Part 1 — CHAPTER XVII FOR DECORATORS AND DESIGNERS

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.

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. 84428), 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.

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.

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 85separate 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.

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.

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 86by 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.

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 87Enamel (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.

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.

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).

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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

89Graffito

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

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