CHAPTER XVII

FOR DECORATORS AND DESIGNERS [Sidenote: All the Arts in One] The decorator and designer is a specialist in his purposes rather than in his methods, and his taste and judgment must be based upon a wide range of information. His selection and combination of decorative factors call for a knowledge of architectural design, of painting, sculpture, furniture, textiles, pottery, enamels, embroideries, laces and all the other arts, crafts and products that contribute to the perfecting of “the house beautiful.” The variety of the materials at his command offers him infinite possibilities of successful achievement, and as many temptations to incoherence and exuberance. The highest success in decoration can be attained only when the designer possesses the resources of all these arts and crafts, and failure perhaps comes oftenest through too exclusive a use of one medium of expression because it is the one with which the designer feels he can most competently deal. The ideal should be not only to employ, but to enlarge, the scope of every contributory medium of form or colour, as Wagner found new possibilities in the use of every musical instrument in one orchestra. This practical usefulness of versatility is clearly indicated in one of the articles, characteristic of the Britannica, where one great expert writes about the work of another. William Morris and Walter Crane have been the leaders of the modern revival of artistic interest in the daily accessories of life; and Crane in the Britannica (Vol. 2, p. 701) says of Morris that his influence is to be attributed to his having “_personally mastered the working details and handling of each craft he took up in turn, as well as to his power of inspiring his helpers and followers. He was painter, designer, scribe, illuminator, wood-engraver, dyer, weaver and, finally, printer and paper-maker; and, having effectively mastered these crafts he could effectively direct and criticize the work of others._” Obviously, few men can afford to devote forty years, as Morris did, to the close study and actual practice of all these pursuits, and still fewer could hope to develop so many manual dexterities. But any earnest student can become a competent critic in all these varied fields, and can retain an equal appreciation of all the materials and methods employed, if he will enlarge and refresh his knowledge by constant reading of the best authorities. The comprehensiveness of the Britannica makes it, for such purposes, invaluable to the designer and decorator, no matter how many technical books his working library may contain. [Sidenote: The Influence of Architecture] Since harmony of proportion, the essence of architecture, is also the primary law of interior decoration, the reader of the present chapter may well begin his reading with a number of the articles described in the chapter _For Architects_, of which only those dwelling most upon the use of ornament and colour need be separately mentioned in this connection. The article ARCHITECTURE (Vol. 2, p. 369) is by R. Phené Spiers, formerly master of the Architectural School of the English Royal Academy, with sections on special periods and schools of architecture by other famous authorities. Oriental architecture, with its elaboration of detail, is peculiarly suggestive to the decorator, who may be surprised to find, in the Britannica, treatises so highly specialized as INDIAN ARCHITECTURE (Vol. 14, p. 428), by Dr. James Burgess, editor of the standard book on the subject, the _History of Indian Architecture_; the architectural part of CHINA, _Art_ (Vol. 6, p. 214), by Lawrence Binyon, whose work in the great British Museum collection has made his reputation as one of the foremost modern critics; and JAPAN, _Art_ (Vol. 15, p. 181), by Capt. Frank Brinkley, whose many years of study in Japan have given him an exceptional mastery of the subject. Among other articles dealing with the