PRESENTED TO
THE LIBRARY
OF THE
SCHOOL OF ARCHITECTURE
UNIVERSITY OF TORONTO BY
JOHN A. PEARSON
D. Arch., F.R.I.B.A., F.R.A.I.C, R.C.A. 1936
YATES, HAYWOOD & CO. LD.
95 Upper Thames Street, London.
Works: Rotherham.
No. 1853
Illllllllllll
No. 1851
BENSON'S ART METAL
WORK^LAMPS^AND ELECTRIC LIGHT FITTINGS ^ ^
<* <*
Useful and Decorative Articles in Metal Work, for every purpose, are to be seen at the Showrooms of
W* A. S. BENSON AND CCX, Ltd*,
82 and 83 New Bond Street, London, W.
COMPLETE ELECTRICAL INSTALLATIONS CARRIED OUT IN THE BEST POSSIBLE MANNER. GOLD MEDAL FOR ELECTRIC
LIGHTING, PARIS, 1900
AD.
fe£-
AT PRICES WHICH PROVE
CHEAPNESS n^rlMCOHSlSTEM with ARTISTIC EXCELLEIiCE $GWD W9RKNAS9SHIP.
MEGS.G. LOCK FlrtGER PLATE
AMD HANDLE ELECTRIC LIGHT FITTINGS * TRANSLUCENT ENANJEL5
•r^?2^
.J/ys
i5it^.
AM S<'V
f
AD. II
1/ILDofTbe/lppLieD*
nrrs. •••"•••••••
HE Bromsgrove Guild is an association of Artists and Craftsmen whose aim is to revive as much as may be possible the methods of the older craftsmen and so obtain that harmony throughout a room or an entire building which is possible in no other way.
The Associated Artists and Craftsmen work in close touch with each other, and all productions are either the actual work of the designer, or carried out under his close personal supervision.
W/ORKSHOPS
w
IN BROMSGROVE AND BIRMINGHAM
FOR
METAL WORK OF ALL DESCRIPTIONS
Leadwork. Plaster. Furniture.
Printing. Pottery and Glazed Tiles.
QTUDIOS
Metal. Embroideries. Decorative
Cartoons. Wood Engraving. Jewelry. Stained Glass. Mosaic.
REPRESENTATIVES
PARIS. LONDON, LIVERPOOL,
GLASGOW, BIRMINGHAM,
NEWCASTLE AND WEST OF
ENGLAND.
PARIS 1900
MEDALS AWARDED— Metal Work, Electric Fitting:*. Furniture, Decorative I'uintinir. Embroidery, Mosaic, Carpets, and Plaster Ceilings In the Royal Pavilion of Great Britain.
PRESS NOTICES
" Quaint adornment of the bedroom . . . beautiful ceiling in the Hall. . . ."
London Daily Chronicle, May 24, 1900.
" Candelabra and Electric Fittings purchased by the Director, for the National Art Museum, Vienna — the first sale in the British section."
Birmingham Daily Post, May 19, 1900.
" The furnishing of the British Pavilion . . . forms an Exhibit of English Furniture in most refined taste, and the work of the Bromsgrove Guild . . . takes a distinguished place." — Special Article, " Furniture at the Paris Exhibition."
Birmingham Daily Post, August 28, 1900.
" Of the different modern rooms in the English Pavilion we are most interested in the bedroom furnished by the Bromsgrove Guild ... its freshness of colour, simple purity . . . gives a very winning impression. The metal work, especially the candelabra, deserves to be pointed out as of the highest class in workmanship and design . . . the plaster ceilings are especially attractive . . . the ceiling in the hall is worthy of being studied."
Dekorative Kunst, Munchen, Oktober, 1900.
All enquiries and communications please address to
THE SECRETARY, BROMSGROVE GUILD
BROMSGROVE, WORCESTERSHIRE
AD. Ill
BURSI£M
DOUOONS
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WARE
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AD. IV
Lonsden^Co.
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W.
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AD. V
HEAL & SON'S
Fumed Oak Bedroom Furniture
6 FT. FUMED OAK WARDROBE WITH INLAYS OF EBONY AND PEWTER
GOOD DESIGN
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MODERATE PRICE
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Original Designs made by HEAL & SON, with an essay by the late
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AD. VI
HEAL & SON'S
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The want of a material which would drape well in the short length demanded by the casement curtain, and which at the same time was not .expensive, has led us to the production of C AS G Mb IN FLAX which, although pure linen, is not harsh, but always hangs in soft folds ; it wears well and washes well ; only those dyes have been used which have stood the severe test of strong sunlight. It will be found that casement flax
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AD. VII
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CATALOGUES, DESIGNS, ANDi WORKS : KALEYARDS, CHESTER IPRICES ON APPLICATION
AD. VIII
MTI$T$ IN STAINED &
WALTER]. PEARCE, LTD., ARTISTS AND CRAFTS- MEN IN STAINED GLASS, HAVE OPENED A LONDON OFFICE AT 10 NEWMAN STREET, W., WHERE MR. LEONARD LASKEY WILL DEAL WITH ALL ORDERS AND MR. PEARCE WILL SEE CLIENTS BY APPOINTMENT AT ANY TIME. 4iGARTSIDE STREET, MANCHESTER
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AD. IX
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Messrs. Bell's Miniature /llnstratfH cai<,ir.., „ !„ .
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Imperial 8vo, £i us. 6d. not. |
A HISTORY OF GOTHIC ART IN
™°C^&. ^ K" S' *«?• W"h *-" 3~ Illustrations
",^r'>,Prior has, «P°.""ded liis views with much ability. He evi-
who wiJbi! 'jxpend.ed h's bcs' eff°^s uP°n his production, and those
o wish to learn from so enthusiastic a teacher will do well to add his
volume to their ibrary. Its illustrations alone would justify a place on
any craftsman s bookshelves, and evrry architectural student would do
io reau ^ the descriptive and critical remarks which enliven it^
pages. — Iiuil(iinir Neivs
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A SHORT HISTORY OF RENAIS- womCI« ARCHITECTURE IN BNOLANDOSOO 1800). By RE,;IXAI.I> BLOMKWLD, M.A. With Drawings bVrtM Author and other Illustrations.
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PERK.NS. 49 Illustrations. PRIORY li H J
London: OEORQE BELL & SONS, York Street, C>««at ttahtaT
TMRS
B. BAUGH ftf CO.
Manufacturers of Interiors, Dog Grates, Kerb Suites, &c.
(CAST AND WROUGHT METAL)
No. 443
CRESSET WORKS, DUDLEY, W 9 Charterhouse St., London, E.G. AD. x
} *
.
B. CUZNER & A. H. JONES
DESIGNERS AND MAKERS OF SMALL METAL WORK FOR THE HOUSE
Artistic Repousse Door and Name Plates, Cabinet Fittings, Bell Pushes in Copper, Brass, Pewter,
Steel, and Silver; Candlesticks, Clocks, &cu, &c. Repousse' Memorial Tablets designed and executed
Sketches, Photos, and Estimates on application Finger Plates in Copper, Brass or Steel, from 25. 6d
246 MARYVALE ROAD, BOURNVILLE
NEAR BIRMINGHAM
ROYAL
COPENHAGEN PORCELAIN
n A IN VFACTORY
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to *>./». tbe tttng of E>cnmart!
: Grand Prix" Paris, 1900
If Hpi>c>liitmoiit
to t).«.t>. trw pttacctt •malt*
Danish House, 294 Regent Street, London,
AD. XI
HE WALLTAPER-MANUPACTURBRS-LT
should be STED TO OR UBMITTED AT
ABSOLUTELY THE LARGEST
Art Wall &Ceiling
THE NEW PATTERNS FOR 1901 NOW READY
CHAS.KNOWLE8&GO.,LTD
MANUFACTURERS,
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LONDON, S.W.
•TflRY
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(PATENTED)
A Mew Sanitary Water Paipt.
Possesses the following great advantages over all other wall coverings :—
It sets hard, Kilts Vermin, and Disinfects.
It is washable in three weeks, does not scale and can be Painted or Varnished. Made in two qualities, for inside and outside work.
It is made in Dark Rich Shades, as well as in Light Tints, contains no lead, and does not turn Black.
It only requires the addition of Water to make it ready for use, so that anybody can apply it
It is Cheaper, Cleaner, Healthier, and more Artistic than Wall Paper.
Sold by leading Chemists, Dtysalters, and Ironmongers, and Manufactured by
SISSONS BROS. Fnm vhom SampkSi S!iade
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AD. XII
THE LATEST
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of
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Hotel
'RUSSELL'
Russell Square
Within touch of the great Financial, Commercial, Legal, Judicial, Medical, Dramatic, Literary, Art, Social, and Parliamentary centres, all the great London termini and shopping thoroughfares, yet quiet and restful amid its well-ordered surroundings and the green par- terres and grand old trees of historic Russell Square.
MUSIC in WINTER GARDEN
Hotel
GREAT CENTRAL
A Temple of Luxury
Within easy reach of Everywhere
ORCHESTRA LOUNGE
With its capital situation, easily accessible from both Social and
Commercial Centres, the Great Central affords all desirable facilities
either for permanent residence or occasional occupation.
Proprietors—
The FREDERICK HOTELS Ltd
Decorated and furnished bp maple
Furniture
Decorations
MAPLE & Co
New " N D C " Book, con- taining Illustrations of—
Adam, Jacobean, Queen Anne,
Flemish, Louis XV., Italian,
Elizabethan, Classical, and other Chimney Pieces, Grates, Tiled Hearths, Radiators, Kitchen Ranges, Baths, Fitted Bath - rooms, Lavatories, Closets, Parquet Flooring, Overdoors, Arches, as well as
Interiors of furnished Rooms,
is now ready, and will be
sent Post Free to all those
about building, re-arranging, or re- decorating their
residences. Ask for
"NDC" BOOK,
MAPLE & Co
LONDON, PARIS
AD. XIII
<The Studio' Special Summer Number
Supplements
Arthur H. Baxter. A Scheme of Simple Deco- ration for a. Dining- Room. Reproduction in colours.
Frank Brangwyn. A Fireplace in Cedar Wood, with a Panel of Enamel. Reproduction in colours.
R. A. BriggS. Garden Front of a House at Hambledon. Reproduction in colours.
R. A. BriggS. A House at Crowborough, Sussex. Reproduced from a pencil drawing.
Mary Newill. "The Garden of Adonis." A Panel of Embroidery. Reproduced in colours.
H. Granville Fell. " A Sea Idyll." Design for a Panel of Stained Glass. Reproduced in colours.
Winifred M. Horton. Scheme for a Boudoir. Reproduction in colours.
Winifred M. Horton. Frieze of Water Babies. Reproduction in colours.
Florence H. Laverock. Stencilled Frieze for a Night Nursery. Reproduction in colours.
A. Wickham Jarvis. "The Teak House."
View of the Living- Room. Reproduction in colours.
Frederick Marriott. Decorative Panel for a Fireplace, in Green Shell and Mother-of-Pearl. Reproduced in colours.
Oscar Paterson. "Night" and "Day." Two Three-Light Windows in Stained Glass. Repro- duced in colours.
Olivia Rawlins. Decorative Scheme for a Dining- Room. Reproduction in colours.
M. H. Baillie Scott. Chaplain's House, St. Mary's Home, Wantage. Reproduction in colours.
M. H. Baillie Scott. The Hall in a House at Crowborough, Sussex. Reproduction in colours.
Ingram Taylor. Stencil Decoration. Reproduced in colours.
C. F. A. Voysey. View of the Dining-Room at " The Orchard," Chorley Wood. Reproduced from a water-colour sketch by Wilfrid Ball,
George Walton. " Eros." A Design for a Sec- tional Mosaic in Silver, Glass, and Marble.
Reproduced in colours.
Kdgar W^ood. Interior of a Drawing-Room.
Reproduction in colours.
TILL THE1-WORLD OVER
THE WESTMINSTER WALL PAPERS,
ESSEX &C? WALLPAPER PRINTERS, 1I46II6,VICTORIA STREET, WESTMINSTER.
AD. XIV
entered the THIRD CENTURY of a busi- ness whose aim has been to raise the Artistic Level of LINEN DAMASK : CURTAINS : and those Household Goods into which Design and Ornament enter.
I HEY have employed the Best <• Designers, as WALTER CRANE, LEWIS DAY, DR. DRESSER, AMNINC BELL, &c., and had these Designs carried out for them exclu- sively in the best manner. Their Illustrated Catalogue (130 Designs) shows that their PRICES are, however, exceedingly Moderate.
