The second illustration shows the edge of a carpet being secured to the floor with the new type of tacks.
The picture shows a window shade secured with the new style tacks. The tacks were also recommended as an excellent substitute for stair-rods.
Monday 12 November 2007
Using a new kind of tack, Jan 1870
The first illustration shows how carpet or matting was put down without sewing the pieces together. Recall that in 1870 even even if carpets completely covered a floor wall to wall, they still came in separate rolls that were pieced together in the home.
The second illustration shows the edge of a carpet being secured to the floor with the new type of tacks.
The picture shows a window shade secured with the new style tacks. The tacks were also recommended as an excellent substitute for stair-rods.
The second illustration shows the edge of a carpet being secured to the floor with the new type of tacks.
The picture shows a window shade secured with the new style tacks. The tacks were also recommended as an excellent substitute for stair-rods.
Thursday 25 October 2007
Portieres, 1897
Also from How to Build Furnish and Decorate...
In portieres, change the color for each opening, even if in the same room, unless an entire color scheme is carried throughout the room in decoration and furniture. Half the artistic effect of an apartment depends upon its portieres, and so it behooves the wise woman to look well to the selection of her draperies. In buying portieres it is not so much a question of money as of good taste. Some of the inexpensive denims answer the purpose quite as well as more costly material. It can be obtained in quite a number of colors ; blue, green, etc. By using the right side for the curtain and the reverse side for a border a very pretty effect is obtained. In many of the new fabrics for portieres changeable effects are seen. A new material called satin lambell shows the two-toned effect. This fabric is much like damask, but it has a wide border and dado, with a design in detached figures in the center It may be bought in a variety of soft shades. In dull rose and reseda green it is most effective. Damask will be much used for portieres for the parlor, and also embroidered silk velours.
As for the beautiful liberty velvets they are more in fashion than ever. Dark grounds are used with large designs in lighter shades.
A material which looks much like the dress fabric called Bedford cord will be much used for inexpensive portieres. Many of the old-style shawls make very handsome hangings, their soft texture drapes well and in many cases their colors are exquisite.
In portieres, change the color for each opening, even if in the same room, unless an entire color scheme is carried throughout the room in decoration and furniture. Half the artistic effect of an apartment depends upon its portieres, and so it behooves the wise woman to look well to the selection of her draperies. In buying portieres it is not so much a question of money as of good taste. Some of the inexpensive denims answer the purpose quite as well as more costly material. It can be obtained in quite a number of colors ; blue, green, etc. By using the right side for the curtain and the reverse side for a border a very pretty effect is obtained. In many of the new fabrics for portieres changeable effects are seen. A new material called satin lambell shows the two-toned effect. This fabric is much like damask, but it has a wide border and dado, with a design in detached figures in the center It may be bought in a variety of soft shades. In dull rose and reseda green it is most effective. Damask will be much used for portieres for the parlor, and also embroidered silk velours.
As for the beautiful liberty velvets they are more in fashion than ever. Dark grounds are used with large designs in lighter shades.
A material which looks much like the dress fabric called Bedford cord will be much used for inexpensive portieres. Many of the old-style shawls make very handsome hangings, their soft texture drapes well and in many cases their colors are exquisite.
Interior Trim, Wood Finishes, 1897
from How to Build Furnish and Decorate, 1897
The staining of wood is oftentimes necessary when we use whitewood or pine trim to relieve the monotonous or commonplace look which so much woodwork of one color is apt to produce. For a dining-room mahogany makes a rich color. Cherry for parlor and bedrooms is appropriate and harmonizes with most any furniture. Oak stain looks well if the wood has a well marked grain; when this is not the case, or if the woodwork has been painted, we will find it necessary to call the grainer to our assistance. Cherry was a very popular color for interior finish in the line of graining some years ago, and is still imitated to quite an extent in the rural districts. A combination of cherry and oak is a very harmonious and rich finish and relieves the monotony of a continuous color. Walnut has kept pace, side by side, with cherry and oak for the past quarter of a century. The kitchens are generally done in oak or maple. The halls and front doors in walnut, the parlor in white. It is impossible for us to give any set rules in regard to colors for the painting of interior woodwork. You must use your individual judgment, and most of us possess sufficient knowledge, obtained by experience, to choose wisely with a few suggestions from the architect and painter.
