Principles of Home Decoration, With Practical Examples. Candace Wheeler
into compositions which charm the eye and satisfy the sense. Even among painters it is by no means a common gift. It is almost more rare to find a picture distinguished for its harmony and beauty of colour, than to see a room in which nothing jars and everything works together for beauty. It seems strange that this should be a rarer personal gift than the musical sense, since nature apparently is far more lavish of her lessons for the eye than for the ear; and it is curious that colour, which at first sight seems a more apparent and simple fact than music, has not yet been written. Undoubtedly there is a colour scale, which has its sharps and flats, its high notes and low notes, its chords and discords, and it is not impossible that in the future science may make it a means of regulated and written harmonies:—that some master colourist who has mechanical and inventive genius as well, may so arrange them that they can be played by rule; that colour may have its Mozart or Beethoven—its classic melodies, its familiar tunes. The musician, as I have said—has gathered his tones from every audible thing in nature—and fitted and assorted and built them into a science; and why should not some painter who is also a scientist take the many variations of colour which lie open to his sight, and range and fit and combine, and write the formula, so that a child may read it?
We already know enough to be very sure that the art is founded upon laws, although they are not thoroughly understood. Principles of masses, spaces, and gradations underlie all accidental harmonies of colour;—just as in music, the simple, strong, under-chords of the bass must be the ground for all the changes and trippings of the upper melodies.
It is easy, if one studies the subject, to see how the very likeness of these two esthetic forces illustrate the laws of each—in the principles of relation, gradation, and scale.
Until very recently the relation of colour to the beauty of a house interior was quite unrecognised. If it existed in any degree of perfection it was an accident, a result of the softening and beautifying effect of time, or of harmonious human living. Where it existed, it was felt as a mysterious charm belonging to the home; something which pervaded it, but had no separate being; an attractive ghost which attached itself to certain houses, followed certain people, came by chance, and was a mystery which no one understood, but every one acknowledged. Now we know that this something which distinguished particular rooms, and made beautiful particular houses, was a definite result of laws of colour accidentally applied.
To avail ourselves of this influence upon the moods and experiences of life is to use a power positive in its effects as any spiritual or intellectual influence. It gives the kind of joy we find in nature, in the golden-green of light under tree-branches, or the mingled green and gray of tree and rock shadows, or the pearl and rose of sunrise and sunset. We call the deep content which results from such surroundings the influence of nature, and forget to name the less spiritual, the more human condition of well-being which comes to us in our homes from being surrounded with something which in a degree atones for lack of nature's beauty.
It is a different well-being, and lacks the full tide of electric enjoyment which comes from living for the hour under the sky and in the breadths of space, but it atones by substituting something of our own invention, which surprises us by its compensations, and confounds us by its power.
CHAPTER V
THE LAW OF APPROPRIATENESS
I have laid much stress upon the value of colour in interior decoration, but to complete the beauty of the home something more than happy choice of tints is required. It needs careful and educated selection of furniture and fittings, and money enough to indulge in the purchase of an intrinsically good thing instead of a medium one. It means even something more than the love of beauty and cultivation of it, and that is a perfect adherence to the law of appropriateness.
This is, after all, the most important quality of every kind of decoration, the one binding and general condition of its accomplishment. It requires such a careful fitting together of all the means of beauty as to leave no part of the house, whatever may be its use, without the same care for appropriate completeness which goes to the more apparent features. The cellar, the kitchen, the closets, the servants' bedrooms must all share in the thought which makes the genuinely beautiful home and the genuinely perfect life. It must be possible to go from the top to the bottom of the house, finding everywhere agreeable, suitable, and thoughtful furnishings. The beautiful house must consider the family as a whole, and not make a museum of rare and costly things in the drawing-room, the library, the dining-room and family bedrooms, leaving that important part of the whole machinery, the service, untouched by the spirit of beauty. The same care in choice of colour will be as well bestowed on the servants' floor as on those devoted to the family, and curtains, carpets and furniture may possess as much beauty and yet be perfectly appropriate to servants' use.
On this upper floor, it goes almost without saying, that the walls must be painted in oil-colour instead of covered with paper. That the floors should be uncarpeted except for bedside rugs which are easily removable. That bedsteads should be of iron, the mattress with changeable covers, the furniture of painted and enameled instead of polished wood, and in short the conditions of healthful cleanliness as carefully provided as if the rooms were in a hospital instead of a private house—but the added comfort of carefully chosen wall colour, and bright, harmonizing, washable chintz in curtains and bed-covers.
These things have an influence upon the spirit of the home; they are a part of its spiritual beauty, giving a satisfied and approving consciousness to the home-makers, and a sense of happiness in the service of the family.
In the average, or small house, there is room for much improvement in the treatment and furnishing of servants' bedrooms; and this is not always from indifference, but because they are out of daily sight, and also from a belief that it would add seriously to the burden of housekeeping to see that they are kept up to the standard of family sleeping-rooms.
In point of fact, however, good surroundings are potent civilizers, and a house-servant whose room is well and carefully furnished feels an added value in herself, which makes her treat herself respectfully in the care of her room.
If it pleases her, the training she receives in the care of family rooms will be reflected in her own, and painstaking arrangements made for her pleasure will perhaps be recognised as an obligation.
Of course the fact must be recognised, that the occupant is not always a permanent one; that it may at times be a fresh importation directly from a city tenement; therefore, everything in the room should be able to sustain very radical treatment in the way of scrubbing and cleaning. Wall papers, unwashable rugs and curtains are out of the question; yet even with these limitations it is possible to make a charming and reasonably inexpensive room, which would be attractive to cultivated as well as uncultivated taste. It is in truth mostly a matter of colour; of coloured walls, and harmonising furniture and draperies, which are in themselves well adapted to their place.
As I have said elsewhere, the walls in a servant's bedroom—and preferably in any sleeping-room—should for sanitary reasons be painted in oil colours, but the possibilities of decorative treatment in this medium are by no means limited. All of the lighter shades of green, blue, yellow, and rose are as permanent, and as easily cleaned, as the dull grays and drabs and mud-colours which are often used upon bedroom walls—especially those upper ones which are above the zone of ornament, apparently under the impression that there is virtue in their very ugliness.
"A good clean gray" some worthy housewife will instruct the painter to use, and the result will be a dead mixture of various lively and pleasant tints, any one of which might be charming if used separately, or modified with white. A small room with walls of a very light spring green, or a pale turquoise blue, or white with the dash of vermilion and touch of yellow ochre which produces salmon-pink, is quite as durably and serviceably coloured as if it were chocolate-brown, or heavy lead-colour; indeed its effect upon the mind is like a spring day full of sunshine instead of one dark with clouds or lowering storms.
The rule given