LSONS'
S uccefsors Ltd.
PART OF THE FAMOUS DESIGN BY WALTER CRANE.
"THE SENSES."
Hand Woven Double Damask, 18 6*cloth, net cash.
SOME OTHER DESIGNS ARE
"Bold Scroll, XVIth Century," Dr. Dresser
"Ribbon, Rose and Pink," ly Lewis]Day . "Oblique Stripe," by John Wilson
u Renaissance," by Leans Day . "Fox, Crow, and Grapes," by G. Marples .... "Fishes and Seaweed," by ]. Hardy ....
" Midsummer Night's Dream," by Anniiig Bill , . ,
SOME CURTAIN DESIGNS.
18/6 cloth.
186 „
22- ,
22/10 „
286 „
«/- n 38/-
Marquise .
Cluster and Bow 15-
Wreaths .
Ribbon and Bow 15/-
Bow and Carna-
tion
Etruscan Scroll . 15/6
i •
159
CURTAIN IN SWISS APPLIQUE, ON GOOD NET.
"MBXICAN."
BY JOHN KERR. 18/6 pair, net cash.
159 Bond S!,W
AD. XV
Winsor & Newton's Oil Colours in Large Tubes
For High Class
Decorative Work
A SERIES OF COLOURS, CONVENIENTLY STORED IN COLLAPSIBLE TUBES, FOR THE USE OF FRESCO PAINTERS, DECORA- TORS, COACHBUILDERS, fcfc.
THE PIGMENTS ARE THE FINEST, IN POINT OF PERMANENCE, WHICH CAN BE OBTAINED ; THE OILS IN WHICH THEY ARE GROUND ARE OF THE BEST QUALITY AND THE GRINDING IS THOROUGH
List of the Colours and Prices Post Free
WINSOR & NEWTON, LTD.,
RATHBONE PLACE, LONDON, W.
A Selection of B. T. Batsford's Publications
LATER RENAISSANCE ARCHITECTURE IN ENGLAND. A Series uf Examples of the Domestic Buildings Erected .subsequent to the Elizabethan Period. 165 Plates from Photographs and Drawings. Edited, with Introductory and Descrip- tive Text, accompanied by about 120 further Illustrations, by JOHN BELCHEK, A.R.A., and MKKVYN E. MACARTNEY. Two vols., large folio, in cloth portfolios, gilt, £7 7*. net.; or two vols, handsomely bound in half morocco, gilt, ,£8 8s. net. {Just Com f tried.
ARCHITECTURE OF THE RENAISSANCE IN ENGLAND. Illustrated by a Series of Views and Details from Mansions and other Buildings erected between the years 1560 and 1635, with Historical and Critical Text. By J. ALFRED GOTCH, F.S.A., F.R.I.B.A. Containing 145 folio Plates, 118 being repro- duced from Photographs taken expressly for the work, and 180 Illus- trations in the text. Two vols., large lolio, in cloth portfolios, gilt, £7 75. net.; or two vols., handsomely bound in half morocco, gilt, iCB 8s. net.
SOME ARCHITECTURAL WORKS OF INIGO JONES. Illustrated by a Series of Measured Drawings of the Chief Buildings designed by him, together with Descriptive Notes, and a Biographical Sketch. By H. INIGO Tmr.Gs and HENRY TANNER, Junr., A.R.l.B.A. Forty Plates, chiefly of Measured Drawings, and over Forty Illustrations in the Text. Imperial folio, cloth, 305. net.
Uust Put luktd.
OLD COTTAGES AND FARM HOUSES IN KENT AND SUSSEX. A Series of 100 Photographic Plates beauti- fully printed in collotype. Specially photographed by W. GALSWORTHY DAYIE, with descriptive Notes and Sketches by E. GUY DAWBER, Architect. 410, cloth gilt, 215. net.
BUNGALOWS AND COUNTRY RESIDENCES.
A Series of Designs and Examples of recently-executed Works. By R. A. BKIGGS, F.R.I.B.A. Fifth Edition, containing 48 Photo-lithi- graphic Plates. 410, cloth, i2s. 6d. !/'«< 1'nMislied.
THE DECORATIVE WORK OF ROBERT AND JAMES ADAM : Being a Reproduction of all the Plates illti--- trating Decoration and Furniture from their "Works in Architec- ture," published. 1778-1812. 30 Large Plates, giving about 100 examples of Rooms, Ceilings, Chimney-pieces, Tables, Chairs, Vases, Lamps, Mirrors, Pier-glasses, Clocks, &c. &c , by these famous Eighteenth-century Designers. Imperial folio, half bound, 30*. net.
[Nw Ready.
DECORATIVE FLOWER STUDIES FOR THE USE OF ART STUDENTS AND DESIGNERS. A Series of 40 full-page Plates, beautifully printed in colours after the originals, drawn by J. FOORU. With descriptive Text, accompanied by 350 Diagrams. Imperial 410, cloth gilt, 255. net.
B. T. BATSFORD, 94 HIGH HOLBORN, LONDON
EVERY HOME is
BEAUTIFIED BY
PHOTOGRAPHS AND ROTOGRAVURES
-AFTER
ILLUSTRATED
CATALOGUE
V-
BERLIN Ftaoro C° 133 NEW BOND ST.
LONDON .
AD. XVI
MODERN BRITISH DOMES- TIC ARCHITECTURE AND DECORATION
VE
j EDITED BY CHARLES HOLME
'(OFFICES OF 4THE STUDIO,' LONDON, 'PARIS, NEW YORK MCMI
•
NA
7328
LIBRARY
7371VO
PREFATORY NOTE
ONE of the features which characterise the opening year of \ the twentieth century is the renewal of general interest in architecture and decoration, more especially in their relation to the construction and ornamentation of the home. The last century was chiefly remarkable for the numerous attempts to revive styles belonging to the past, most of which have failed in a greater or less degree owing to the fact that they have misrepresented modern conditions and modern requirements. That the new century should generate a style characteristically its own, borrowing from the past only those features that are strictly in accordance with present-day needs, is the desire of all who have given close attention to the principles that govern truly artistic work. Some progress in the right direction has been made in the course of recent years, and it is not only interesting now to observe the present- day phases of architecture and decoration, but it will be of value in time to come to look back upon what are probably but the initial stages of a large and important movement.
IN the selection of illustrations it was thought desirable ot to repeat here any of the numerous designs for modern
louses and furniture which have appeared in the pages of 'he Studio from time to time, most of which would have I Deen suitable for the purposes of this volume.
THE editor desires to express his warm thanks to all hose architects and decorators who have so kindly and so villingly given him their assistance.
3
LIST OF LITERARY CONTENTS
PAGE " UPON HOUSE-BUILDING IN THE TWENTIETH CENTURY." Written
by EDWARD S. PRIOR, M.A., Author of The History of Gothic
Art in England ty
"A FEW WORDS ON DOMESTIC FURNITURE" 15
"METAL- WORK IN ITS RELATION TO DOMESTIC DECORATION." Written
by NELSON DAWSON, Worker in Metals 19
"MODERN DOMESTIC STAINED GLASS." Written by OSCAR PATERSON,
Worker in Glass 24-
'A FEW WORDS ON DECORATION AND EMBROIDERY" 27
£
LIST OF SUPPLEMENTS
PAGE
1. A SCHEME OF SIMPLE DECORATION FOR A DINING-ROOM. Repro-
duced in Colours from a Design by A. H BAXTER 33
2. DESIGN FOR A FIREPLACE IN CEDAR WOOD. Reproduced in Colours from a Design by FRANK. BRANGWYN 43
3. GARDEN FRONT OF A HOUSE AT HAMBLEDON. Reproduced in
Colours from a Design by R. A. BRIGGS 57
4. A HOUSE AT CROWBOROUGH, SUSSEX. Reproduced from a Pencil
Drawing by R. A. BRIGGS 59
5. "THE GARDEN OF ADONIS." A Reproduction in Colours from a
Panel of Embroidery designed and executed by MARY NEWILL 81
6. "A SEA IDYLL." Design for a Panel of Stained Glass. Repro- duced in Colours from a Drawing by H. GRANVILLE FELL 95
7. "WATER-BABIES." Design for a Band of Ornament. Reproduced
in Colours from a Drawing by WINIFRED M. HORTON 99
8. A SIMPLE SCHEME OF DECORATION FOR A BOUDOIR, showing in
situ the Decoration of Water-Babies illustrated on page 99. Reproduced in Colours from a Drawing by WINIFRED M. HORTON 101
9. STENCILLED FRIEZE FOR A NIGHT NURSERY. Reproduced in
Colours from a Design by FLORENCE. H. LAVEROCK. 101
10. " THE TEAK HOUSE." View of the Living-Room. Reproduced
in Colours from a Design by A. WICKHAM JARVIS 107
11. DECORATIVE PANEL FOR A FIREPLACE IN GREEN SHELL AND
MOTHER-OF-PEARL. By FREDERICK MARRIOTT 12 1
12. "WHEN PAN AND ALL THE WORLD WERE YOUNG." Two three- light Windows representing " Night " and " Day." Reproduced
in Colours from the Designs by OSCAR PATERSON 141
13. A SCHEME FOR THE DECORATION OF A DINING-ROOM. Repro- duced in Colours from a Drawing by OLIVIA RAWLINS 153
14. "THE CHAPLAIN'S HOUSE, ST. MARY'S HOME, WANTAGE."
Reproduced in Colours from the Design by M. H. BAILLIE SCOTT 157
15. THE DINING-ROOM IN A HOUSE AT CROWBOROUGH. Reproduced
in Colours from the Design by M. H. BAILLIE SCOTT 161
16. DESIGN FORA STENCIL DECORATION. Reproduced in Colours froma
Drawing by INGRAM TAYLOR 173
17. COLOUR-SCHEME OF THE DINING-ROOM IN C. F. A. VOYSEY'S
HOUSE, "THE ORCHARD," AT CHORLEY WOOD. From a Sketch
by WILFRID BALL 187
18. "EROS." A DESIGN FOR A SECTIONAL MOSAIC IN MARBLE, GLASS, AND SILVER. Reproduced in Colours from the Cartoon by GEORGE WALTON 201