The staining of wood is oftentimes necessary when we use whitewood or pine trim to relieve the monotonous or commonplace look which so much woodwork of one color is apt to produce. For a dining-room mahogany makes a rich color. Cherry for parlor and bedrooms is appropriate and harmonizes with most any furniture. Oak stain looks well if the wood has a well marked grain; when this is not the case, or if the woodwork has been painted, we will find it necessary to call the grainer to our assistance. Cherry was a very popular color for interior finish in the line of graining some years ago, and is still imitated to quite an extent in the rural districts. A combination of cherry and oak is a very harmonious and rich finish and relieves the monotony of a continuous color. Walnut has kept pace, side by side, with cherry and oak for the past quarter of a century. The kitchens are generally done in oak or maple. The halls and front doors in walnut, the parlor in white. It is impossible for us to give any set rules in regard to colors for the painting of interior woodwork. You must use your individual judgment, and most of us possess sufficient knowledge, obtained by experience, to choose wisely with a few suggestions from the architect and painter.
An 1890's Model Kitchen
Maria Parloa was a very popular cookbook author and teacher in the 19th c. The following is her description of a model kitchen.
The size of the kitchen is an important matter. Although the room should be spacious enough to contain sink, range, table, dresser and chairs, and to give ample opportunity for free movements, it should not be so large as to oblige one to make many steps to and from sink, table, range or pantry. A good size is 15x17.
The ventilation is a prominent factor of the comfort of not only those who work in the kitchen, but of the entire household. If the room lacks good ventilation, the strength of those who work in it will become exhausted sooner than it should, and they will become unnecessarily irritated. Besides, the odors of cooking, which should pass to the open air, will instead escape to all parts of the house.
Every part of the kitchen, pantry and closet, except the ceiling, should be finished in such a way that it may be washed. Nothing is better for the flooring than hard wood. If the floors are to be covered, no better material than lignum can be used. It is soft, clean and durable. Oilcloth is very cold and is the cause of a great deal of rheumatism.
It is well to have the woodwork such as to require oiling only, and the walls should be painted a rather light color. When possible, the walls about the sink, tables and range should be tiled. Tiles seem to be rather expensive at the outset, but in the long run it is true economy to use them, as they will last as long as the house. They may be easily kept bright and clean. The time will come when few people will think of finishing a kitchen without them. The English or Dutch tiles should be used, and blue and white should predominate.
Lack of table room is a drawback met with in most kitchens. There ought to be an abundance of such room, so that when a meal is being prepared or served there need be no crowding or confusion, and it may be obtained by having two or three swinging tables in the room. When they are not in use they may be dropped.
The sink should be large,there is nothing better than iron,with a sloping and grooved shelf at one end, on which to drain dishes. It should not be enclosed. Every dark, enclosed place in a kitchen is a source of temptation to the slovenly. Let the light reach every part of the room. At the right hand of the sink have a long, narrow table containing two drawers for towels. Unless the walls above, below and at the sides of the sink be tiled, they should be finished with hard wood. If tiles be used, have a broad capping of hard wood extend across the upper edge of the top row, in which to put hooks for various small utensils that are in frequent use about the sink. Under the sink have more hooks for dish-pans, dish-cloth, etc.
In the center of the kitchen have another table about 3 ½ x 4 ½ feet. This should contain a drawer for knives, forks, spoons and other utensils that are in frequent use in that part of the kitchen. Have a small table also, about the height of the range. This is for use as a resting place for utensils used when griddle-cakes, omelets, waffles, etc., are made. When not in use it may be moved aside. Between the door to the hall and that to the china-closet have a swinging table or a settee table; the latter being that kind which serves as a seat when not in use for ironing or other purposes. Above the table have two shelves for cook-books and other books, and a clock.
