Payne and Sanderson,--unsurpa.s.sed as they are in color-value. Ordinary bindings of half morocco or vellum form an expanse of warm l.u.s.trous color; such bindings are comparatively inexpensive; yet people will often hesitate to pay for a good edition bound in plain levant half the amount they are ready to throw away upon a piece of modern Saxe or a silver photograph-frame.

The question of binding leads incidentally to that of editions, though the latter is hardly within the scope of this book. People who have begun to notice the outside of their books naturally come to appreciate paper and type; and thus learn that the modern book is too often merely the cheapest possible vehicle for putting words into print. The last few years have brought about some improvement; and it is now not unusual for a publisher, in bringing out a book at the ordinary rates, to produce also a small edition in large-paper copies.