These large-paper books, though as yet far from perfect in type and make-up, are superior to the average "commercial article"; and, apart from their artistic merit, are in themselves a good investment, since the value of such editions increases steadily year by year. Those who cannot afford both edition and binding will do better to buy large-paper books or current first editions in boards, than "handsomely bound" volumes unworthy in type and paper. The plain paper or buckram covers of a good publisher are, in fact, more decorative, because more artistic, than showy tree-calf or "antique morocco."

The same principle applies to the library itself: plain shelves filled with good editions in good bindings are more truly decorative than ornate bookcases lined with tawdry books.

It has already been pointed out that the plan of building book-shelves into the walls is the most decorative and the most practical (see Plate XLVIII). The best examples of this treatment are found in France. The walls of the rooms thus decorated were usually of panelled wood, either in natural oak or walnut, as in the beautiful library of the old university at Nancy, or else painted in two contrasting colors, such as gray and white. When not set in recesses, the shelves formed a sort of continuous lining around the walls, as in the library of Louis XVI in the palace at Versailles (see Plate XLVII), or in that of the Duc de Choiseul at Chanteloup, now set up in one of the rooms of the public library at Tours.

In either case, instead of being detached pieces of furniture, the bookcases formed an organic part of the wall-decoration. Any study of old French works on house-decoration and furniture will show how seldom the detached bookcase was used in French libraries: but few models are to be found, and these were probably designed for use in the boudoir or study, rather than in the library proper (see bookcase in Plate V).

In England, where private libraries were fewer and less extensive, the movable bookcase was much used, and examples of built-in shelves are proportionately rarer. The hand-books of the old English cabinet-makers contain innumerable models of handsome bookcases, with glazed doors set with diamond-shaped panes in wooden mouldings, and the familiar broken pediment surmounted by a bust or an urn. It was natural that where books were few, small bookcases should be preferred to a room lined with shelves; and in the seventeenth century, according to John Evelyn, the "three nations of Great Britain"

contained fewer books than Paris.

Almost all the old bookcases had one feature in common: that is, the lower cupboard with solid doors. The bookcase proper rested upon this projecting cupboard, thus raising the books above the level of the furniture. The prevalent fashion of low book-shelves, starting from the floor, and not extending much higher than the dado-moulding, has probably been brought about by the other recent fashion of low-studded rooms. Architects are beginning to rediscover the forgotten fact that the stud of a room should be regulated by the dimensions of its floor-s.p.a.ce; so that in the newer houses the dwarf bookcase is no longer a necessity. It is certainly less convenient than the tall old-fashioned press; for not only must one kneel to reach the lower shelves, but the books are hidden, and access to them is obstructed, by their being on a level with the furniture.

The general decoration of the library should be of such character as to form a background or setting to the books, rather than to distract attention from them. The richly adorned room in which books are but a minor incident is, in fact, no library at all. There is no reason why the decorations of a library should not be splendid; but in that case the books must be splendid too, and sufficient in number to dominate all the accessory decorations of the room.

When there are books enough, it is best to use them as part of the decorative treatment of the walls, panelling any intervening s.p.a.ces in a severe and dignified style; otherwise movable bookcases may be placed against the more important wall-s.p.a.ces, the walls being decorated with wooden panelling or with mouldings and stucco ornaments; but in this case composition and color-scheme must be so subdued as to throw the bookcases and their contents into marked relief. It does not follow that because books are the chief feature of the library, other ornaments should be excluded; but they should be used with discrimination, and so chosen as to harmonize with the spirit of the room. Nowhere is the modern litter of knick-knacks and photographs more inappropriate than in the library. The tables should be large, substantial, and clear of everything but lamps, books and papers--one table at least being given over to the filing of books and newspapers. The library writing-table is seldom large enough, or sufficiently free from odds and ends in the shape of photograph-frames, silver boxes, and flower-vases, to give free play to the elbows. A large solid table of the kind called _bureau-ministre_ (see the table in Plate XLVII) is well adapted to the library; and in front of it should stand a comfortable writing-chair such as that represented in Plate XLIX.

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

WRITING-CHAIR, LOUIS XV PERIOD.]

The housing of a great private library is one of the most interesting problems of interior architecture. Such a room, combining monumental dimensions with the rich color-values and impressive effect produced by tiers of fine bindings, affords unequalled opportunity for the exercise of the architect's skill. The two-storied room with gallery and stairs and domed or vaulted ceiling is the finest setting for a great collection. s.p.a.ce may of course be gained by means of a series of bookcases projecting into the room and forming deep bays along each of the walls; but this arrangement is seldom necessary save in a public library, and however skilfully handled must necessarily diminish the architectural effect of the room. In America the great private library is still so much a thing of the future that its treatment need not be discussed in detail. Few of the large houses lately built in the United States contain a library in the serious meaning of the term; but it is to be hoped that the next generation of architects will have wider opportunities in this direction.