19. INTERIOR OF THE DRAWING-ROOM IN A HOUSE AT HUDDERSFIELD.
Reproduced in Colours from a Design by EDGAR WOOD 207
LIST OF ARCHITECTS AND DESIGNERS
ANGUS, CHRISTINE, Designer Page
BALL, WILFRID, Painter »
BEDFORD, F. W., and KITSON, S. D., Architects
BRANGWYN, FRANK, Painter and Designer >,
BREWER, CECIL C., Architect »
BRIERLEY, W. H., Architect »
BRIGGS, R. A., Architect and Designer „
BURNE-JONES, SIR PHILIP, Painter and Designer „
BUTLER, E., Architect »
CASH, JOHN, Architect »
CAVE, WALTER F., Architect and Designer „
COOKE, JOHN, Painter »
COOKSEY, MAY L. G., Designer „
COOPER, C. J. HAROLD, Architect and Designer „
CRESWICK, BENJAMIN, Sculptor „
CROUCH, J., and BUTLER, E., Architects
DAVIS, FRED., R.I., Painter
DAWSON, NELSON, Painter and Metal-worker
ELLWOOD, G. M., Designer
ELLWOOD, MRS. G. M., Embroiderer
FELL, H. GRANVILLE, Designer
FISHER, ALEXANDER, Metal-worker and Enameller
FRITH, W. S., Sculptor
GRIGGS, F. L. B., Pen-draughtsman and Painter
HARRIS, FLORENCE D., Embroiderer
HASLAM, R., Architect
HAYES, M., Woodcarver
HEAL, AMBROSE, Junior, Designer
HEATON, RALPH, Architect
HORTON, WINIFRED M., Designer
IMAGE, SELWYN, Designer and Painter
JARVIS, A. WICKHAM, and HASLAM, R., Architects
LEE, T. STIRLING, Sculptor pages 67, 68, J*
MACKINTOSH, CHARLES R., Designer page no to I 111*
MACKINTOSH, MARGARET MACDONALD, Designer „ no to 115
List of Architects and Designers
McNAiR, HERBERT, Designer page 11610119
McNAiR, FRANCES, Designer
MARRIOTT, PICKFORD, Mosaic-worker in Pearl and Ivory „
MARRIOTT, FREDERICK, Mosaic-worker in Pearl and Ivory „
MITCHELL, ARNOLD, Architect »
NEATBY, WILLIAM JAMES, Designer
NEWBERY, MRS., J. R. Designer and Embroiderer „ 132 to 13
NEWILL, MARY J., Designer and Embroiderer
NEWTON, ERNEST, Architect »• »34 to i
NIVEN, D. B., and WIGGLESWORTH, HERBERT, Architects „
NOBLE, EDWIN, Designer »
PATERSON, OSCAR, Worker in Stained Glass „ Hit
PEARSE, S., Designer » !47 to 148
PICKETT, EDITH, Designer »
POMEROY, F. W., Sculptor
PRIOR, EDWARD S., Architect and Designer
RATHBONE, R. LL. B., Metal-worker pages 37, 151. XS2
RAWLINS, OLIVIA B., Designer page
REYNOLDS, W. BAINBRIDGE, Metal-worker „ 15510156
RICHMOND, SIR WILLIAM, R.A., Painter and Designer
SCOTT, M. H. BAILLIE, Architect and Designer
SETH-SMITH, W. H., Architect .. 164 to 166
SIMPSON, EDGAR, Metal-worker pages 36,37,and 16
SMITHIES, JAMES, Metal-worker page
SOLON, LEON V., Designer »
SPOONER, CHARLES, Designer »
STABLER, HAROLD, Metal-worker »
SUMNER, HEYWOOD, Designer »
TAYLOR, INGRAM, Designer »
TAYLOR, UNA, Embroiderer
TREE, PHILIP, Architect and Designer
VEAZEY, DAVID, Designer
( VOYSEY, C. F. A., Architect and Designer WALKER, A. G., Sculptor WALTON, GEORGE, Architect and Designer „
\ WOOD, EDGAR, Architect and Designer » 207 to 212
i
UPON HOUSE-BUILDING IN THE TWENTIETH CENTURY
>ROM the start of this new century our institu- tions have been under review, and among these institutions the Englishman reckons highly his house and home. Sentimentally and practically he has made much of it. That art of archi- tecture, which in the eyes of other nations is mostly one of cities — of public buildings and public monuments — has to English taste lain in the separate house-building of individuals. Is it the crop up of Saxon atavism which has settled for us this ideal ? Our country tradition of homestead and premises — that is, of the Englishman's castle — is so strongly held that even our town-houses keep it in remembrance. Entrenched behind area railings, English citizens live determinately separate.
HOWEVER much a twentieth-century custom of "flats" may break down this independence and make us hive like ants, still our houses are our homes ; and as the principle of their construction and the test of their quality we set the homely virtue of comfort in living, the being at ease under the conditions of a climate which renders indoor comfort a necessity. As if to give a meaning hint in this direction, the twentieth century has opened for us with a pretty complete set of samples of what that climate can do — its wet and its cold, its capricious moods, which as likely as not bring winter at midsummer, and vice versa, mild skies and summer rain at Christmas. Such are the common uncertainties of the weather with which our housing has to reckon, and which it has to temper to our endurance. It is the clear first condition of an English dwelling that it should shelter from the elements all the year round. Flat roofs and bungalow verandahs are only for us when modified to suit our climatic condition. BUT if our insular climate is capricious it is not extreme. The conditions to be reckoned with are never those of either Russian or Oriental house-building, for English snow-fall and sun-heat are alike insignificant, while our rainfall is great and uncertainly distributed. Our skies being mostly clouded and our atmosphere damp, we have neither grilling heat nor killing cold. The days are very many when fireside heat is pleasant ; but they are few when stove-heat and artificial temperatures have to be provided, fewer still when the sun
9
House-Building
has become a burden, to be rigorously excluded from the dwelling- house If in midwinter we can dispense with the German stove and the double windows of continental usage, in midsummer we may be glad to have the fireside handy. Since the English house cannot escape from these traditional and climatic considerations, it is ridiculous for it to turn cosmopolitan. The continental conditions of sMoss, ta/azzo, and chdteau are not ours. Cosy rather than palatial must be our rooms ; well-lighted, easily warmed, without sunless porticoes and wide verandahs. Under American skies the American house may be pleasant and healthy, but it is for England that the English house must be designed.
IF it is folly to build our houses out of tune with our climate, it is equally so to build them out of temper with our times If we want English homes, we want them also to be of the twentieth century : not to be Classic, nor Medieval, nor Tudor, nor Georgian ; still less to be of the unwise Victorian habit of the nineteenth century, which masqueraded so determinately in the fancy housing of every century but its own. This architectural revel over, our new century might come back to the right mind of ordinary life. Some nineteenth- century fancies are surely obsolete : many of its creeds are outworn. Not all that was in honour in Victoria's reign can retain esteem in her successor's : so let our house-building take a new stamp as our coinage will. For lest "one good custom should corrupt the world" each century healthily despises the fashions of the last, and need make no apology for calling its methods of housing old- fashioned, its architectural enthusiasms mistaken, its artistic gold
only tinsel.
NINETEENTH-century art bowed down to three great gods, Science, Commerce and Nature. Out of the science due to the knowledge of what had been its temples were erected, and its archi- tecture, rutted in the cult of archaeology, went delicately, and with holy fear put on strange garments, changing them often. In its teens the nineteenth century was enamoured of Greek classicality ; in the dotage of its age it was smitten with Georgian ; between ,- whiles it had a score of mistresses, each for a decade or so the object } of a fickle short-lived passion. The goddess of one day was thej drudge of the next — the petted darling of art circles and of learned | folios found herself passed on to the jerry-builder. But now, looking back, the emotional outbursts which heralded these short-lived liaison* can seem only doubtful morality. With such a sad example under its eyes, might not the twentieth century resolve on a different and more regular life ? 10
House-Building
WHY should Archasology any longer hoodwink us? Why should it make us think that every other age knows better than our own the kind of house we ought to live in ? We have put the telescope to our eyes, and having scanned every ancient method of architecture as minutely as distance would allow, have done them the sincerest flattery of copying all their tricks. Yet we are not contented. And this being so, might we not give up the endeavour and house ourselves in accordance with our own instincts. The fact is, science , is a good god enough, but he has been too superstitiously worshipped. A better understanding of his worth to us would cause him to be appreciated as the science of construction, not as the knowledge of other people's ornament.
THE god of Commerce, too, has been mis-worshipped in the same way. To Victorian art he appeared an oracle which for ever gave out that the sale-worth is the real worth, and production at a marketable price always the test of quality. This has seemed such clear common sense that our houses have been built for the most part with nothing in view but their saleable quality. In this way the fashions of what everybody has, but nobody can be accused of wanting, have driven out of the market, as being too expensive, the individual dwelling-house, built to the taste of the inhabitant. It was only in the old house that individuality found root in a con- genial home where it could grow at its ease ; in the new house of the nineteenth century we have had to live all alike, our personalities numbered but not defined, as in hotel apartments. In the twentieth century it is to be hoped that the exercise of a little common sense will lead to houses being built for the taste and individuality of their occupiers, even though the initial cost should be greater. For the principles of commerce have surely been misunderstood when only the average in art can survive, and taste can no longer get what it most looks for.
MOREOVER, see how the utility of workmanship has suffered by this custom of rating its value by the price paid for it. Competition, having crushed the special excellence, has turned its weapon on its own productions, and established everywhere the cheap substitute in place of the genuine article. We have to take not only what does not suit us, but what is not the real thing at all — fatty compounds for butter, glucose for sugar, chemicals for beer : and just as certainly the sham house for the real building, its style a counterfeit, its con- struction a saleable make-believe, its carved wood a pressing from machinery, its panelling linoleum, its plaster some pulp or other, its metal work a composition, its painted glass only paper — everything
II
House-Building
charmingly commercial and charmingly cheap. We have lots of beer ; we have lots of ornament in our houses ; arsenic in the one, and sheer humbug in the other. Let the twentieth century con- trive at least to get its goods wholesome, and its ornaments hand- made.
NATURE again has been set up as a supreme goddess by nineteenth- century art. We have called on her name, vowed ourselves her priests, and haunted her precincts. We have set our houses in the wilderness, eager with indecent familiarity to hobnob with her at our ease. But shy Nature will have none of such advances ; she has retreated to further fastnesses, leaving our house-building on sea-shore and mountain-side to spoil the beauty of England. In plague spots, that spread continually, the itch of villadom infests the lake country and the seaside. And to add insult to injury, we not only lay waste Nature's palaces, but we talk glibly enough of taking her into our gardens, and to this end we set out puny landscapes in place of the wide ones so rashly destroyed. Never does Nature- worship show itself so foolish as when with scrubby shrubberies and untidy rockeries it tries to emulate the free lines and the unplanned harmonies of natural landscape. Might not the twentieth century be more reverent in its approaches and less ape-like in its mimicries ? Wild Nature must not be forced ; only after long wooing and centuries of courtship will she lay her hand in man's. Let us take her as the sister of Art, with the frank admission that we make beauty for our houses and gardens by our art, for thus only is it natural for man to do.
HAVING then a new sense of what Science, Commerce, and Nature mean,'let the twentieth-century house be built for its time and for its place ; expressive of twentieth-century habits, and of each man's own convenience developed in the experiment of building. Our Science shall be that of the housewright ; our Commerce shall show itself in the provision of what is wanted ; our Nature be that mistress of the world who agrees that man's art must be of his own make. We shall accordingly be content no more with sham castles or sham abbeys ; sham manor houses or sham cottages ; no more with turrets and pinnacles, oriels, orders, pediments, traceries, canopies, Medieval glass, Classical statuary, Elizabethan timber-works, Jacobean plaster- work, rustic ingles and cottage nookeries ; all dexterously imitated, but irritatingly unreal. We shall contrive no more sham woodlands, rockeries, waterfalls, ruins, balustraded terraces or monster-spouting fountains. But having cast aside so much, shall we have anything left? Yes! we may have the art of architecture. That was the 12
House-Building
one thing smothered by the superfluity of nineteenth-century make- believe ; the one thing that could not be afforded, because the money had been spent in the expensive imitations of externals and all the luxuries that archaeology and commercial sale forced on our building as being essential to the styles in fashion. Only rarely in the century past has that art which lies in the pleasure and device of building got leave to appear — in some utilitarian breweries and warehouses, which show what nineteenth-century building might have been had j it not set its heart on being always like the architecture of some other age.
OUR house-building has now its chance. The styles copied from ancient art have all been tried and found to be one no better than the other, and as architects are at last really tired of copying them, why should not clients grow tired of paying for them ? The money set free by the rejection of the counterfeited ornaments would be available to bring back the genuine materials of building. These in the present estimate of commerce are no doubt more costly than the substitutes which an ever cheapening production have introduced in place of the local usage. The proper handling of the local building stones, for example, costs more than the imported masonwork of firms, but it will make an infinitely better house. The thin rough hand-made bricks are more costly to build with than the smooth machine-made kind, but they build a better wall; hand- made tiles, whether for floor or roof, are the better material. English oak carpentry and the old-world joinery of well-seasoned wood might come back again, if people would pay for them. AND no less might rational and purposelike construction come back in place of the fret and the fume of archaeological designing ; so that our own habits and ways of living might have a chance of asserting themselves. House and garden might come together into pleasant companionship without being modelled on the plan of an Italian villa. The convenience of a common-room, the general meeting and living-room of the house, might be contrived without its aping a mediaeval hall. A stately staircase might be set up and be no copy of one in a Queen Anne house or a Genoese palace^ Each bedroom might have its separate bathroom, and the con- trivance of them not be tortured to the shape of Gothic turrets. So too the ease and comfort of roomy fireplaces and wood- lined rooms might be achieved without the guilt of plagiarising from a Jacobean farm. And having saved the costs of all this learned design and commercial decoration, there might come to houses the handworks of those who love their work and do it_
13
House-Bulging
Instead of house-designers, there might be house-wrights. Masons and carpenters, able to be their own masters and build at no dictation, might achieve out of simple materials a construction that would be really expressive of the age. Plasterers and painters, too, might make a living art that would be received as such, in place of one that is made up of artistic reminiscence. And architects, delivered from the thraldom of design and required to provide neither orders nor styles, neither nooks nor symmetries, might be allowed the money for building with brains : that is to say, for a progressive experi- mental use of what science and commerce bring to their hands, a controlling grasp of the new practices of construction, for the purposes not of cheap construction but of good building. Thus alone may we cease to be purveyors of style. And when, at last, we shall have ceased to be artistic, perhaps we may grow, unselfconsciously, into artists.
EDWARD S. PRIOR.