decorative aspects of architecture are ORDER (Vol. 20, p. 176), CAPITAL (Vol. 5, p. 275), and HOUSE (Vol. 13, p. 810), with its exquisite full page plates. [Sidenote: Design and Mural Painting] The article DESIGN (Vol. 8, p. 95), by W. R. Lethaby, principal of the Central School of Arts and Crafts, London, contains a passage which the decorator may well bear in mind when he has to contend against the typical client’s unreasoning demand for the sensationalism which, for the moment, is accepted as an evidence of originality, but is always the cause of subsequent dissatisfaction and complaint. “Modern use has tended to associate design with the word ‘original’ in the sense of new or abnormal. The end of design, however, is properly utility, fitness and delight. _If a discovery, it should be a discovery of what seems inevitable_, an inspiration arising out of the conditions, and parallel to invention in the sciences.” These fifty words are but a millionth part of the contents of the Britannica; but alone they show that the work can practically serve the designer. MURAL DECORATION (Vol. 19, p. 16), with its delightful reproduction in colour of a wall painting preserved in the National Museum at Rome, and its other illustrations, is by William Morris and Walter Crane, with a section on classical wall paintings by Prof. J. H. Middleton, Slade professor of fine art at Cambridge University. The “furnishing” point of view is considered under other headings (see below). Here the distinguished contributors give an interesting account of marble and stone reliefs, the oldest method of wall decoration; marble veneer, especially appropriate to 14th and 15th century Italian style; wall-linings of glazed brick or tiles; coverings of hard stucco; the recently revived sgraffito method; stamped leather, much used in rooms of the 16th–18th century period; painted cloth; printed hangings and wall-papers, of great antiquity among the Hindus and Chinese but not common in Europe until the 18th century; wall-painting, with description of the characteristic schemes of mural art in ancient and modern times, and methods of execution. In further connection with this subject the reader should turn to EGYPT, _Art and Archaeology_ (Vol. 9, p. 65), by the noted Egyptologist, W. M. Flinders Petrie; GREEK ART (Vol. 12, p. 470), by Percy Gardner; ROMAN ART (Vol. 23, p. 474), by H. Stuart Jones; PAINTING (Vol. 20, p. 459), by Prof. G. B. Brown, of Edinburgh University, and other authorities; SCULPTURE (Vol. 24, p. 488), by Professor Middleton and other authorities; MOSAIC (Vol. 18, p. 883), by Professor Middleton and H. Stuart Jones, with a practical section on _Modern Mosaic_ (p. 888), by Sir William Blake Richmond, noted for his accomplishments in decorative art. All of these articles are richly illustrated. See further, the chapters on _Fine Arts_, _Painting_ and _Sculpture_. [Sidenote: The Wall and the Floor] WALL-COVERINGS (Vol. 28, p. 279), by James Bartlett, of Kings College, London, deals with the subject in its practical relation to house furnishing, with reference to the conditions of the room, the use to which it is to be put, its lighting aspect, and its outlook. There is much information about the employment of marble, mosaic, tiles, metal sheeting, tapestry, and wall-papers; and separate articles will be found on the following materials: MARBLE (Vol. 17, p. 676), by J. S. Flett; TILE, _Wall and Floor_ (Vol. 26, p. 971), illustrated, by William Burton; LEATHER (Vol. 16, p. 330), illustrated, by Dr. J. G. Parker; TAPESTRY (Vol. 26, p. 403), by A. S. Cole, an admirable historical account, fully illustrated, and giving information on varieties of design, indications of date, the marks of makers, modern tapestry weaving, etc. BAYEUX TAPESTRY (Vol. 3, p. 555) is an interesting historical account by the antiquarian, J. H. Round, of this venerable relic executed by order of the half-brother of William the Conqueror; it