The smoking-room proper, with its _mise en scene_ of Turkish divans, narghilehs, bra.s.s coffee-trays, and other Oriental properties, is no longer considered a necessity in the modern house; and the room which would formerly have been used for this special purpose now comes rather under the head of the master's lounging-room, or "den"--since the latter word seems to have attained the dignity of a technical term.

Whatever extravagances the upholsterer may have committed in other parts of the house, it is usually conceded that common sense should regulate the furnishing of the den. Fragile chairs, lace-petticoat lamp-shades and irrelevant bric-a-brac are consequently excluded; and the master's sense of comfort often expresses itself in a set of "office" furniture--a roller-top desk, a revolving chair, and others of the puffy type already described as the accepted model of a luxurious seat. Thus freed from the superfluous, the den is likely to be the most comfortable room in the house; and the natural inference is that a room, in order to be comfortable, must be ugly. One can picture the derision of the man who is told that he might, without the smallest sacrifice of comfort or convenience, transact his business at a Louis XVI writing-table, seated in a Louis XVI chair!--yet the handsomest desks of the last century--the fine old _bureaux a la Kaunitz_ or _a cylindre_--were the prototypes of the modern "roller-top"; and the cane or leather-seated writing-chair, with rounded back and five slim strong legs, was far more comfortable than the amorphous revolving seat. Convenience was not sacrificed to beauty in either desk or chair; but both the old pieces, being designed by skilled cabinet-makers, were as decorative as they were useful. There seems, in fact, no reason why the modern den should not resemble the financiers' _bureaux_ seen in so many old prints: rooms of dignified plainness, but where each line of wall-panelling and furniture was as carefully studied and intelligently adapted to its ends as though intended for a drawing-room or boudoir.

Reference has been made to the way in which, even in small houses, a room may be sacrificed to a supposed "effect," or to some inherited tradition as to its former use. Thus the family drawing-room is too often made uninhabitable from some vague feeling that a "drawing-room"

is not worthy of its name unless too fine to sit in; while the small front room on the ground floor--in the average American house the only corner given over to the master--is thrown into the hall, either that the house may appear larger and handsomer, or from sheer inability to make so small a room habitable.

There is no reason why even a ten-by-twelve or an eight-by-fourteen foot room should not be made comfortable; and the following suggestions are intended to indicate the lines on which an appropriate scheme of decoration might be carried out.

In most town houses the small room down-stairs is built with an opening in the longitudinal wall, close to the front door, while there is usually another entrance at the back of the room, facing the window; one at least of these openings being, as a rule, of exaggerated width. In such cases the door in the side of the room should be walled up: this gives privacy and provides enough additional wall-s.p.a.ce for a good-sized piece of furniture.

The best way of obtaining an effect of size is to panel the walls by means of clear-cut architectural mouldings: a few strong vertical lines will give dignity to the room and height to the ceiling. The walls should be free from pattern and light in color, since dark walls necessitate much artificial light, and have the disadvantage of making a room look small.

The ceiling, if not plain, must be ornamented with the lightest tracery, and supported by a cornice correspondingly simple in design.

Heavy ceiling-mouldings are obviously out of place in a small room, and a plain expanse of plaster is always preferable to misapplied ornament.

A single curtain made of some flexible material, such as corduroy or thin unlined damask, and so hung that it may be readily drawn back during the day, is sufficient for the window; while in a corner near this window may be placed an easy-chair and a small solidly made table, large enough to hold a lamp and a book or two.

These rooms, in some recently built town houses, contain chimneys set in an angle of the wall: a misplaced attempt at quaintness, making it inconvenient to sit near the hearth, and seriously interfering with the general arrangement of the room. When the chimney occupies the centre of the longitudinal wall there is s.p.a.ce, even in a very narrow room, for a group of chairs about the fireplace--provided, as we are now supposing, the opening in the parallel wall has been closed. A bookcase or some other high piece of furniture may be placed on each side of the mantel, and there will be s.p.a.ce opposite for a sofa and a good-sized writing-table. If the pieces of furniture chosen are in scale with the dimensions of the room, and are placed against the wall, instead of being set sideways, with the usual easel or palm-tree behind them, it is surprising to see how much a small room may contain without appearing to be overcrowded.

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

DINING-ROOM, PALACE OF COMPIeGNE. LOUIS XVI PERIOD.

(OVER-DOORS AND OVER-MANTEL PAINTED IN GRISAILLE, BY SAUVAGE.)]

XIII

THE DINING-ROOM

The dining-room, as we know it, is a comparatively recent innovation in house-planning. In the early middle ages the n.o.ble and his retainers ate in the hall; then the _grand'salle_, built for ceremonial uses, began to serve as a banqueting-room, while the meals eaten in private were served in the lord's chamber. As house-planning adapted itself to the growing complexity of life, the mediaeval bedroom developed into a private suite of living-rooms, preceded by an antechamber; and this antechamber, or one of the small adjoining cabinets, was used as the family dining-room, the banqueting-hall being still reserved for state entertainments.