H
A FEW WORDS ON DOMESTIC FURNITURE
•
tORE than a great deal has been written about domestic furniture, but very little of it is gay reading. We are still waiting for the right book on this subject, and must needs wait for it with patience. It is a book that requires a man of rare gifts, having a genius akin to that of, say, Monsieur J. J. Jusserand; a man, that is, who would give gaiety to his dry details of archasological fact, blending with them so much humour, and so many bright truths of unfamiliar social history, that, when treating of old cabinets and tables and of other household relics of a past civilisation, he would make real to us some forgotten episodes of home life in remote periods. And we should feel in all he said that a noteworthy style of old domestic furniture should not be studied merely as a curio, nor simply as an expression of genuine art. Taken up by the imagination, it should be thought of in connection with the social needs and customs that prevailed among the people who made it their own style ; and, further, it should be accepted as representing an epochal condition of things from which, in many respects, the world has gone far away. To a complete understanding of this fact we owe the following good remarks by Goethe, on the fashion (which still survives in many quarters) of furnishing houses in unmodern styles, so as to live under influences quite different from those of the present day :- "In a house," says Goethe, "where there are so many rooms that some are entered only three or four times a year, such a fancy may pass. ... But I cannot praise the man who fits out the rooms in which he lives with these strange, old-fashioned things. It is a sort of masquerade which, in the long run, can do no good in any respect ; on the contrary, it must have an unfavour- able effect on the man who adopts it. Such a fashion is in con- tradiction to the age we live in, and will only confirm people in the empty and hollow way of thinking and feeling wherein it originates. It is well enough, on a merry winter's evening, to go to a masquerade as a Turk, but what should we think of a person who wore such a masque all the year round? We should
15
Domestic Furniture
think either that he was crazy, or in a fair way to become so before long."
THIS quotation does not mean that fine examples of old furniture are useless. Goethe knew, of course, that they cannot be valued too much as objects of patient and humble study. To find out the plastic secrets of their fortunate shapes will ever be a liberal educa- tion in the spirit of their inventive co-ordination of lines and masses. But these great secrets, once discovered, must be used freely and wisely, and not exhibited to the world in a servile mimicry of the old models. They should be as servants to the fresh aims and requirements of art ; none but original hands should venture to employ them.
IF a poet were so misguided as to play the ape to the archaisms of Chaucer, his ridiculous affectation would provoke laughter ; and we may be sure that analogous whims in the handicrafts would excite equal ridicule, were it not that the inevitable changes through which the applied arts have passed, and to- day are passing, are much less easy to apprehend than the mingled development and decay of one's native language. At the present time, indeed, the appreciation of art in any form needs a long special training, so unfavourable to it is the existing type of society. The English tradition of a fine delicacy and reserve in vigorous and thorough craftsmanship was swallowed up by the industrialism of the nineteenth century, and has still to be renewed ; the jerry builder takes care that British towns and cities shall not grow in dignity and beauty; the expenses of life multiply, and many scores of thousands toil through penury to fireside discomforts. Hence it is not surprising that most people, becoming inured to their surroundings, should look upon art as a thing which, in their everyday life, has for them no attainable realness and happi- ness. So long as this temper of mind lasts, so long will it be 'easy to persuade the ignorant that they should invest their money in cheap and servile imitations of those styles of obsolete furniture in which the dilettante speculate with profit.
IT is regrettable, no doubt, that so many rooms in British houses should still be made ridiculous by spurious furniture of a dozen antiquated types. Yet even such pinchbeck copies of old works are not more troublesome to live with than the more modern gimcracks turned out by so many manufacturers. And even some of those men of business who make genuine honest furniture, in a plain style more or less in touch with the modern movement in design, are less generous than they might be, owing to the fact that it is their custom 16
Domestic Furniture
to ask too much money for their wares. Their strict honesty of craftsmanship should be something more for reaching than a luxury for the few ; it should be made into a valued comfort in all middle- class homes — a popular need, a national possession. A SCHEME of decoration for a living room may be described as a scenic background for the daily drama of home life. All its parts should co-ordinate, forming a restful unity of effect. This they rarely do when the furniture is an alien constituent, and not a result of the same impulse of design that produced the rest of the decoration. Here is a point that all good architects admit in theory, but some among them, in their own practice, drift away from its recognition. These are the architects who build fine houses, who construct admirable living rooms ; and then, somehow, at the last moment, when the furniture is considered in a belated manner, they lose all influence over their clients. There is no room here to discuss at length this familiar anti-climax to the decorative schemes of modern architects, but some reference must be made to it in even a few brief notes on household furniture. We admit at once that, in the present revival of an English style in this kind of furniture, a strenuous and very useful part is being played by several architects of known name, but the unity existing between a room and its furniture is a thing of such great importance that it ought to be happily illustrated far more often than it is at present in fine new houses. Clients, it is true, are sometimes exceedingly difficult to deal with ; their whims are many and various, and they dislike to give way on all points ; but, when all is said, their peculiarities do not exceed those which a portrait painter has daily to contend against in his sitters ; and this being so, may it not be said that a good architect, like a good portrait painter, should be expected to rise into art, no matter what his clients' likes and dislikes may be ? This is a question partly of social tact, partly of strength of character. And remember always that a fine new room, when spoilt by bad new furniture, cannot but do harm to the architect's professional standing and reputation.
ANOTHER essential point in connection with the present subject is suggested by the fact, very often forgotten, that the art of design in furniture, like that of architecture, is one of construction, and not of mere ornament. As in architecture, it should be thought out through the materials and in strict accordance with the best traditional methods of working the materials. To take an example, a chair ought to be well built, and its structural qualities should be exemplified in two ways : first, the greatest possible amount of B 17
Domestic Furniture
structural strength and dignity should be obtained with the smallest possible amount of wood ; and, next, the wood must be handled expertly as wood, and not be made to simulate the properties of any other material. For instance, to twist wood into interlacing and knotted forms that resemble ribbons, as Chippendale did m some of his early work, is precisely one of those fantastic vagaries of taste that a maker of furniture should take pride in avoiding. More o<rer the greater the attention given to the planning and building of furniture, the less is the temptation to depart from the requisite characteristic of a great reserve in the use of ornamental details. As painters who do not know the value of massed effects show their constructive weakness in squandered patches and dots of light and shadow, so a bad designer of furniture, who thinks but little ot structural fitness, reveals his inexpertness by means of " fussy of " ornamentation," erroneously so called.
LAST of all, household furniture is a thing for household use, not for show, and persons of taste feel instinctively that it ought to be m perfect keeping with the quiet dress of the period, neither profuse in rich ornamentation, nor yet blatant in the vigour of its plain
simplicity.
THIS applies to all peoples, but it is applicable above all Anglo-Saxons, whose delight in reserved ways of life has long been a distinguishing and admirable trait of their character. Mr. Reginald Blomfield says with truth, for instance, that " three great qualities stamped the English tradition in furniture so long as it was a living force — steadfastness of purpose, reserve in design, and thorough workmanship." In earlier days English craftsmen " made no laborious search for quaintness, no disordered attempts to combine the peculiarities of a dozen different ages." They had but to perfect what was already good. " As a people we rather pride ourselves on the resolute suppression of any florid display of feeling, but art in this country is so completely divorced from every-day existence, that it never seems to occur to an Englishman to import some of this fine insular quality into his daily surroundings." SINCE Mr. Blomfield wrote this sharp criticism, the art movement has certainly made headway, doing some real service to the cause of reasonableness in quiet design and in good construction. But the truth of the criticism has not been cancelled by the progress made ; it has been modified a little, and that is all. In some quarters, indeed, there is to-day, unfortunately, a reflorescence of a florid type of ornament in absolute antagonism with the needs of modern life. When will common sense come by its own ? 18
METAL- WORK IN ITS RELATION TO DOMESTIC DECORATION.
jEPENTANCE comes too late after one has undertaken to write about one's special subject. Although a man may be, in a way, saturated with metal-work, he yet finds, when the few minutes of leisure come in which he can quietly state his views on the subject, that his thoughts cannot be laid out and tabulated at will. Writing is not the medium in which he usually gives expression to his knowledge, and he is harassed by the fear that he may say too much or else too little. As domestic metal-work very largely occupies my attention, it is natural that I should think it a matter deserving very special consideration — of importance, though not of the first importance. A fire-grate, for instance, is a necessity which ought to be also an enrichment to the house ; the house itself in its architectural character must always, of course, be first.
FOR the moment we will consider that the house is a beautiful one, satisfying those who have to live in it and those who are re- sponsible for its building, and possibly also those who pass by outside and see it externally. Given such a house, it is a keen pleasure for the craftsman to be asked to design and make any one thing which shall help to complete the scheme of the whole, and at the same time add to the comfort of the occupiers.
TO do this, the metal-work must be thoughtfully designed and carried out so as to make something beautiful, workmanlike, and practicable, all three qualities united in the fullest degree. This is a high combination, and as one who is both a painter and a metal- worker, representing Fine Arts and Minor Arts, as we are pleased to call them, I venture to say that the " Minor " art requires greater effort to produce than the other. I also venture to believe that the man who has made a thoroughly practical and beautiful fire-grate has done as much, if not more, service, to his day and generation as he who has painted a good picture to hang on a wall — unless indeed it be one of those great pictures of which only a few are painted in a century. TWENTY years ago it was the fashion for a rich man to be known
'9
Metal-Work
as an owner of good pictures ; a country seat was celebrated for its Titians ; or a rich connoisseur was referred to as the man who had the Turners. This is so still to some extent, but I think a gradual change may be detected in the tendency of well-to-do people, some of whom, in London at all events, have their houses remodelled architecturally, and new appointments in all kinds of decoration done under their careful control and with a view to infusing into them some of their own personality. It seems a more logical thing to be known by the house one lives in than by the pictures one hangs on the walls.
TO the casual observer the amount of metal-work required in a house is not great, and perhaps, therefore, it has been considered un- important. But there is much more, and of more importance than one thinks. One may go, for instance, to a new house : it is good architecturally, but at the front door one finds a handle, a knocker, a letter-box, a bell-pull, &c. — little things, but what a chill they give one ! They have been taken from the usual stock pattern book ! Possibly they are not objectionable in design, but they have been made by the usual workman, in the usual workshop, and are devoid of any interesting quality.
IN certain kinds of tailors' shops ready-made clothes for men are laid on the shelf, ready for the first purchaser that comes, with no adaptation or fitness. Stout or thin, the man buys and wears them, signifying thereby his position in the social scale. To blame him would be unfair ; very likely he can afford no better, for none would buy shoddy if he could pay for a better suit. But how many front doors to fashionable houses are provided with " ready-made " metal-work, the owners of which would scorn to wear a coat of an equally bad character of workmanship !
OF course this raises the point as to whether a man's front door is as important as his coat ; personally I incline to think it is more so, for while many of the older houses still in existence have doors and doorways that have given pleasure for a century or two, this would not be possible in the case of a coat. But as I have already said, a change seems to be taking place in public appreciation ; and if a person has taste (and everybody should have some) he should see to it that his knocker and bell-handles are as carefully considered as his clothes. I am optimistic enough to look forward to the time when people will make their homes what they were in the past — a landmark, an historical record of the artistic work of their period, dominated by the personality of the families who dwelt and took pride in them. I refer to such homes as Burleigh and Hatfield. 20
Metal-Work
BUT these remarks are general, and it is necessary to particu- larise. The most noticeable thing in approaching a house is a railing, or possibly an iron gate. These are capable of great expression, and they are of far more importance in the architectural appearance of the whole than one imagines. In the older English houses, notably the simple red brick fronts of the William of Orange period, the plain railings were most carefully thought out in relation to the front elevation, and the carefully placed curves of the top horizontal bar were often the only ornament permitted.
WE have all noticed in the old Georgian houses where there are steps up to the front door, the delightful little quite plain hand- rail on either side, supported by its equally simple upright bars, which have a graceful curve that it would be difficult to better. The occupant of one old house I know had the Georgian railings removed, and at once the whole character of that house dis- appeared. From being a link with the past, a sort of open book recording past history and association for all who could read it, the removal of this little bit of ancient and beautiful iron-work brought the house right down to date — its whole ancestry and history were remorselessly cut away. Whenever I pass that house now its effect jars as much as it did twenty-five years ago when the deed was done.