is illustrated with two plates containing 11 views of the tapestry. In the matter of Floor-coverings there are the articles FLOOR-CLOTH (Vol. 10, p. 527), PARQUETRY (Vol. 20, p. 861), and CARPET (Vol. 5, p. 392), illustrated, by A. S. Cole, devoted to descriptions of carpets and rugs as designed and manufactured in Europe and Oriental countries. [Sidenote: Furniture] The next group of topics begins with the article FURNITURE (Vol. 11, p. 363) with 36 illustrations by J. G. Penderel-Brodhurst. The classified Table of Articles in the Britannica (Vol. 29, p. 888) indicates over 75 articles on separate pieces of furniture, but in this general treatise we have a concise history, describing periods and styles, with many interesting facts about the origin and use of different pieces of furniture from the earliest time to the “art nouveau” of very recent date. Some of the noteworthy separate articles, which have been written by Mr. Penderel-Brodhurst, are CHAIR (Vol. 5, p. 801); DESK (Vol. 8, p. 95); TABLE (Vol. 26, p. 325), and BED (Vol. 3, p. 612). See also MARQUETRY (Vol. 17, p. 751). For those who wish to preserve unity of style in furnishing a room, these articles will prove of the highest value. A full list is appended to this chapter; and the reader should consult the chapter in this Guide _For the Manufacturer of Furniture_. [Sidenote: Textile Fabrics] The decorator and designer must be familiar with all manner of fabrics, and the Britannica contains an immense fund of information in regard to the nature, manufacture and use of textiles. For purposes of study a beginning would perhaps here be made with the article Weaving, which is in two parts. The first, _Industrial Technicology and Machinery_ (Vol. 28, p. 440) with 28 illustrations, is by T. W. Fox, professor of textiles in the University of Manchester. Very useful will be found the classification of weaving schemes into groups, from which we learn the distinctive weaves of plain cloth, twills, satins, damasks, compound cloths, repps, piled fabrics, chenille, velvets and plushes, gauze, etc. All weaving machinery is described. The second part, _Archaeology and Art_, is written by A. S. Cole. It is a most interesting and valuable account of the origin of various textiles, and the periods to which they are appropriate. There are many illustrations of typical designs of silk, brocade and flax weavings. The investigation of woven fabrics reveals the fact that the almost endless variety of effects obtained is due in part only to the method of weaving. Consequently, it is necessary for the student, in order to acquire an expert knowledge of the character and effect on any textile product which he wishes to employ, to have access to the information in the articles BLEACHING (Vol. 4, p. 49) illustrated; MERCERIZING (Vol. 18, p. 150); DYEING (Vol. 8, p. 744) illustrated, and with an elaborate classification of colouring matters—acid, direct, and developed colours; FINISHING (Vol. 10, p. 378) illustrated, and TEXTILE PRINTING (Vol. 26, p. 694), illustrated. The fact that this fine series of articles has been prepared by Dr. Edmund Knecht, professor of technological chemistry, University of Manchester, assisted by noted authorities like the late J. J. Hummel, professor of dyeing, University of Leeds, and A. S. Cole, is a guarantee of their great interest and value. In the matter of the fabrics themselves, under COTTON, _Cotton Goods and Yarn_ (Vol. 7, p. 275) will be found descriptions of many cotton fabrics, and see also SILK (Vol. 25, p. 96) illustrated, by Arthur Mellor and other authorities; WOOL, WORSTED, AND WOOLEN MANUFACTURES (Vol. 28, p. 805) illustrated, by Prof. A. F. Barker of Bradford Technical College; LINEN AND LINEN MANUFACTURES (Vol. 16, p. 724) by Thomas Woodhouse, head of the weaving and textile designing department, Technical College, Dundee. Those who desire a closer scientific knowledge of fibres may obtain