A portable range can be so placed that it will be possible to walk all around it. It can be run with about half the quantity of coal required for a set range. It responds quickly to the opening or shutting-off of a draught. One's feet do not become heated by standing near it. There are no dark corners. It does away with the necessity of much lifting of heavy utensils. And it can be so managed that there shall be a hot oven at any time of the day.
Convenient to the range and sink there should be a large pantryabout 12 ft. x 8 ft. The window should have a wire screen and inside blinds. A large strong table, with two drawers, should be placed before this window. Have hooks on the ends of the table on which to hang the pastry-board, the board on which cold meats are cut, and that on which bread and cake are cut. The rolling-pin, cutters, knives and various small
utensils may be kept in one drawer, and spices, flavoring extracts, baking-powders, etc., in the other.
The wall at one end of the room should be covered with hooks on which to hang saucepans and other utensils. About one foot from the floor there should be a strong, broad shelf, on which to place heavy pots and kettles. Two feet above it there should be a narrow shelf for the covers of the pots and saucepans. By this arrangement all of these utensils may be kept together and always in sight, and no time need be lost in searching for any of the articles.
A number of shelves may be placed between the window and this end of the room, on which to keep materials used very frequently, such as sugar, salt, rice, tapioca, etc.
In the frame of the window, but within easy reach, put hooks, on which to hang spoons and an egg-beater.
At the lower end of the room have wall-closets built about four feet from the floor. The shelves within them should be about twenty inches wide and the doors should be supplied with locks. Under the closets have a strong rack, four inches high, on which to keep barrels. The rack secures a free circulation of air under the barrels, thus keeping their contents sweet.
On one side, running the length of the room, have shelves, beginning a foot from the floor and running as high as the top of the wall-closets. On the lower shelves may be kept buckets and jugs, while the upper ones will accommodate mixing bowls, measuring cups, baking and mixing pans, and, indeed, all of the utensils for which space has not already been provided.
At the end of this row of shelves have a place for a towel, so as to avoid the trouble of going to the kitchen whenever the hands require wiping.
With this arrangement of the kitchen and pantry the cooking and the washing of dishes can be done in a small space, steps and time can be saved, and half of the kitchen will generally be unused and ready for the servants' table or any other purpose. The points kept in view throughout areconcentration of work, good light and ventilation, ample table room, cleanliness, and the giving of an attractive appearance.
It is understood that there is a cellar or cold room convenient to the kitchen.
from How To Plan Furnish and Decorate 1897
Spammers, please note: all comments are moderated. All spam is rejected.
The size of the kitchen is an important matter. Although the room should be spacious enough to contain sink, range, table, dresser and chairs, and to give ample opportunity for free movements, it should not be so large as to oblige one to make many steps to and from sink, table, range or pantry. A good size is 15x17.
The ventilation is a prominent factor of the comfort of not only those who work in the kitchen, but of the entire household. If the room lacks good ventilation, the strength of those who work in it will become exhausted sooner than it should, and they will become unnecessarily irritated. Besides, the odors of cooking, which should pass to the open air, will instead escape to all parts of the house.
Every part of the kitchen, pantry and closet, except the ceiling, should be finished in such a way that it may be washed. Nothing is better for the flooring than hard wood. If the floors are to be covered, no better material than lignum can be used. It is soft, clean and durable. Oilcloth is very cold and is the cause of a great deal of rheumatism.
It is well to have the woodwork such as to require oiling only, and the walls should be painted a rather light color. When possible, the walls about the sink, tables and range should be tiled. Tiles seem to be rather expensive at the outset, but in the long run it is true economy to use them, as they will last as long as the house. They may be easily kept bright and clean. The time will come when few people will think of finishing a kitchen without them. The English or Dutch tiles should be used, and blue and white should predominate.
Lack of table room is a drawback met with in most kitchens. There ought to be an abundance of such room, so that when a meal is being prepared or served there need be no crowding or confusion, and it may be obtained by having two or three swinging tables in the room. When they are not in use they may be dropped.