GOOD railings are not necessarily costly ones, but good railings must be well thought out. I do not remember ever having seen a really well considered cast-iron railing. Even that is not impossible, but the whole question of cast-iron is so surrounded, encrusted, and enveloped in commercial considerations that until artists or thoughtful people get a finger in the pie it is not likely to be improved. This leaves us only wrought-iron, but even the best design on paper can be ruined by bad workmanship, and one reason why modern wrought-iron railings are dull and lifeless is that they have been manufactured by a commercial firm for commercial reasons. MENTION has been made of knockers. Is it not remarkable how a good knocker on an old house fixes itself on one's memory ? One does not notice the panelling of the door, nor count how many windows there are in the house, but one is quite sure about the knocker. Letter-boxes are hardly ever good unless they chance to be plain, a state of blessedness that the commercial designer and dealer take care we shall not be troubled with, because a plain brass letter-box requires better workmanship and costs more to make than one that is covered with ornament, the latter hiding indifferent casting and being a cheap substitute for finish. This is a fact that should be more
21
Metal-Work
widely appreciated, and every one who buys a letter-box for sixpence or ninepence should bear in mind that he is helping thereby to set back the clock in the matter of good workmanship. THE part of the bell-pull or push that is visible may be considered entirely from the artistic point of view. The plate covers the working part which is concealed, and is therefore a case in which the artist may have a free hand. The door handle is another story. Its first quality should be its suitability for grasping with the hand, then its strength and rigidity, and, lastly, its design, which must be the best that can be made out of the foregoing conditions, combined with the best treatment of the metal, and having in view always its suitability to the door in which it is placed. There are also the boot-scrapers and possibly a grid over the door in the fan-light, and the door has sometimes iron hinges, in which case it is necessary first to settle the working part of the hinge and see that it is quite satisfactory as regards strength. The visible part known as the long " strap," if the hinge takes this shape, is more for appearance than for anything else, and can be considered almost wholly from the point of view of the design.
INSIDE the house the different pieces of metal-work are in every- day use. Take the fire-irons, for instance. The general shape of these is almost settled by long usage and development, and they must comply with requirements. They should be light and nicely balanced for women's hands, whilst the poker should be heavy enough to enable the master of the house to tackle a lump of coal successfully. The coal-box, perhaps, is more difficult to deal with, as the shape and fashion of it for some time past has been mainly arranged to suit the profits of the commercial people who make them. We have become used to such very bad shapes that every one with taste has been driven to buy up the old copper and brass ones of our grandparents.
AS to grates, there are now some of very good design to be had in cast-iron, designed by some of the more thoughtful professional men. Especially in the matter of grates we should avoid the repro- ductions, often indifferent, of past styles, such as the " Empire," " Louis Quatorze," and things of that family, all of which are offered in the shops. Every effort ought to be made to surround ourselves with things of our own time and period; if we do so wisely we enjoy the good service not only of helping the art of our time towards development, but also of helping mankind generally to advance towards that desirable era when the love of beauty will be universal. I do not wish to infer that an " Empire " grate is not 22
Metal-Work
beautiful : it is, alas ! often more beautiful than a modern one. Still, we do not want to be extending the use of " Empire " grates to all eternity. It shows more discrimination on the part of the connoisseur to choose a piece of work which is of his own time rather than to be content with a stereotyped form that it has be- come the fashion to accept without criticism.
ELECTRIC light fittings offer great opportunities for good metal- work. There is nothing more delicate than this illuminaion, and it lends itself to the most dainty and slight forms. The conditions are nothing like they were in gas, for instance, and the great thing in designing is to let the metal-work emphasise the delicacy and softness of the light. Here is an opportunity for cheapness or for costly elaboration, and in time I hope we shall see some really good things in this direction. The handles and furniture of our room doors offer another chance of widening the good taste of householders.
NELSON DAWSON.
23
MODERN DOMESTIC STAINED GLASS.
STAINED glass claimed the attention of the early masters at a period when oil painting was unknown; but an art so difficult and so trammelled by a refractory material did not lend itself to the realisation of any sudden inspiration, and could at best have been but a source of constant irrita- tion to the mere artist ; consequently, on the advent of oil painting its votaries forsook it, and worshipped at the newer shrine. IN an attempt to glance for a moment at modern domestic stained glass, some attention must be given to the question, Should a window of stained glass be nothing more than a window, or may it be also a picture ? This has ever been a moot point of criticism ; and, upon the varied acceptance of the respective terms, window and picture, the many differences of opinion with regard to the art are based. But suppose we test the question by a simple examination, not by any standard of mere historical comparison, but simply from the point of view of the craftsman.
A WINDOW, that is the mere opening in a wall, is intended to admit light; and glass is valuable for this purpose because, while admitting light, it excludes the weather. The glass, having been cut up into various shapes and patterns, is fastened together with bands of lead ; then the finished panel is firmly fixed in the window space with iron rods.
ONE grants at the outset that utility, that is to say, the admission of light, is the essential thing required of stained glass. Sometimes the glass may be needed to subdue light, sometimes to admit a maximum of light ; in any case, it is imperative that it resist the weather. The chief point for consideration is, no doubt, the quality of the light that is admitted, and at this point attention may be drawn to the great and fortunate divergence that has taken place in the art from the ideals of fifty years ago. Where formerly tours de force of colour prevailed, ponderous facts dealt with in a severe and didactic manner, over-painted, over-stained, betraying all the gross- ness of a perverted mechanical dexterity, we now possess sim- plicity, sweetness, and light. The sombre measure of an effete 24
Stained Glass
barbarism has given place to the welcome cadence of form and colour.
WHEN dealing with the subject of stained glass, it is useful to dwell for a moment on the necessary consonance between "form" and "quality." We have all as a matter of experience acquired a perception of the correct association of these conditions : for example, the line " embattled " in heraldry suggests strength, firmness, rigidity, while the line undee suggests JIuency. We recognise, too, the "hard- ness" of stone, the "rigidity" of iron, the "flexibility" of a watch spring, the "brilliance" of a diamond, and we invariably associate these qualities with certain outlines which we instinctively acknow- ledge as being best fitted to express such qualities. NOW, bearing in mind that glass is fragile and transparent, and that its fracture runs always in well-defined lines that are more or less straight, how is the " glass " quality to be expressed ? The pieces may be of very varied dimensions, but the fluent lines must be well contrasted with straight lines, and in order to keep the quality of transparence, the glass ought to be left as far as possible in its pristine clearness.
THEN again, as the emotion of taste is inseparably associated with the perception of utility, and beauty of association, the most perfect design will be the one that indicates these qualities in the highest degree. One result, then, of a perfect practice of this art is the advent of this perception of utility. With glass and lead, that is, with light and darkness, and a palette composed of black, of textures of varying radiance, brilliance, opalescence, and transparence, all deftly harmon- ised into a united theme, each note in tune with the others, and the rhythm marked by the silence of the black lead — it is thus that a window is put together. The pattern may not at first glance be quite distinguishable, but gradually the design resolves, expands, and is lost again as the attention is focused upon it or diverted. That is, the window retains its initial quality of utility. TILL within a comparatively recent period, domestic stained glass was but a faint reflection of the expiring light of Gothic art ; so faint, in fact, that to the ordinary observer considerable doubt might have occurred as to the reality of its existence. With the evolution and development of taste that has taken place in modern domestic architecture, stained glass has by quite a natural sequence evinced a tendency to improve on similar lines, simplicity, not ornamentation, being the keynote of the movement. AN important feature of modern domestic stained glass is the pro- minence given to outline. The lead, formerly looked upon as a
25
Stained Glass
necessary evil, has now become the corner-stone of the fabric. One result of this development is that it keeps good work in the hands of a few designers of some versatility. Where formerly it was the practice to exhibit a pictorial effect of colour more or less bizarre, the tendency now is to render the theme in freehand drawing throughout; the lead lines marking the outlines, the quality and colour of glass being subsidiary features, though none the less giving their due value to the general effect.
TO my mind, however, the charm of the art lies not in any intrinsic grandeur of effect, but rather in its delicate, naif simplicity. Nothing can surpass the pleasure of weaving fact and fancy in a subtle blending of darkness and light, and shimmer and sheen, with some quaint phrase to divert the reverie into an old-world realm of romance — if only it be well done. Be that as it may, even at the present time the major portion of the work may be termed " commercial." Not that the phrase is necessarily invidious, but rather that it distinguishes the " general " from the " particular," the "factory" from the "botega." However, as Napoleon said, "Morals were not made for emperors " ; and while the mind will ever delight in formulating laws to govern art, the craftsman, being a law unto himself, sets a trap to catch a sunbeam in his own particular fancy. Certainly, at no previous period has mechanical dexterity attained such perfection. Yet the fact remains, that the best examples of modern domestic stained glass owe their excellence not to any intrinsic quality of execution, but simply to the versatile inventive faculty of the designer. The prime factor in this excellence would appear to be not merely a facility or deftness in drawing, but the superior qualities of education, inventive faculty, and poetic tem- perament.
IN stained glass, as in any other art, the best features cannot be imitated: in reality they are absolutely individual in their origin, and are the direct product of a particular condition of mind influenced by study. The best features of modern glass, then, do not consist in the choice of this or that material, or this or that particular mode or method, but are vested solely in the individuality of the craftsman, the most excellent effects being produced often with inexpensive materials. The trend of modern domestic stained glass, happily, leads towards a disregard for precedent, and also towards a freedom that is lightened by a play of fancy, a carolling gaiety of light, and a gradual approach towards simplicity.
OSCAR PATERSON.
26
A FEW WORDS ON DECORATION AND EMBROIDERY.
ONE ought to say that decoration is merely the utterance of the craftsman's joy in his I task, the impress of that light, half-playful, ; half-experimental touch which is almost a I caress of the material, from the hand of one J at once its lover and its master, winning un- t premeditated beauties at every turn of the tools. This it is, but more. We speak of the joy of life, but we know that sorrow has H) also its part in beauty ; and hope too, and pity, and even the wonder that verges upon fear. The spirit of man, under all emotions and at all ages, finds a voice in decoration. The true artist, like the poet, will even "out of his griefs make little songs " — dainty lilts of pattern, colours that cry aloud for musical analogy, and forms that we call rhythmic, just as we interchange between art and music the words " tone " and " key." We go, as we are bid, to nature for our inspiration in design, and find some of her moods " not joyous but grievous," so that all great art must take account, however reservedly, of the darker side of things. And not only does nature offer diverse moods to man : nothing less than infinite is the response of race and temperament to the beauty of the world, and to what it offers to the designer's hand. How different is the attitude of different peoples towards the natural elements, and landscape, and living things ! The Egyptian, having tamed his deities in their tabernacle of flesh, surrounds him- self with the forms, say, of benign birds. The Celt — saddest of all dreamers in design, except perhaps the Slav — sets the mark of struggle, of mystery, upon his handicrafts. The Oriental loves the stars, and finds in them his suggestion for symbol and pattern. With the Japanese, on the other hand, is the spirit of the child. They delight in monsters, and in all quaint, untameable things; and they love the sea, unlike the Hebrews, who in the vision of the Apocalypse banish it from heaven. In this way the selection of natural forms to love, to fear, to play with, to handle in decoration, has always gone side by side with the growth of religion and ritual. POETIC and imaginative peoples bring their worship into their dwellings, making no sharp contrast between the home and the
27
Decoration and Embroidery
temple. This, indeed, occurs whenever an effective religion is intimately woven with the ritual of common life. Yet there is a real distinction between the public building — in which the decoration should be broad, simple, and of universal interest ; should speak, as the rubric says, " in the vulgar tongue," — and the private house, in which individual taste and experiment in decorative handicrafts should have more sway. The difficulty of the modern designer is to find any real aesthetic sensibility on the part of those whom his craftsmanship is to serve. Not to one artist in a hundred is per- mitted the joy of building and adorning his own home from roof to cellar ; and only a minority are able to adapt, with success and satisfaction, a ready-made building to their own artistic needs. A commission from a patron of real discernment, with means and tact to ease the task and not embarrass it, is hardly yet, to the architect of to-day, a familiar occurrence. He welcomes it as the rewaid of a good deal of drudgery, the compensation of the ordinary routine into which so much of business, so little of art, enters; and when it comes, it is fraught with heavy anxieties, and suffers (he thinks, and often rightly) from shortcomings greater than his own. IN fact, the decorator's task begins with the education of the householder. To kindle any spark of feeling for material, or for the nature and fitness of ornament, in the class of persons known officially as « occupiers "—nay, even to convince them of the first principles of decoration— is mission enough for the most ardent pro- pagandist. Only those who know the intellectual and aesthetic slums of suburbia, and the degradation of craft and ornament in which they are sunk, understand how tenaciously the misconception of « art as « pictures "—or at the most, of fancy articles set out on furniture and brackets— clings yet to the average English mind. The housewife, with a zeal that is tragic in the waste of labour and the oss of time and ease and beauty, loads her shelves with paltry knick-knacks, not worth the trouble of dusting day by day • smothers her wholesome floor with a heavy carpet, and covers the carpet with a white drugget upon which the foot of toil must never tread, so that the whole room is lost to the household She nils every possible opening with draperies that repel air and sun- shine and harbour the dust ; the texture of her walls and fixtures is such as goes for years uncleanable and unclean ; she seems to con- trive—or to endure unconsciously— that every domestic utensil shall = awkward, unsuitable to its purpose, and therefore as difficult to use and care for as wrong-headed ingenuity can make it. And «ven when the surface-rubbish of the Victorian home is cleared
2o
Decoration and Embroidery
away, the impression lingers that only new suites of furniture, new ornaments and utensils have to be ordered, and modern decorative art is at the door. No principle was ever harder of entrance than the truth that decoration is an inseparable part of the whole scheme of beauty in a dwelling, beginning with the very shell and back- ground surfaces, and running harmoniously through all useful and necessary things. Not something added from without, but some- thing springing naturally from the form, the occasion, that utility offers : this is what the seeker for the ornate fights blindly, deem- ing it, like the waters of Jordan, too obvious to be good. BUT perhaps the hardest task of the missionary in decoration is to commend and justify convention in design. Suburbia, purged of its worst offences in machine-ornament and fancy wares, will still turn and rend us for what it calls the stiffness, the artificiality, of a decorative figure; will still cry obstinately for a "natural" leaf or flower — by which they mean a literal and individual spray. We carve a rose upon a panel, or embroider it on silk. " This is not a real rose," they protest. " Why can't you make it look as if it were growing ? " And no argument will persuade the ignorant mind that it is not the object of the designer to copy actual roses, but to formulate a type, to sum up in a few eloquent lines the habit and character of roses, as the musician sums up in his leit-motif the essential utterance of his work.