The plan of dining at haphazard in any of the family living-rooms persisted on the Continent until the beginning of the eighteenth century: even then it was comparatively rare, in France, to see a room set apart for the purpose of dining. In small _hotels_ and apartments, people continued to dine in the antechamber; where there were two antechambers, the inner was used for that purpose; and it was only in grand houses, or in the luxurious establishments of the _femmes galantes_, that dining-rooms were to be found. Even in such cases the room described as a _salle a manger_ was often only a central antechamber or saloon into which the living-rooms opened; indeed, Madame du Barry's sumptuous dining-room at Luciennes was a vestibule giving directly upon the peristyle of the villa.

In England the act of dining seems to have been taken more seriously, while the rambling outgrowths of the Elizabethan residence included a greater variety of rooms than could be contained in any but the largest houses built on more symmetrical lines. Accordingly, in old English house-plans we find rooms designated as "dining-parlors"; many houses, in fact, contained two or three, each with a different exposure, so that they might be used at different seasons. These rooms can hardly be said to represent our modern dining-room, since they were not planned in connection with kitchen and offices, and were probably used as living-rooms when not needed for dining. Still, it was from the Elizabethan dining-parlor that the modern dining-room really developed; and so recently has it been specialized into a room used only for eating, that a generation ago old-fashioned people in England and America habitually used their dining-rooms to sit in. On the Continent the incongruous uses of the rooms in which people dined made it necessary that the furniture should be easily removed. In the middle ages, people dined at long tables composed of boards resting on trestles, while the seats were narrow wooden benches or stools, so constructed that they could easily be carried away when the meal was over. With the sixteenth century, the _table-a-treteaux_ gave way to various folding tables with legs, and the wooden stools were later replaced by folding seats without arms called _perroquets_. In the middle ages, when banquets were given in the _grand'salle_, the plate was displayed on movable shelves covered with a velvet slip, or on elaborately carved dressers; but on ordinary occasions little silver was set out in French dining-rooms, and the great English sideboard, with its array of urns, trays and wine-coolers, was unknown in France. In the common antechamber dining-room, whatever was needed for the table was kept in a press or cupboard with solid wooden doors; changes of service being carried on by means of serving-tables, or _servantes_--narrow marble-topped consoles ranged against the walls of the room.

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

DINING-ROOM FOUNTAIN, PALACE OF FONTAINEBLEAU.

LOUIS XV PERIOD.]

For examples of dining-rooms, as we understand the term, one must look to the grand French houses of the eighteenth century (see Plate L) and to the same cla.s.s of dwellings in England. In France such dining-rooms were usually intended for gala entertainments, the family being still served in antechamber or cabinet; but English houses of the same period generally contain a family dining-room and another intended for state.

The dining-room of Madame du Barry at Luciennes, already referred to, was a magnificent example of the great dining-saloon. The ceiling was a painted Olympus; the white marble walls were subdivided by Corinthian pilasters with plinths and capitals of gilt bronze, surmounted by a frieze of bas-reliefs framed in gold; four marble niches contained statues by Pajou, Lecomte, and Moineau; and the general brilliancy of effect was increased by crystal chandeliers, hung in the intercolumniations against a background of looking-gla.s.s.

Such a room, the banqueting-hall of the official mistress, represents the _courtisane's_ ideal of magnificence: decorations as splendid, but more sober and less theatrical, marked the dining-rooms of the aristocracy, as at Choisy, Gaillon and Rambouillet.

The state dining-rooms of the eighteenth century were often treated with an order, niches with statues being placed between the pilasters.

Sometimes one of these niches contained a fountain serving as a wine-cooler--a survival of the stone or metal wall-fountains in which dishes were washed in the mediaeval dining-room. Many of these earlier fountains had been merely fixed to the wall; but those of the eighteenth century, though varying greatly in design, were almost always an organic part of the wall-decoration (see Plate LI).