it from FIBRES (Vol. 10, p. 309), illustrated, by the well-known English analytical chemist, C. F. Cross. There are separate articles on BROCADE (Vol. 4, p. 620); MUSLIN (Vol. 19, p. 93); CANVAS (Vol. 5, p. 223); CHINTZ (Vol. 6, p. 235); CRETONNE (Vol. 7, p. 431); GAUZE (Vol. 11, p. 357) and other textiles. A full list of these materials is appended. The article LACE (Vol. 16, p. 37) is one of the most notable contributions to the Britannica. It is written by A. S. Cole, author of _Embroidery and Lace_, _Ancient Needle Point and Pillow Lace_, etc., and has over 60 illustrations. A full history of lacemaking is given, and the article is of the highest interest throughout. There exists no better manual on the subject than this, and the pictures alone will enable the student to distinguish the different varieties. EMBROIDERY (Vol. 9, p. 309) by A. F. Kendrick, keeper of the Victoria and Albert Museum, and A. S. Cole, has 18 illustrations and describes the characteristics of the art as practised by different nationalities. GOLD AND SILVER THREAD (Vol. 12, p. 200), also by A. S. Cole, is a general and historical account of the gold and silver strips, threads and gimp used in connection with varieties of weaving, embroidery and twisting and with plaiting or lace-work. [Sidenote: Arts and Crafts] Before taking up the specific objects of art used in interior decoration and furnishing, attention must be called to the many articles of great value to those engaged in all arts and crafts-work whose success depends upon a sound knowledge of methods and the principle of design. In ARTS AND CRAFTS (Vol. 2, p. 700) Mr. Walter Crane gives an account of the recent movement in the arts of decorative design and handicraft that has for its object the adornment of the house. Handicraft workers will find valuable material, discussing designs, methods and tools, in NEEDLEWORK (Vol. 19, p. 339); WOOD-CARVING (Vol. 28, p. 791) fully illustrated, by F. A. Crallan, author of _Gothic Wood-carving_; CARVING AND GILDING (Vol. 5, p. 438); METAL-WORK (Vol. 18, p. 205) illustrated, by Professor Middleton of Cambridge University, with sections on _Modern Art Metal-work_ by John S. Gardner, and on _Industrial Metal Work_ by J. G. Horner, author of _Practical Metal Turning_; MEDAL (Vol. 18, p. 1) illustrated, by M. H. Spielmann, formerly editor of _The Magazine of Art_; GLASS, STAINED (Vol. 12, p. 105) illustrated, by Lewis Foreman Day, late vice-president of the Society of Arts; SPINNING (Vol. 25, p. 685) by Professor Fox; BASKET (Vol. 3, p. 481) with an account of the basket-making industry and methods employed, by Thomas Okey, examiner in basket-work for the City of London Guilds and Institute; EMBOSSING (Vol. 9, p. 308); CHASING (Vol. 5, p. 956); REPOUSSÉ (Vol. 23, p. 108); ENAMEL (Vol. 9, p. 362) a very complete historical and technical article, fully illustrated, by Alexander Fisher, author of _The Art of Enamelling on Metals_; JAPAN, _Cloisonné Enamel_ (Vol. 15, p. 189); INLAYING (Vol. 14, p. 574). Much knowledge about primitive shapes and designs may be obtained from ARCHAEOLOGY (Vol. 2, p. 344) by Dr. Charles H. Read of the British Museum, AEGEAN CIVILIZATION (Vol. 1, p. 245) by D. G. Hogarth, the explorer, SCANDINAVIAN CIVILIZATION (Vol. 24, p. 287), and AMERICA, _Archaeology_ (Vol. 1, p. 810) by the late O. T. Mason, of the National Museum, Washington. These articles are beautifully illustrated. [Sidenote: Portable Ornaments] Some of the articles on art objects have already been mentioned; in addition to them there is CERAMICS (Vol. 5, p. 703), equivalent to 133 pages of this Guide, with over 100 illustrations including 10 full-page plates, six of which are colour. This magnificent article is the joint contribution of six special authorities and describes the art of pottery and porcelain manufacture, potter’s marks, etc., in all countries and at all periods, with the exception of Japanese ceramics, for