IN these straits the most patient craftsman is apt to nurse his envy of the Greeks or Goths, whom he deems to have had no testy clients, nor amateur copyists, nor " general public " to buffet them. Yet can we believe that the builders of the past, the decorators of Cologne and Canterbury, of Elizabethan halls and Surrey cottages, escaped such moments of exasperation and despair ? Surely they had their limitations even as we : limitations in the intelligence of others, limitations of opportunity, difficulties of traffic, of material, of site — indeed, are not these pointed out to us in archaeological lectures, and repeated daily by groups of tourists in the wake of the guide ?
TO make the very limitations serve in some way the ends of beauty — this is the test of Genius ; but what of the average decorator of to-day, stranded among so many bungled and half-spoilt things ? PROBABLY the ancient answer is a wise one, that the greater the limitation the greater the triumph of art. Also, there is, perhaps, a little vanity in the attempt of the modern architect and designer to build, as it were, " for all time." The present moment seems to call less for enduring monuments than for light, gay, frankly
29
Decoration and Embroidery
experimental and ephemeral things. To do these well is by no means easy to us: and this is where the Japanese excel. Only a rigid Puritanism dismisses them entirely, as unworthy of being finely done. Our strenuous national temper needs this discipline of lightness, for it is apt to betray itself in the narrow vision and the heavy hand.
THAT decoration should be handicraft, untouched by machinery, seems the surest way back into the main paths of beautiful invention from which our art has strayed. The cultivation of inexpensive forms of treatment for such surfaces as may fitly be ephemeral in their nature is, perhaps, one of the happiest tendencies of the hour. Stencilling for walls, light hangings, and subjects removed from immediate friction, is an instance of this ; and here its transience is an element of charm, especially in the nursery, where change is so welcome — for the children tire, more painfully than we realise, of durable surroundings. It need hardly be added that decoration of this kind should be carried out in materials proper to its spirit ; the stencil in water-colour, and on suitable paper, rather than in a medium which assumes incongruous glaze. Canvas and silk, like the painted or panelled wall, demand a fuller decorative treat- ment ; the more slender vehicle becomes the task suggested above — the making the best of slender opportunities, with limitations of structure, space, and light.
THEN, as regards wall-papers, the excessively patterned surfaces of which still make life troublesome in a vast number of homes, the chief point to be borne in mind is this : that they should serve only as good backgrounds, both to the furniture and pictures, and also to the soberly-dressed people who have to be at ease with them day after day. Unless a paper-hanging be good enough in design and colour to form by itself a tapestry-like background, the less pattern there is upon it the greater is its chance of being pleasant to live with. Those who design wall-papers have long recognised this fact — that is, in their own homes ; and, happily, the present tendencies of the decorative movement in domestic art-work are in the direction of plain wall-spaces, either panelled with dull- polished woods, or else papered or painted in such good tones of colour as are in complete accord with the function which they have to perform as quiet background interests. Note, too, that in the treatment of one-toned wall spaces a great many useful parts can and should be played by varied textures, such textures as may be obtained by the use of self-coloured plasters, or, again, as may be found in woven fabrics and in woods of fine natural grain. Brown 30
Decoration and Embroidery
and brown-grey papers are not yet popular, as they deserve to be, and the appreciation of tool-polished woods needs encouragement throughout the country. It is a thing that every school of art should teach to its students. If at times a brighter polish is needed than that which the friction of a sharp tool produces, the wood may be exposed to the light for a few days or weeks, and then bees'-waxed and rubbed thoroughly. To detest the French polisher, with the childish delight he takes in a mirror-like surface, may be looked upon as the beginning of wisdom in all mat- ters appertaining to frank and sweet reasonableness in household decoration.
AND a point must be mentioned here in connection with the decorative use of embroideries : the point, namely, that the modern art of needlework is but a timid youngster, a baby, cramped almost to death in "the swaddling clothes of precedent." For one embroiderer who can design something fresh and good and her own, there are two or three thousand serious triflers who misspend their time on literal imitations of old specimens of fine needlecraft. Far be it from our present intention to undervalue the lessons which may be studied in good examples of ancient embroidery. To study such models wisely is to make friends with the traditions of their art, traditions of principle and method. But the needleworkers who copy them to-day are not good students, as a rule. The great majority of them never get to the art within the traditions of technique. Some among them do not even grow conscious of the fact that the art of embroidery has no dealings at all with effects of perspective, its true function being a beautiful display of objects on one plane, all equally near to the eye. There should be no suggestion of distance between any two parts of a good design. Forgetfulness of this rule is so common nowadays, that to mention it seems quixotic. "Painting with the needle" is an attractive phrase, but it reveals great ignorance of the real function and the special genius of embroidery.
BUT the most important secret of the old work's perennial fascination brings us in touch with the inspiration that elevates technical dexterity into art. The old embroideries are delightful just because we feel that we owe them to an inventive skill of hand that drew its inspiration from nature's flowers and birds and trees, or else from a religious faith as ingenuous as it was deep and earnest. The embroiderers of bygone days were in love with the spirit of their conventions. To-day, on the other hand, more often than not, imitative technique is the be-all and end-all of embroidery. The
31
Decoration and Embroidery
workers stitch, stitch, stitch, and every stitch is a result of unfeeling plagiarism, just because the beauty of the old craftsmanship is not understood as it ought to be. If the working of samplers were to be encouraged once more in a wise manner, among girls at home and at school, the modern art of needlework, so rare to-day, would have a good chance of freeing itself from " the swaddling clothes of pre- cedent." But the encouragement given must be really wise, and not afflicted with such whims of dilettanteism as may be met with in most of those schools of "'art' needlework" which now turn out very little that is fresh and bright — bright with new aims, that is to say, as well as with old principles and methods.
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ARCHITECTS
THE DINING-ROOM-FIREPLACE-AT-BRAHAN, PERTH. THE INOLENOOK AND THE CEILING ARE OF SOLID OAK BEAMS AND THE PANELS OVER THE FIRE- PLACE ARE IN COPPER BY MR. EDGAR SIMPSON. SLABS OF IRISH GREEN MARBLE SURROUND THE FIREPLACE. THE GRATE IS OF BRIGHT STEEL 36
F. W. BEDFORD AND S. D. KITSON ! AKCHITFXTS
THE DINING-ROOM SIDEBOARD AT BRAHAN, PERTH. THIS FITTING IS MADE OF AUSTRIAN OAK, AND IS LEFT CLEAN FROM THE TOOL THE REPOUSSEE COPPER PANELS ARE BY MR. EDOAR SIMPSON AND THE HANDLES AND HINGES BY MR. R. LL. RATHBONE
37
F. W. BEDFORD AND S. D. KITSON
ARCHITECTS
BILLIARD-ROOM FIREPLACE AT BRAHAN, PERTH THE CARVED-WORK BY MR. HAYES OF EDINBURGH REPRESENTS "DAY AND NIGHT"
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FRANK BRANGWYN DESIGNER
(By permission of M. S. Bing)
TIFFANY GLASS WINDOW. THE FIGURE IS GREY-BLUE THE SKY AN OPALESCENT GREY, THE LEAVES ARE DARK GREEN AND THE GOURDS ORANGE
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FRANK BRANGWYN
DESIGNER
SKETCH FOR A PANEL 40
FRANK BRANGWYN DESIGNER
SKETCH FOR A PANEL 41
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DESIGN FOR A FIREPLACE IN CEDAR WOOD
TO BE DECORATED WITH AN I-NAMliL PANEL FROM A SKETCH BY
FRANK BRANGWYN
FRANK BRANGWYN DESIGNER
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BEDCOVER. WORKED ON HANDMADE BROWN LINEN IN WHITE AND IN TONES OF GREY-BLUE, PALE YELLOW, AND WARM GREY
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FRANK BRANGWYN
DESIGNER
CARPET IN DEEP BLUE, DARK RED AND RICH ORANGE, WITH BUFF BORDER
(By permission of M. S. Bing, Paris)
DESIGN FOR CARPET
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(The Property of La Maison Modem, Paris)
FRANK BKANGWYN DESIGNER
DESIGN FOR I'ART OF A CARPKT IN DARK GREY-BLUI-, WARM GREY, AND COOL GREENS
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FRANK BRANGWYN DESIGNER
PART OF A FRIEZE
CHAIRS IN CHERRY-WOOD, WITH INLAID BACK PANELS. THE SMALL TABLE, ALSO OF CHERRY-WOOD, SUPPORTS AN ELECTRIC-LIGHT LAMP OF SILVER
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(By fermissioti of Mr. and Mis. Davis)
FRANK BRANGWYN DESIGNER
BED IN CHERRY-WOOD, \VITII SLIDING PANELS AT THE HEAD TO FORM A CUPBOARD
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THE VERANDAH AT "THE FIVES COURT, PINNER THE WOODWORK OF PINE IS PAINTED DARK GREEN, AND THE WALLS ARE ROUGH-CAST 54
W. H. BRIERLEY ARCHITECT
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(By permission of R. L. Essex, Esq.)