The sink should be large,there is nothing better than iron,with a sloping and grooved shelf at one end, on which to drain dishes. It should not be enclosed. Every dark, enclosed place in a kitchen is a source of temptation to the slovenly. Let the light reach every part of the room. At the right hand of the sink have a long, narrow table containing two drawers for towels. Unless the walls above, below and at the sides of the sink be tiled, they should be finished with hard wood. If tiles be used, have a broad capping of hard wood extend across the upper edge of the top row, in which to put hooks for various small utensils that are in frequent use about the sink. Under the sink have more hooks for dish-pans, dish-cloth, etc.
In the center of the kitchen have another table about 3 ½ x 4 ½ feet. This should contain a drawer for knives, forks, spoons and other utensils that are in frequent use in that part of the kitchen. Have a small table also, about the height of the range. This is for use as a resting place for utensils used when griddle-cakes, omelets, waffles, etc., are made. When not in use it may be moved aside. Between the door to the hall and that to the china-closet have a swinging table or a settee table; the latter being that kind which serves as a seat when not in use for ironing or other purposes. Above the table have two shelves for cook-books and other books, and a clock.
A portable range can be so placed that it will be possible to walk all around it. It can be run with about half the quantity of coal required for a set range. It responds quickly to the opening or shutting-off of a draught. One's feet do not become heated by standing near it. There are no dark corners. It does away with the necessity of much lifting of heavy utensils. And it can be so managed that there shall be a hot oven at any time of the day.
Convenient to the range and sink there should be a large pantryabout 12 ft. x 8 ft. The window should have a wire screen and inside blinds. A large strong table, with two drawers, should be placed before this window. Have hooks on the ends of the table on which to hang the pastry-board, the board on which cold meats are cut, and that on which bread and cake are cut. The rolling-pin, cutters, knives and various small
utensils may be kept in one drawer, and spices, flavoring extracts, baking-powders, etc., in the other.
The wall at one end of the room should be covered with hooks on which to hang saucepans and other utensils. About one foot from the floor there should be a strong, broad shelf, on which to place heavy pots and kettles. Two feet above it there should be a narrow shelf for the covers of the pots and saucepans. By this arrangement all of these utensils may be kept together and always in sight, and no time need be lost in searching for any of the articles.
A number of shelves may be placed between the window and this end of the room, on which to keep materials used very frequently, such as sugar, salt, rice, tapioca, etc.
In the frame of the window, but within easy reach, put hooks, on which to hang spoons and an egg-beater.
At the lower end of the room have wall-closets built about four feet from the floor. The shelves within them should be about twenty inches wide and the doors should be supplied with locks. Under the closets have a strong rack, four inches high, on which to keep barrels. The rack secures a free circulation of air under the barrels, thus keeping their contents sweet.
On one side, running the length of the room, have shelves, beginning a foot from the floor and running as high as the top of the wall-closets. On the lower shelves may be kept buckets and jugs, while the upper ones will accommodate mixing bowls, measuring cups, baking and mixing pans, and, indeed, all of the utensils for which space has not already been provided.
At the end of this row of shelves have a place for a towel, so as to avoid the trouble of going to the kitchen whenever the hands require wiping.
With this arrangement of the kitchen and pantry the cooking and the washing of dishes can be done in a small space, steps and time can be saved, and half of the kitchen will generally be unused and ready for the servants' table or any other purpose. The points kept in view throughout areconcentration of work, good light and ventilation, ample table room, cleanliness, and the giving of an attractive appearance.
It is understood that there is a cellar or cold room convenient to the kitchen.
from How To Plan Furnish and Decorate 1897
Spammers, please note: all comments are moderated. All spam is rejected.
Saturday 13 October 2007
Making A Beautiful Home 1870
MANUFACTURER AND BUILDER showed this window display in its May, 1870 issue. the article stated that any room could be improved by cutting the window larger, to make a low sill, then fill in the window with large panes of clear glass, training flowers and vines to grow about it.
A Ward Case stands in front of the window. Today we might refer to it as a terrarium. Here's an example from the April issue.
The April issue also included the following instructions for making the rustic frames that had recently become so popular.
