The Art of Interior Decoration - Emily Burbank (trending books to read .txt) 📗
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The criticism that mirrors in men's bathrooms are necessarily an effeminate touch, can be refuted by the statement that so sturdy a soldier as the Great Napoleon had his dressing room at Fontainebleau lined with them! This fact reminds us that we have recently seen a most fascinating bathroom, planned for a woman, in which the walls and ceiling are of glass, cut in squares and fitted together in the old French way. Over the glass was a dull-gold trellis and twined in and out of this, ivy, absolutely natural in appearance, but made of painted tin. The floor tiles, and fixtures were white enamel, and a soft moss-green velvet carpet was laid down when the bath was not used.
Bathroom fixtures are to-day so elaborate in number and quality, that the conveniences one gets are limited only by one's purse. The leading manufacturers have anticipated the dreams of the most luxurious.
Window-curtains for bathrooms should be made of some material which will neither fade nor pull out of shape when washed. We would suggest scrim, Swiss, or China silk of a good quality.
When buying bath-mats, bath-robes, bath-slippers, bath-towels, wash-cloths and hand-towels, it is easy to keep in mind the colour-scheme of your rooms, and by following it out, the general appearance of your suite is immensely improved.
For a woman's bathroom, Venetian glass bottles, covered jars and bowls of every size, come in opalescent pale greens and other delicate tints. See Plate XI. Then there are the white glass bottles, jars, bowls, and trays with bunches of dashing pink roses, to be obtained at any good department store. Glass toilet articles come in considerable variety and at all prices, and to match any colour scheme; so use them as notes of colour on the glass shelves in your bathrooms. Here, too, is an opportunity to use your old Bristol or Bohemian glass, once regarded as inherited eyesores, but now unearthed, and which, when used to contribute to a colour scheme, have a distinct value and real beauty.
Part of a room in a small suite where the furniture is all old and the majority of it Empire in style. However, the small piano at once declares itself American Empire. The beautifully decorative nameplate on its front reads, "Geib & Walker, 23 Maiden Lane, N.Y." The date of piano is about 1830.
The brown mahogany commode on the right has the lion's claw-feet, and pilasters are topped by women's heads in bronze. This piece was bought in France. It has the original marble top, dark pink veined with white. The knobs on drawers are bronze lions' heads, holding rings in their mouths. Chairs are Italian and between Directoire and Empire.
The table, a good specimen, was also found in France. On the table is a French vanity mirror, Louis XVI in time, very Greek in design. The mirror is on both sides and turns on a gold arrow which pierces it. The bronze frame of mirror has a design so intricate in detail that it resembles lace work.
The vase on the piano is Empire and antique, decoration of green and gold. The flowers on table are artificial, a quaint Victorian contrast.
Through the doorway one sees the end of an Empire bed which came from an old château in Brittany. Note the same pilasters as on bureau, only that in this case the woman's head is gilded wood and two little feet of gilded wood appear at base of mahogany pilaster.
A gilded urn rests on a mahogany post of bed against the wall, the only position possible for beds of this style. The head and foot board are of equal height and alike.
Few Empire beds are now on the market. This one is used with a roll at each end and is covered with genuine Empire satin in six-inch stripes of canary yellow and sage green divided by two narrow black stripes and a narrow white stripe between them.
To-day a bathroom is considered the necessary supplement to every bedroom in an apartment or house, where the space allows, and no house is regarded as a good investment if built with less than one bath to communicate with every two rooms. Yet among the advertisements in the New York City Directory of 1828 we read the following naïve statement concerning warm baths, which is meant in all seriousness. It refers to the "Arcade Bath" at 32 Chambers Street, New York City.
"The warm bath is more conducive to health than any luxury which can be employed in a populous city; its beneficial effects are partially described as follows:
"The celebrated Count Rumford has paid particular attention to the subject of Warm Bathing; he has examined it by the test of experiments, long and frequently repeated, and bears testimony to its excellent effects. 'It is not merely on account of the advantages,' says the count, 'which I happen to see from Warm Bathing, which renders me so much an advocate of the practice; exclusive of the wholesomeness of the warm bath, the luxury of bathing is so great, and the tranquil state of the mind and body which follows, is so exquisitely delightful, that I think it quite impossible to recommend it too highly, if we consider it merely as a rational and elegant refinement. The manner in which the warm bath operates, in producing the salutary consequences, seems very evident. The genial warmth which is so applied to the skin in the place of the cold air of the atmosphere, by which we are commonly surrounded, expands all those very small vessels, where the extremities of the arteries and veins unite, and by gently stimulating the whole frame, produces a full and free circulation, which if continued for a certain time, removes all obstructions in the vascular system, and puts all the organs into that state of regular, free, and full motion which is essential to health, and also to that delightful repose, accompanied by a consciousness of the power of exertion, which constitutes the highest animal enjoyment of which we are capable.'