NORTH AND SOUTH SIDES OF " DIXCOT," STREATHAM PARK. THIS HOUSE, BUILT OF HAM HILL STONE, HAS ROUGH-CAST WALLS AND A RED-TILED ROOF
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WALTER F. CAVE ARCHITECT
HALL AND STAIRCASE OF OAK AT " D1XCOT," STREATHAM PARK 64
WALTER F. CAVE
ARCHITECT
FIREPLACE AND FURNITURE AT 3O, BUCKINGHAM GATE, LONDON
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ORIGINAL DESIGN FOR A HOUSE NEAR PICCADILLY, BUILT OF PORTLAND STONE. THE RAIN-WATER HEADS ARE OF BEATEN LEAD, BY T. STIRLING LEE
67
C. J. HAROLD COOPER
ARCHITECT
HALL AND STAIRCASE IN A HOUSE NEAR PICCADILLY. BUILT IN PORTLAND STONE AND OAK, WITH MODELLED PLASTER CEILINGS UNDER THE GALLERIES. THE BALUSTERS REPRESENT LIFE. THE FIRST FLIGHT OF STAIRS HAS A TULIP-BULB TREATMENT; THE SECOND FLIGHT, A TREATMENT OF THISTLES, AND THE THIRD, A TREATMENT OF POPPIES. THE OAK CARVING WAS CARRIED OUT BY T. STIRLING LEE AND W. S. FRITH; WHILE THE PLASTER CEILINGS ARE THE WORK OF F. W. POMEROY 68
C. J. HAROLD COOPER ARCHITECT
OAK STAIRCASE IN A HOUSE NEAR PICCADILLY SHOWING THE THISTLE BALUSTERS CARVED BY T. STIRLING LEE AND W. S. FRITH
69
C. J. HAROLD COOPER ARCHITECT
A HOUSE NEAR PICCADILLY; THE BILLIARD-ROOM MANTELPIECE IN GREEN MARBLE AND SPANISH MAHOGANY. THE PANEL OF RACEHORSES, THE WORK OF A. G. WALKER, IS IN BRONZE 70
<J. J. HAROLD, COOPER AKCHITFXT
A BEDROOM PANELLED WITH ENGLISH OAK IN A HOUSE NEAR PICCADILLY. THE PLASTER CEILING WAS MODELLED BY T. STIRLING LEE AND W. S. FRITH, WHILE THE GRATE OF WROUGHT IRON AND BRASS WAS DESIGNED MADE AND PATENTED BY NELSON DAWSON
71
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AN OAK PANEL IN A HOUSE NEAR PICCADILLY CARVED BY T. STIRLING LEE AND W. S. FRITH
SATINWOOD PIANO, INLAID WITH GREEN EBONY AND TULIP-WOOD. DESIGNED BY THE ARCHITECT FOR THE DRAWING-ROOM OF A HOUSE NEAR PICCADILLY
74
C. J. HAROLD COOPER ARCHITECT
ANOTHER OAK PANEL, CARVED BY T. STIRLING LEE AND W. S. FRITH
OAK TABLE AND CHAIR, DESIGNED BY THE ARCHITECT FOR A HOUSE NEAR PICCADILLY
75
MAY L. G. COOKSEY
DESIGNER
"TRISTAN AND ISOLDE." CARTOON FOR A CIRCULAR WINDOW, TO BE TREATED IN A SCHEME OF TONES RANGING FROM BROWN AND YELLOW TO OLIVE GREEN
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VIEW OF THE DINING-ROOM IN A HOUSE BUILT AT BARNT GREEN, WORCESTERSHIRE, FOR FRANK RABONE, ESQ. THE PANELLING AND THE CARVED-WORK ARE IN OAK; OAK AND PLASTER HAVE BEEN USED FOR THE
FRIEZE; THE ELECTRIC FITTINGS, MADE BY THE BROMSGROVE GUILD, ARE OF COPPER; AND THE FIRE PLACE IS IN RED BROMSGROVE STONE. THE TABLES AND THE CHAIRS ARE OLD
79
J. CROUCH AND E. BUTLER
ARCHITECTS
VIEW OF DINING-ROOM IN MR. BUTLER'S HOUSE AT BUTTON COLDFIELD SHOWING A PANEL OF EMBROIDERY <ED AND EXECUTED BY MARY NEWILL, AND ILLUSTRATING "THE GARDEN OF ADONIS " IN SPENSER'S
FAERIE QUEENE." THE FRIEZE ABOVE THIS PANEL OF EMBROIDERY, REPRESENTING A SCENE FROM
IVANHOE, WAS PAINTED BY FRED DAVIS, R I. 80
"THE GARDEN OF ADONIS"
A PANI I OIDERY DESIGNED AM) I M:CUTKD BY
MARY NhWILL
I Hi I)IM\(,.R(Ki.\\ ILLUSTRATED ON PAGE 80
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PEASANT ARCHERS, LED BY JOHN BALL, RETURNING FROM THE BUTTS
VIEW TOWARDS THE INGLE-NOOK IN THE HALL OF MR. CROUCH'S HOUSE AT BUTTON COLDFIELD, WARWICK- SHIRE. THE SOLID CONSTRUCTIONAL BEAMS AND POSTS AND BRACKETS GIVE SIMPLICITY AS WELL AS STRENGTH. THE FRIEZE, MEASURING 14 FT. BY 3 FT. 6 IN., IS BY FRED DAVIS, R.I., AND FORMS PART OF A SCHEME ILLUSTRATING MORRIS'S "DREAM OF JOHN BALL." THE UPPER PORTION OF THE HALL IS IN OAK AND PLASTER, WHILE THE LOWER PART IS BUILT OF RED SAND-FACED BRICKS FROM LEICESTERSHIRE, VERY RICH AND VARIED IN COLOUR. THE GLASS WINDOWS ON EACH SIDE OF THE INGLE, BY MARY NEWILL, REPRESENT JOHN BALL AND WAT TYLER 84
J. CROUCH AND E. BUTLER ARCHITECTS
HALL IN A HOUSE BUILT AT HANDSWORTH WOOD, STAFFORDSHIRE, FOR ALFRED CONSTANTINE, ESQ. ALL THE EXPOSED WOODWORK IS IN OAK, SLIGHTLY DARKENED, WAXED, AND POLISHED. THE FRIEZE BY FRED DAVIS, R.I., ILLUSTRATES A HUNTING SCENE AND "THE FEAST OF THE PEACOCK"
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RECESS AT THE END OF THE DINING-ROOM IN MR. CROUCH'S HOUSE AT BUTTON COLDFIELD- RED LEICESTERSHIRE BRICKS HAVE BEEN USED FOR THE LOWER PART OF THE WALLS; THE HOOD TO THE FIREPLACE, DECORATED WITH A VIKING'S GALLEY IN LOW RELIEF, IS OF HAMMERED COPPER; AND THE COPPERWORK IS SURROUNDED BY PLAIN SPLATS OF' OAK CONTAINING PANELS OF TAPESTRY
88
NELSON DAWSON METAL-WORKER
FORGED IRON GATE TO PALACE GATE HOUSE, KENSINGTON. THIS GATE WAS NOT MADE IN THE USUAL MODERN MANNER BY SCREWING OR FITTING TOGETHER A NUMBER OF SMALL PIECES; IT WAS FORGED THROUGHOUT IN THE THIRTEENTH CENTURY MANNER
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ALEXANDER FISHER METAL-WORKER AND ENAMELLER
ELECTRIC LAMP, IN HAMMERED COPPER AND TRANSLUCENT ENAMELS. MADE FOR A ROOM 2O FT. HIGH. THE ENAMELS ARE BRIGHT RUBY, TOPAZ AND SAPPHIRE 94
HALL LAMP OF GOLDEN BROWN COPPER, WITH THREE ELECTRIC LIGHTS. THE BOSSES OF TRANSLUCENT ENAMEL ARE IN RICH BROKEN SHADES OF GREEN, OF GOLD AND OF BLUE
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AMBROSE HEAL, JUNIOR DESIGNER
SIDEBOARD OF OAK, FUMIGATED AND WAX POLISHED, WITH INLAYS OF EBONY AND PEWTER. THE INLAYS OF ORANGE BLOSSOM AND FRUIT WERE DESIGNED BY CHRISTINE ANGUS
DOUBLE WRITING-TABLE, MADE OF OAK SLIGHTLY FUMIGATED AND WAX POLISHED, WITH INLAYS OF
PEWTER AND EBONY
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DESIGN FOR DOMESTIC STAINED GLASS IO4
SELWYN IMAGE DESIGNER
DESIGN FOR DOMESTIC STAINED GLASS
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THE DINING-ROOM IN A STUDIO FLAT FOR DESCRIPTION SEE PAGE IIO
III.
C. R. MACKINTOSH AND MARGARET MACDONALD MACKINTOSH
DESIGNERS
WHITE HANGINCS W,TH PURPLE SILK APPLIED 1°'
ENRICHED W.TH COLOURED STONES THE
BOTH BV OREE, PANELS IN THE aRol
AND WINDOW CURTAINS, AS WELL AS BY
AND THE WARDROBE
113
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HMBROIDERED ARE WORKED AND
RICHLY EMBROIDERED BED-H VNGINGS THE °™AMENT °F THE BED, THE MIRROR)
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DESIGNERS
A BEDROOM
THE STUDIO. THE FRIEZE, A MURAL PAINTING UPON PLASTER, IS IN TONES OF BLACK AND RED; THE FURNITURE IS PAINTED DARK, AND THE LOWER PARTS OF THE WALLS ARE COVERED WITH BROWN PAPER
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PICKFORD MARRIOTT MOSAIC WORKER IN PEARL AND IVORY
THE VIRGIN AND CHILD. A DECORATIVE PANEL IN IVORY, GESSO, AND MOTHER-OF-PEARL. THREE KINDS OF PEARL SHELL HAVE BEEN USED. A LIGHT-COLOURED SHELL FOR THE CHILD'S ROBE, THE DRESS OF THE VIRGIN, THE NIMBUS AND THE DOVE, GIVING A QUALITY OF IRIDESCENT COLOUR QUITE IMPOSSIBLE TO ATTAIN IN ANY OTHER MATERIAL. THE VIRGIN'S CLOAK IS OF BLUE SHELL, AND EACH PIECE HAS BEEN SO CAREFULLY SELECTED THAT THE NATURAL MARK- INGS SUGGEST A PATTERN, AND GIVE THE AP- PEARANCE OF A RICH BROCADE. IVORY OF THE SAME THICKNESS AS THE SHELL IS THE SUB- STANCE UPON WHICH THE HEADS AND HANDS ARE PAINTED IN POTTERY COLOURS; GILDED GESSO, MODELLED IN VERY LOW RELIEF, HAS BEEN USED FOR THE BACKGROUND, THE GOLD BEING TONED DOWN WITH TRANSPARENT COLOUR. A RAISED LINE OF GESSO^OUTLINES THE FIGURES, AND MARKS THE FOLDS OF THE DRAPERY I2O
PANEL IN SECTILE MOSAIC OF MOTHER-OF-PEARL. THE PIECES OF THE WINGS WERE SAWN OUT OF SOLID WHITE SHELL, THEN INSET WITH PIECES OF BLUE AND PINK PEARL
DECORATIVE PANEL FOR A FIREPLACE
IN GREliN SHELL AND MOTHER-OF-PEARL DESIGNED AND CARRIED OUT BY
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ARNOLD MITCHELL ARCHITECT
TOYS HILL, KENT
(By permission oj Miss Fowler
THE HALL, TOYS HILL, KENT. THE PANELLING AND FLOOR ARE OF WAINSCOT OAK, AND THE STAIRS WERE BUILT UP WITH OLD BALUSTERS. THE MATERIALS USED IN THE BUILDING OF THE HOUSE WERE LYMPSFIELD COURSED RAG-STONE AND HOWLEY PARK STONE, THE FIRST HAVING A RICH YELLOW TONE, THE OTHER A STRONG GREY 126
ARNOLD MITCHELL ARCHITECT
ENTRANCE HALL IN THE HOUSE AT MILFORD. THE WALL FRAMINGS AND THE FLOOR ARE EXECUTED IN WAINSCOAT OAK, FUMED DARK AND WAXED ; THE CEILINGS ARE IN MODELLED PLASTER FINISHED WHITE. THIS IS ONE OF A SUITE OF FIVE LARGE ROOMS TREATED IN f. SIMILAR WAY. THE SAME TREATMENT IS EXTENDED TO THE GALLERY AND ALL THE PASSAGES ON THE FIRST FLOOR. THOUGH COSTLY IN THE FIRST INSTANCE, IT IS A TREATMENT THAT WEARS ADMIRABLY, ITS DECORATIVE EFFECT IMPROVING WITH EACH ADDITIONAL YEAR OF AGE
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FANLIGHT OVER A DOOR, CARRIED OUT ENTIRELY IN WHITE GLASSES OF VARIOUS TEXT- URES. THE SKY IS OF CROWN GLASS, WITH THE "BULLIONS" LEFT IN; THE ROUNDED CORNERS ARE FORMED, NOT BY PAINTING, BUT BY CARRYING THE LEAD ROUND
A ROOM. THE WOODWORK IS PAINTED IN IVORY COLOUR, LIKE THE FRIEZE AND CEILING; THE WALLS ARE HUNG WITH AME- THYST COLOURED CANVAS; THE CARPET is A SOFT SAFFRON RED 13°
WILLIAM JAMES XEATBY 3ES1GNER
DISH IN HAMMERED COPPER
HANDMADE COAL BOXES IN OAK : THE ONE STAINED GREEN, THE OTHER A DARK INDIGO BLUE. THE HINGES, SLIGHTLY POLISHED, ARE IN COPPER AND GILDING METAL
MR?. J. R. NEWBERY
DESIGNER AND EMBROIDERER
AN EMBROIDERED WINDOW CURTAIN AND A LINEN WORKBAG EMBROIDERED WITH CREWEL WORK 132
MRS. J. K. XFAVHKRY
PI SK'.NKK AND KMBKOIDKKKR
JOYANDWOE AREV/OWINE KlQTHINGfbR FHESOVLDIVINE
GRIEFAN5PINE RVN5AJO
A WINDOW CURTAIN EMBROIDERED ON LINEN, WITH PINK, PURPLE AND GREEN WOOLS. THE UPPER ILLUSTRATION REPRESENTS A CUSHION COVER, EMBROIDERED- ON DARK, UNBLEACHED LINEN, WITH MICHAELMAS DAISIES
133
ERNEST NEWTON ARCHITECT
THE ENTRANCE PORCH, " GLEBELANDS," WOKINGHAM 134
ERNES']' XEVVTON
ARCHITECT