,rustic+frame.jpg)
"All that is necessary to construct one of these, or any similar frame, is to get the foundation, a thin board, of proper size and shape, with the inner oval or rectangular form to suit the picture. The edges are ornamented by nailing on branches of hard, seasoned wood, or gluing on pine cones. The corners may receive some device, both to cover the rude joint and to enhance the general effect.
One of the frames illustrated is made of either light or dark wood, neat, thin, and not very wide, with the ends simply broken off; or cut so as to resemble a rough break. The other is white-pine, sawn into simple form, well smoothed, and traced with delicate black lines.
This should be also varnished, when it will take a rich yellow tinge, which harmonizes admirably with chromos, and lights up engravings finely."
Another home beautification project was a fern basket...
"To make this fern-basket, take a flat piece of board, sawed out to something like a shield, with a hole at the top for hanging it up. Upon the board nail a nice pocket, made of an ox-muzzle, flattened on one side, or make a sort of basket out of stiff wire. Line this with a sheet of close moss, which appears green behind the wire net-work. Then fill it with loose, spongy moss, such as is found in swamps, and plant in it plumes of fern, and various swamp-grasses. They will continue to grow there, and hang gracefully over. It is only necessary to keep the moss damp, and sprinkle the ferns occasionally with a small broom."
And finally..."a flower-stand made of roots scraped and varnished."
plant+stand.jpg)
A Ward Case stands in front of the window. Today we might refer to it as a terrarium. Here's an example from the April issue.
The April issue also included the following instructions for making the rustic frames that had recently become so popular.
,rustic+frame.jpg)
"All that is necessary to construct one of these, or any similar frame, is to get the foundation, a thin board, of proper size and shape, with the inner oval or rectangular form to suit the picture. The edges are ornamented by nailing on branches of hard, seasoned wood, or gluing on pine cones. The corners may receive some device, both to cover the rude joint and to enhance the general effect.
One of the frames illustrated is made of either light or dark wood, neat, thin, and not very wide, with the ends simply broken off; or cut so as to resemble a rough break. The other is white-pine, sawn into simple form, well smoothed, and traced with delicate black lines.
This should be also varnished, when it will take a rich yellow tinge, which harmonizes admirably with chromos, and lights up engravings finely."
Another home beautification project was a fern basket...
"To make this fern-basket, take a flat piece of board, sawed out to something like a shield, with a hole at the top for hanging it up. Upon the board nail a nice pocket, made of an ox-muzzle, flattened on one side, or make a sort of basket out of stiff wire. Line this with a sheet of close moss, which appears green behind the wire net-work. Then fill it with loose, spongy moss, such as is found in swamps, and plant in it plumes of fern, and various swamp-grasses. They will continue to grow there, and hang gracefully over. It is only necessary to keep the moss damp, and sprinkle the ferns occasionally with a small broom."
And finally..."a flower-stand made of roots scraped and varnished."
plant+stand.jpg)
A Womans Idea of what a Kitchen should be , 1870
To begin with, I would have a kitchen well lighted; come, yes a great deal of the broad, expansive sunlight coming in boldly, as if it had a perfect right to be there. That would, of course, necessitate large windows. And then I would give as much attention to the ventilation of a kitchen as I would to a sleeping-room. I would have a large circular device suspended over the cooking-stove, with a hole in the centre, and a tube leading to the top of the house, to carry off the savory smells which the process of cooking generates, and prevent them from permeating the whole house.
For these smells, however savory and agreeable, are apt to take away something from the keenness of our appetite; or, at least, cause us to anticipate something better than the reality. Then I would have a large sink, with a permanent soap-stone or marble wash-bowl for washing the dishes, and another for draining. I would also have an adjustable pipe, leading from the hot water tank to either of these basins. Besides this, I would have sundry cupboards and closets arranged upon the wall, so as to be tasteful and decorative as well as convenient.