"N.B.: As the Bath is generally occupied on Saturday evenings and Sunday mornings, it is recommended to those who would wish to enjoy the Bath and avoid the crowded moment, to call at other times. The support of the public will be gratefully received and every exertion made to deserve it. For the Proprietor, G. Wright.
"Strangers will recognise the Bathing House from the front being extended over two lots of ground, and the centre basement being of free-stone."
The bathtub then was the simple tin sort, on the order of the round English tub. To-day the variety of bathtubs as to size, shape, material and appointments is bewildering; tubs there are on feet and tubs without feet, tubs sunken in the floor so that one goes down steps into them, tubs of large dimensions and tubs of small, and all with or without "showers," as the purchaser may prefer. Truly the warm baths so highly recommended in Count Rumford's rhapsody are to be had for the turning of one's own faucet at any moment of the day or night!
The Count Rumford in question is that romantic figure, born of simple English parents, in New England (Woburn, Mass., 1753), who went abroad when very young and by the great force of his personality and genius, became the power behind the throne in Bavaria, where he was made Minister of War and Field Marshal by the Elector, and later knighted in recognition of his scientific attainments and innumerable civic reforms. There is a large monument erected to the memory of Count Rumford in Munich. He died at Auteuil, France, in 1814.
CHAPTER XIII PERIOD ROOMSWe use the term "period rooms" with full knowledge of the difficulties involved, in defining Louis XIV, Louis XV, Louis XVI, Directoire, Jacobean, Empire, Georgian, Victorian and Colonial decorations. Each period certainly has its distinctive earmarks in line and typical decoration, but you must realise that a period gradually evolves, at first exhibiting characteristics of its ancestors, then as it matures, showing a definite new type, and, later, when the elation of success has worn off, yielding to various foreign influences. By way of example, note the Chinese decoration on some of the painted furniture of the Louis XVI type, the Dutch influence on Chippendale in line, and the Egyptian on Empire.
One fascinating way of becoming familiar with history, is to delve into the origin and development of periods in furniture. The story of Napoleon is recorded in the unpretentious Directoire, the ornate Empire of Fontainebleau, while the conversion of round columns into obelisk-like pilasters surmounted by heads, the bronze and gilded-wood ornaments in the form of the Sphynx, are frank souvenirs of Egypt.
Every period, whether ascribed to England, France, Italy or Holland, has found expression in all adjacent countries. An Italian Louis XVI chair, mirror or applique is frequently sold in Paris or London as French and Empire furniture was "made in Germany." Periods have no restricted nationality; but nationality often declares itself in periods. That is to say, lines may be copied; but workmanship is another thing. Apropos of this take the French Empire furniture, massive as much of it is, built squarely and solidly to the floor, but showing most extraordinary grace on account of the amazing delicacy of intricate designs, done by the greatest French sculptors of the time and worked out in metal by the trained hands of men who had a special genius for this art. At no other time, nor in any other country, has an equal degree of perfection in the fine chiselling of metals so much as approached the standard attained during the Louis [1] and the Empire periods. If in your wandering, you happen upon a genuine bit of this work in silver or ormoulu, buy it. The writer once found in a New Jersey antique shop, a rare Empire bronze vase, urn-shaped, a specimen of the very finest kind of this metal engraving. The price asked for it (in ignorance, of course) was $2.50! The piece would have brought $40 in Paris. But the quest of the antique is another story.
When one realises the eternal borrowing of one country from another, the ever-recurring renaissance of past periods and the legitimate and illegitimate mixing of styles, it is no wonder that the amateur feels nervously uncertain, or frankly ignorant. Many a professional decorator hesitates to give a final judgment.
To take one case in point, we glibly speak of "Colonial" furniture, that term which covers such a multitude of sins, and inspiring virtues, too! We have the Colonial which closely resembles the Empire, and we have what is sometimes styled the Chippendale Colonial, following the Chippendale
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