Sometimes, in apartments of importance, they formed the pedestal of a life-size group or statue, as in the dining-room of Madame de Pompadour; while in smaller rooms they consisted of a semicircular basin of marble projecting from the wall and surmounted by groups of cupids, dolphins or cla.s.sic attributes. The banqueting-gallery of Trianon-sous-Bois contains in one of its longitudinal walls two wide niches with long marble basins; and Mariette's edition of d'Aviler's _Cours d'Architecture_ gives the elevation of a recessed buffet flanked by small niches containing fountains. The following description, accompanying d'Aviler's plate, is quoted here as an instance of the manner in which elaborate compositions were worked out by the old decorators: "The second antechamber, being sometimes used as a dining-room, is a suitable place for the buffet represented. This buffet, which may be incrusted with marble or stone, or panelled with wood-work, consists in a recess occupying one of the side walls of the room. The recess contains a shelf of marble or stone, supported on brackets and surmounting a small stone basin which serves as a wine-cooler. Above the shelf is an attic flanked by volutes, and over this attic may be placed a picture, generally a flower or fruit-piece, or the representation of a concert, or some such agreeable scene; while in the accompanying plate the attic is crowned by a bust of Comus, wreathed with vines by two little satyrs--the group detaching itself against a trellised background enlivened with birds. The composition is completed by two lateral niches for fountains, adorned with masks, tritons and dolphins of gilded lead."

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

DINING-CHAIR, LOUIS XIV PERIOD.]

These built-in sideboards and fountains were practically the only feature distinguishing the old dining-rooms from other gala apartments. At a period when all rooms were painted, panelled, or hung with tapestry, no special style of decoration was thought needful for the dining-room; though tapestry was seldom used, for the practical reason that stuff hangings are always objectionable in a room intended for eating.

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

DINING-CHAIR, LOUIS XVI PERIOD.]

Towards the end of the seventeenth century, when comfortable seats began to be made, an admirably designed dining-room chair replaced the earlier benches and _perroquets_. The eighteenth century dining-chair is now often confounded with the light _chaise volante_ used in drawing-rooms, and cabinet-makers frequently sell the latter as copies of old dining-chairs. These were in fact much heavier and more comfortable, and whether cane-seated or upholstered, were invariably made with wide deep seats, so that the long banquets of the day might be endured without constraint or fatigue; while the backs were low and narrow, in order not to interfere with the service of the table. (See Plates LII and LIII. Plates XLVI and L also contain good examples of dining-chairs.) In England the state dining-room was decorated much as it was in France: the family dining-room was simply a plain parlor, with wide mahogany sideboards or tall glazed cupboards for the display of plate and china. The solid English dining-chairs of mahogany, if less graceful than those used on the Continent, are equally well adapted to their purpose.

The foregoing indications may serve to suggest the lines upon which dining-room decoration might be carried out in the present day. The avoidance of all stuff hangings and heavy curtains is of great importance: it will be observed that even window-curtains were seldom used in old dining-rooms, such care being given to the decorative detail of window and embrasure that they needed no additional ornament in the way of drapery. A bare floor of stone or marble is best suited to the dining-room; but where the floor is covered, it should be with a rug, not with a nailed-down carpet.

The dining-room should be lit by wax candles in side _appliques_ or in a chandelier; and since anything tending to produce heat and to exhaust air is especially objectionable in a room used for eating, the walls should be sufficiently light in color to make little artificial light necessary. In the dining-rooms of the last century, in England as well as on the Continent, the color-scheme was usually regulated by this principle: the dark dining-room panelled with mahogany or hung with sombre leather is an invention of our own times. It has already been said that the old family dining-room was merely a panelled parlor. Sometimes the panels were of light unvarnished oak, but oftener they were painted in white or in some pale tint easily lit by wax candles. The walls were often hung with fruit or flower-pieces, or with pictures of fish and game: a somewhat obvious form of adornment which it has long been the fashion to ridicule, but which was not without decorative value and appropriateness. Pictures representing life and action often grow tiresome when looked at over and over again, day after day: a fact which the old decorators probably had in mind when they hung what the French call _natures mortes_ in the dining-room.

Concerning the state dining-room that forms a part of many modern houses little remains to be said beyond the descriptions already given of the various gala apartments. It is obvious that the banqueting-hall should be less brilliant than a ball-room and less fanciful in decoration than a music-room: a severer and more restful treatment naturally suggests itself, but beyond this no special indications are required.

The old dining-rooms were usually heated by porcelain stoves. Such a stove, of fine architectural design, set in a niche corresponding with that which contains the fountain, is of great decorative value in the composition of the room; and as it has the advantage of giving out less concentrated heat than an open fire, it is specially well suited to a small or narrow dining-room, where some of the guests must necessarily sit close to the hearth.

Most houses which have banquet-halls contain also a smaller apartment called a breakfast-room; but as this generally corresponds in size and usage with the ordinary family dining-room, the same style of decoration is applicable to both. However ornate the banquet-hall may be, the breakfast-room must of course be simple and free from gilding: the more elaborate the decorations of the larger room, the more restful such a contrast will be found.

Of the dinner-table, as we now know it, little need be said. The ingenious but ugly extension-table with a central support, now used all over the world, is an English invention. There seems no reason why the general design should not be improved without interfering with the mechanism of this table; but of course it can never be so satisfactory to the eye as one of the old round or square tables, with four or six tapering legs, such as were used in eighteenth-century dining-rooms before the introduction of the "extension."