THE MORNING ROOM BAY, " GLEBELANDS," WOKINGHAM
135
ERNEST NEWTON ARCHITECT
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"GLEBELANDS," WOKINGHAM
ROOM AT BULLER'S WOOD, PANELLED IN WHITE. THE FRIEZE, CEILING AND CARPETS ARE BY WILLIAM MORRIS. IN THE FRIEZE ARE DELICATE SHADES OF GREEN, RED AND YELLOW ; THE DELICATE PATTERNS ON THE CEILING RIBS ARE PAINTED A PALE YELLOW-BROWN 136
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.nil WINDOWS RII'UI SITTING "Me, HI" AM) "DAY' DESKiMD \M» EXECUTED BY
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WINDOW REPRESENTING A SCENE FROM THE " MORTE D'ARTHUR." THE SCHEME OF COLOUR RANGES FROM BLACK TO GREY AND WHITE. THE GLASS, WHICH VARIES MUCH IN TEXTURE, IS NEARLY ALL TRANSPARENT. AT THE FIRST GLANCE, WHEN SEEN AGAINST THE LIGHT, THE PICTURE IS NOT " READABLE," BUT GRADUALLY IT BECOMES SO. THE PATTERN, HERE AND THERE, IS ETCHED WITH ACID
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LEADED WINDOW
LEADED WINDOW WITH OLIVE AND DARK GREEN TREES. THE SETTING SUN IS REPRE- SENTED BY A PIECE OF ROUGH-CAST PLATE GLASS WITH A BEVELLED EDGE. THE RAYS ARE CARRIED OUT BY MEANS OF ALTERNATING STRIPS OF WHITE FLUTED GLASS, AND OF FLAT GLASS STAINED YELLOW 146
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LARGE DETAIL OF PAINTED PANEL FOR A DAY NURSERY, REPRESENTING DUTCH AND ENGLISH CHILDREN 148
MISS EDITH PICKETT DESIGNER
DESIGN FOR A VESTIBULE SCREEN, WITH A FRIEZE IN MODELLED AND COLOURED PLASTER, AND WITH SIDE PANELS AND A LUNETTE IN LEADED GLASS
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CHURCH-DOOR FITTINGS, MADE IN BRONZE, COPPER, AND BRASS 152
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W. BAINBRIEGE REYNOLDS
METAL-WORKER
THIS CHIMNEYPIECE OF GOLDEN-COLOURED ^METAL IS HAND-WROUGHT AND RIVETED
TOGETHER, AND SUPPORTED BY POLISHED FORGED IRON UPRIGHTS, WHICH RUN
UP BEHIND THE BRACKETS. THE CORNICE HAS ON IT THREE CHERUB HEADS;
THE GRATE IS OF POLISHED WROUGHT IRON WITH. VERTICAL BELLIED BARS. IT
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VERY I M- ELEMENT IN 156
CORNICE
EXPLAINED UPPER PART NEYPI E C E THE C H I M- A N D IS A P O R T A N T THE DESIGN
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SECRETAIRE IN ASH STAINED GREEN, WITH BRIGHT IRON HINGES AND HANDLES. IT IS DECORATED INSIDE IN WHITE, RED, BLACK AND GOLD 100
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LEADED GLASS PANEL, IN CLEAR AND OPALESCENT GLASS, THE COLOURS OF WHICH ARE WHITE, DARK AND LIGHT BLUES, AND ROSE PINK
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HOUSE AT EASTCOTE, PINNER, MIDDLESEX.
GROUND FLOOR.
FIRST FLOOR.
: ARCHITECT-
fru- 46L1NCOLN3 TNN riELJT) • LONDON -WO- MARCH 18OV
W. H. SETH-SMITH ARCHITECT
EXTENSION OF WAXWELL FARM, PINNER WEST ELEVATION
EXTENSION OF WAXWELL FARM. PINNER LONGITUDINAL SECTION
1 66
EDGAR SIMPSON METAL-WORKER
COVERS FOR ELECTRIC SWITCHES, IN HAMMERED COPPER AND STEEL
I67
JAMES SMITHIES METAL-WORKER
PANEL IN REPOUSSE FOR AN OVERMANTEL. THE PANEL ITSELF IS IN COPPER, THE BORDER IN BRASS, TONED INTO HARMONY WITH THE COPPER
LETTER-BOX COVER 1 68
FIRE-SCREEN PANEL IN REPOUSSE COPPER
DOOR KNOCKER IN BRASS
JAMES SMITHIES METAL-WORKER
HALL FIREPLACE, THE STRUCTURAL PART OF WHICH IS IN WROUGHT IRON. THE CANOPY OF BEATEN COPPER, WITH EDGINGS OF THICK BRASS, RIVETED TO THE ANGLES, IS HELD IN POSITION BY BANDS OF ARMOUR- BRIGHT IRON WITH REPOUSSfi ENDS. THE CURB ROUND THE HEARTH IS OF SOLID WOOD COVERED WITH COPPER, AND THE ORNAMENT UPON IT IS REPEATED ON THE ENCLOSING BORDER OF THE FIREPLACE
169
LEON V. SOLON
DESIGNER
POTTERY PANEL, "RAISING THE STORM." THE COLOURS ARE OUTLINED WITH GOLD • THE SEA IS A COMBINATION OF DEEP BLUES AND GREENS, THE CRESTS OF THE WAVES ARE WHITE, TOUCHED WITH GOLD; THE SKY is IN SHADES OF ORANGE AND YELLOW AS I THE FIGURE, THE HAIR ,s DARK BROWN AND GOLD, THE WINGS ARE MAUVE AND DEEP VIOLET, AND THE PATTERNS ON THE PALE GREEN DRESS ARE PURPLE-GREY 170
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EMBROIDERER
PANEL OF EMBROIDERY, DESIGNED BY SIR PHILIP BURNE-JONES
PANEL OF EMBROIDERY, DESIGNED BY SIR WILLIAM RICHMOND, R.A.
I76
PANEL OF EMBROIDERY, DESIGNED- BY UNA TAYLOR
UNA TAYLOR
EMBROIDERER
" TITANIA." THE CENTRAL PANELj OF A SERIES OF EMBROIDERY DESIGNS BY HEYWOOD SUMNER, REPRE- SENTING IN SEPARATE COMPARTMENTS THE FAIRIES OF THE "MIDSUMMER NIGHT'S DREAM." THE BACK- GROUND OF DARK BLUE IS WORKED IN TRANSVERSE CREWEL STITCH. " TITANIA," STANDING UPON A PALE SILVER-BLUE MOON (THE TRADITIONAL SYMBOL OF THE IMPOSSIBLE;. HAS FAINT BLUE DRAPERIES AND A ROSE-COLOURED MANTLE. HER BUTTERFLY WINGS VARY IN COLOUR FROM LEMON-YELLOW TO SCARLET
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A WALL SCONCE, WITH CENTRE PANEL IN BLUE AND GREEN ENAMEL
A CUPBOARD HINGE IN COPPER REPOUSSE AND GREEN ENAMELS
AN OXIDISED. DOOR-PLATE AND WROUGHT CRANK HANDLE, EXECUTED IN REPOUSSE AND ENRICHED WITH BLUE AND GREEN ENAMELS 1 80
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ARCHITECT
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'THE ORCHARD." SOUTH ELEVATION, TOWARDS THE GARDEN
"THE ORCHARD." NORTH ELEVATION, TOWARDS CHORLEY WOOD 182
C. F. A. VOYSEY ARCHITECT
"THE ORCHARD," CHORLEY WOOD. GROUND PLAN
"THE ORCHARD,'' CHORLEY WOOD. BEDROOM PLAN
183
C. F. A. VOYSEY ARCHITECT
SOUTH ELEVATION OF "THE ORCHARD"
VIEW FROM THE STUDY WINDOW AT "THE ORCHARD" SHOWING THE ENTRANCE GATE AND CHORLEY WOOD 184
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ARCHITECT AND DESIGNER
C. F. A. VOYSEY'S HOUSE, "THE ORCHARD," CHORLEY WOOD
iM A SKETCH IN WATI ^-COLOURS BY WILFRII) BAI I
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DESIGN FOR A MUSIC REST FOR A GRAND PIANO
(By permission of Afessrs. Collard &-= CollarJ)
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CABINET HINGES IN WROUGHT BRASS 194
GEORGE WALTON ARCHITECT AND DESIGNER
ADDITION TO A DRAWING-ROOM, CARRIED OUT IN FUMED OAK, FOR JAMES MARSHALL, ESQ.
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GEORGE WALTON DESIGNER
PARTS OF BALUSTRADE IN WROUGHT IRON AND COPPER, SET WITH GLASS
WRITING-TABLE IN FUMED OAK, INLAID WITH MOTHER-OF-PEARL AND IVORY
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EDGAR WOOD DESIGNER
OAK CHAIRS, INLAID WITH STAINED AND COLOURED WOODS
211
EDGAR WOOD
DESIGNER
OAK SIDEBOARD, INLAID WITH STAINED AND COLOURED WOODS THE WOODWORK IS TONED TO A SILVERY GREY; THE METAL WORK, OF ARMOUR-BRIGHT STEEL, HAS THE ROSE AND THE THISTLE EMBLEMS WORKED INTO THE DESIGN 212
For the best values obtainable In every possible requirement for complete house
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W. HOFLER
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Fire- Place
26A SOHO SQUARE, LONDON, W.
flrt
metal
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Manufacturer, Importer and Exporter of
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Joshua W. Taylor, Ltd.
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Braziers at the Haymarket Theatre,
Shelter Railings at the Prince of Wales' and
Apollo Theatres, &c.
/IMPltrURMITUR
BY-niriRY-T-WYfl'NOlT
MEMT OF DETAIL BEAU TV OF COL
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AD. XXI
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General Index to t THE STUDIO'
A Voluminous General Index to the first 2 1 Volumes of THE STUDIO ' is now in course of preparation, and will shortly be ready : Price 6s. net, bound in Publisher's Covers, uniform with the bindings of the Volumes ; or 48. 6d. net in paper covers.
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HARRY BATES, A. R.A. Homer and others.
DUBLIN AND HAGUE GALLERY.
F. HOLLYER, Jun.
A Selection from, by
HOLBEIN. Drawings at Windsor Castle, by kind permission of Her late Majesty THE QUEEN.
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ILLUSTRATED CATALOGUE, POST FREE, 12 STAMPS, OK FOREIGN STAMPS TO THAT VALUE.
NET
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The Apartments of the House :
Their Arrangement, Furnishing, and' Decoration. By J. CROUCH and E. BUTI.BK, Architects.
NET
7/6
Cff/S important work treats of the apartments of the modern house one by one. It discusses the hall, dining- room, drawing-room, billiard-rpom, morning-room, smoke-room, and bedroom, and contains chapters on furniture and on the application of the arts and crafts to the decoration of the house. It is not a textbook for architectural students, but is written in the modern spirit and without technical language. It contains /jo Illustrations, including a Photogravure Frontispiece after Diirer's "St. Jerome in his Study," and sir Plates after William Morris's and E. Burne-J ones' s Tapestries at Stanmore Hall. The Binding is decorated in three colours and gold. A Four-page Illustrated Prospectus will be sent post free on application.
The World —"A book designed to show how our dwelling-places may be built, decorated, and furnished in the most beautiful and restful manner. It is admirably illustrated."
Manchester Courier. — " The authors are as practical as they are fertile in suggestion. . . . Steeped in artistic lore, Iht volunu is the work o/ practical craftsmen, lyfto have given careful attention to every feature of their subject. The result is a work which, splendidly illustrated, is a thing of beauty in itself, and as a manual will be found alike interesting and valuable."
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Holme, C
Modern British domestic architecture and decoration
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