which see JAPAN, _Art_, _Ceramics_ (Vol. 15, p. 183). GLASS (Vol. 12, p. 86) has a section on the _History of Glass Manufacture_ (p. 97) in which glassware from the primitive vessels of ancient Egypt to modern wares is discussed and illustrated. The authors of this valuable account are Alexander Nesbitt, who wrote the descriptive catalogue of glass vessels for the South Kensington Museum, and H. J. Powell, of the Whitefriars Glass Works, London. PLATE (Vol. 21, p. 789) illustrated, is the joint product of H. Stuart Jones, formerly director of the British School at Rome; H. R. H. Hall, of the British Museum, and E. Alfred Jones, author of _Old English Gold Plate_. It contains unusually full information about hall-marks. There are also separate articles on PEWTER (Vol. 21, p. 338) and SHEFFIELD PLATE (Vol. 24, p. 824) by Malcolm Bell, author of _Pewter Plate_, etc. CLOCK has a section _Decorative Aspects_ (Vol. 6, p. 552), by J. G. Penderel-Brodhurst. FAN (Vol. 10, p. 168) by the late J. H. Pollen, author of _Ancient and Modern Furniture and Woodwork_, devotes special attention to styles of fan painting. IVORY has a well-illustrated section on _Ivory Sculpture and the Decorative Arts_ (Vol. 15, p. 95) by A. O. Maskell, author of _Ivories_, etc. MIRROR (Vol. 18, p. 575); FRAME (Vol. 10, p. 773), and SCREEN (Vol. 24, p. 477) are likewise useful articles for the decorator and furnisher. TERRACOTTA (Vol. 26, p. 653) illustrated, by H. B. Walters of the British Museum, and William Burton, deals with the use of this material in architecture and sculpture, describes its manufacture, and contains an historical and critical discussion of subjects and types. BYZANTINE ART by W. R. Lethaby contains a section, _Metal Work, Ivories, and Textiles_ (Vol. 4, p. 910). The subject of LACQUER (Vol. 16, p. 53) is further treated under JAPAN, _Lacquer_ (Vol. 15, p. 188), a part of a very elaborate discussion of all forms of Japanese art, including especially _Painting and Engraving_ (Vol. 15, p. 172), which, as well as CHINA, _Art_ (Vol. 6, p. 213), will be referred to constantly by all who are interested in Oriental handiwork and design. [Sidenote: Biographies] A great number of the biographies in the Britannica will possess much interest for the decorator and designer. Some of the noteworthy names of modern times are MORRIS, WILLIAM (Vol. 18, p. 871); CRANE, WALTER (Vol. 7, p. 366); TIFFANY, LOUIS C. (Vol. 26, p. 966); LA FARGE, JOHN (Vol. 16, p. 64); RICHMOND, SIR WILLIAM BLAKE (Vol. 23, p. 307); CHIPPENDALE, THOMAS (Vol. 6, p. 237); HEPPLEWHITE, GEORGE (Vol. 13, p. 305); SHERATON, THOMAS (Vol. 24, p. 841); GIBBONS, GRINLING (Vol. 11, p. 936). ALPHABETICAL LIST OF ARTICLES IN THE ENCYCLOPAEDIA BRITANNICA OF SPECIAL INTEREST TO THOSE ENGAGED IN DECORATING, DESIGNING, INTERIOR FURNISHING AND ALL FORMS OF ART HANDICRAFT Abbey, E. A. Acroliths Adam, Robert Aegean Civilization Ainmuller, M. E. Alb Alexander, J. W. Almuce Alto-Relievo America, _Archaeology_ Amice Amphora Andiron Angerstein, J. J. Antimacassar Apostle Spoons Aquarelle Aquatint Arabesque Arch Archaeology Architecture Armoire Art Arts and Crafts Art Teaching Bagging Bahut Baize Ball-flower Baroque Basin-stand Basket Basso-relievo Bead Beaker Bed Bérain, Jean Bezel Biretta Bleaching Blondel, J. F. Blum, R. F. Bombay Furniture Bombazine or Bombasine Bonelace Bonheur du Jour Bookbinding Bookcase Book-plates Boulle, André Charles Box Bracelet Bracket Brasses, Monumental Brazier Brocade Brooch Buckram Buffet Bunting Byzantine Art Cable-moulding Caffieri, Jacques Calender Calico Cambric Cameo Candelabrum Candle Candlestick Canopy Canvas Capital Capronnier, Jean Baptiste Carding Carpet Cartoon Cartouche Carving Carving and Gilding Caryatides Casket Cassock Cassone Ceiling Cellaret Cellini, Benvenuto Ceramics Chair Chandelier Chasing Chasuble Chatelaine Cheese-cloth Cheffonier Chenille Chest Chevron Chimere Chimney-piece China, _Art_ Chintz Chippendale, Thomas Cimabue, Giovanni Cinque Cento Cloth Coffer Column Composite Order Console Cookworthy, William Cope Copeland, Henry Copper Corduroy Corner Copiae Cornice Corregio Cosmati (family) Costume Cotton Cotton Manufacture Cotton-spinning Machinery Cowl Cox, Kenyon Cradle Crane, Walter Crape Crash Cressent, Charles Crest Cretonne Cross Crozat, Pierre Crunden, John Cupboard Curtain Cushion Dais Dalmatic Damascening, or Damaskeening Damask Darly, Matthias Decorated Period Delacroix, F. V. E. Della Robbia Denim Design Desk Diaper Die Dimity Diptych Dog-tooth Domenichino, Zampieri Doulton, Sir Henry Dowlas Drawing Drill Drinking Vessels Duck Dumbwaiter Dwight, John Dyeing Early English Period Ear-ring Egypt, _Archaeology_ Electrolier Electroplating Embossing Embroidery Enamel Encaustic Painting Encoignure Engraving Etagère Etching Faience Fan Felt Fender Festoon Fibres Filigree Fine Arts Finiguerra, Maso Finishing Fireback Fire-irons Flag Flamboyant Style Flannel Flannelette Flock Floor Floorcloth Footman Frame French Polish Fresco Frieze Furniture Fustian Ganté Gargoyle Gauze Gem Gem, Artificial Gesso Ghiberti, Lorenzo Ghirlandajo Gibbons, Grinling Gilding Gillow, Robert Gimp Gingham Giotto Girandole Girdle Glass Glass Cloth Glass, Stained Glue Gobelin Goblet Gold Gold and Silver Thread Goldbeating Gouache Gouthière, Pierre Graffito Grate Greco, El Greek Art Grisaille Grotesque Guéridon Guido Reni Gunny Halfpenny, W. Hallstatt Hamerton, P. G. Hepplewhite, George Heraldry Hessian Hiroshige Hokusai Holland Honeycomb Horn Hosiery House Huckaback Icon Illuminated Manuscripts Illustration Impressionism Ince, William India, _Costume_ Indian Architecture Ingle-work Inlaying Intaglio Iron-work Ivory Jack Jacobean Style Japan, _Art_ Japanning Jewelry Johnson, Thomas Jug Jute Kashi Knitting Lac Lace Lacquer Lacrymatory La Farge, John Lampstand Lantern Lawn Leather Leather, Artificial Lectern Leonardo da Vinci Le Pautre, Jean Line Engraving Linen, and Linen Manufactures Linen-press Lithographing Lock, Matthias Longcloth Lowboy Macabre Majolica Manwaring, Robert Marble Marot, Daniel Marquetry Matting Mayhew, Thomas Mazer Medal Meissonier, J. A. Mercerizing Metal-work Mezzotint Michelangelo Miniature Mirror Mohair Moleskin Monogram Monteith Morel-Ladeuil, L. Mosaic Mouldings Mull Mural Decoration Museums of Art Muslin Nankeen Needlework Net Niello Numismatics Oeben, F. F. Order Ormolu Ornament Osnaburg Ottoman Overdoor Overmantel Padding Pagoda Painting Palissy, Bernard Pantograph Papier Maché Parchment Parquetry Pastel Pearl Pedestal Pediment Pendant Pergolesi, M. A. Perpendicular Period Perugino, Pietro Pewter Photography Phylactery Pigments Plaque Plate Plated Ware Platinum Plumbago Drawings Plush Poplin or Tabinet Poppy-heads Porcelain Portière Poster Pot-hook Prie-Dieu Print Process Puvis de Chavannes, P. C. Raphael Sanzio Relief Rep Repoussé Reredos Ribbons Richmond, Sir W. B. Riesener, J. H. Ring Robes Rococo Roman Art Röntgen, David Rousseau de la Rottiere, J. S. Rubens, Peter Paul Rug Sacking and Sack Manufacture Salt cellar Salver Samovar Sampler Sargent, J. S. Scandinavian Civilization Scarab Scarf Sconce Screen Scrim Sculpture Seals Servan, J. N. Settee Settle Shagreen Shawl Shearer, Thomas Sheffield Plate Sheraton, Thomas Sideboard Silk Silver Sofa Soutane Spinning Spit Spoon Stencil Stole Stool Sun Copying or Photo-Copying Surplice Table Tallboy Tankard Tapestry Tarpaulin Tartan Tassie, James Tazza Tea-caddy Tea-poy Tempera Terracotta Textile-printing Throne Ticking Tiepolo, G. B. Tiffany, C. L. Tile Tintoretto Titian Tool Torchère Torque Tortoiseshell Tracery Tray Triclinium Tripod Triptych Trivet Tudor Period Tulle Twill Uniforms Utamaro Varnish Vase Velvet Velveteen Veneer Vernis Martin Vestments Walker, H. O. Wall-coverings Wardrobe Washstand Wax Figures Weaving Wedgwood, Josiah What-not Window-cornice Window-seat Wine Table Wood-carving Wood Engraving Wyon, Thomas Yarn