Then I would have a space devoted to tiny drawers, such as one sees in a drug store, and labeled in this manner: soda, allspice, nutmegs, cream of tartar, etc., so that at a single glance I could discover just what I wanted, without rummaging to find these things in some out-of-the-way corner, placed there by some careless, untidy Bridget. This would save one a world of care now devoted to instructing every new servant as to all the places of things. Cooking is becoming so complicated nowadays, that one needs all the arrangements, and as many utensils, as a chemical laboratory; and the good architect should give the mater familias a place for everything.
from the May 1870 issue of MANUFACTURER AND BUILDER
Spammers, please note: all comments are moderated. All spam is rejected.
For these smells, however savory and agreeable, are apt to take away something from the keenness of our appetite; or, at least, cause us to anticipate something better than the reality. Then I would have a large sink, with a permanent soap-stone or marble wash-bowl for washing the dishes, and another for draining. I would also have an adjustable pipe, leading from the hot water tank to either of these basins. Besides this, I would have sundry cupboards and closets arranged upon the wall, so as to be tasteful and decorative as well as convenient.
Then I would have a space devoted to tiny drawers, such as one sees in a drug store, and labeled in this manner: soda, allspice, nutmegs, cream of tartar, etc., so that at a single glance I could discover just what I wanted, without rummaging to find these things in some out-of-the-way corner, placed there by some careless, untidy Bridget. This would save one a world of care now devoted to instructing every new servant as to all the places of things. Cooking is becoming so complicated nowadays, that one needs all the arrangements, and as many utensils, as a chemical laboratory; and the good architect should give the mater familias a place for everything.
from the May 1870 issue of MANUFACTURER AND BUILDER
Spammers, please note: all comments are moderated. All spam is rejected.
Friday 14 September 2007
Portable Wainscoting, 1869
Portable Wainscoting
The image shows the product in use on the wall, stairs and floor.
A new product in 1869, strips of wood were glued to a length of flannel cloth. The wainscoting was generally 1/8 inch thick, while that used for flooring was generally 2/3 to ¾ inch thick.
It could be rolled, unrolled and kept on stock for sale like carpets. The wood strips were generally narrower than tongue and groove, and combinations of several hardwoods could be used to a pleasing effect. It was noted that it always required a baseboard.
Used as a floor covering, it could be laid in various ways.
It was described as easy to put up, “being fastened to the wall from the top with a rabbeted moulding or a fixture underneath, and firmly secured by screws or nails through the moulding or nosing to the studding. A rabbeted base secures the wainscoting at the bottom.”
It cost about half the price of tongued and grooved hardwood, and slightly more than oil-cloth, and since it was portable, it could be taken up when the owner moved. It could also be used as a countertop material.
To clean it, it was advised to use a damp cloth once or twice a week.
The image shows the product in use on the wall, stairs and floor.
A new product in 1869, strips of wood were glued to a length of flannel cloth. The wainscoting was generally 1/8 inch thick, while that used for flooring was generally 2/3 to ¾ inch thick.
It could be rolled, unrolled and kept on stock for sale like carpets. The wood strips were generally narrower than tongue and groove, and combinations of several hardwoods could be used to a pleasing effect. It was noted that it always required a baseboard.
Used as a floor covering, it could be laid in various ways.
It was described as easy to put up, “being fastened to the wall from the top with a rabbeted moulding or a fixture underneath, and firmly secured by screws or nails through the moulding or nosing to the studding. A rabbeted base secures the wainscoting at the bottom.”
It cost about half the price of tongued and grooved hardwood, and slightly more than oil-cloth, and since it was portable, it could be taken up when the owner moved. It could also be used as a countertop material.
To clean it, it was advised to use a damp cloth once or twice a week.
A Dining Room Ceiling design, 1869
A decorated wooden ceiling for a dining room.
The room is 18 x 22 feet. The ribs are of clear pine, with a head chamfer covered with narrow pine ceiling, headed, tongued, and grooved. These latter are two inches wide. The four small circular centre pieces consist of carvings in wood; likewise the large centre piece in the middle. The panels are bordered and finished with leaf pattern moulding. The various strips are covered with a coating of shallac of a light color, while the ribs are stained of a darker hue. The carved moldings as well as the raised work of the centre pieces are in gilt. The moulding in the panels consists of a half-round, gilt strip. The effect produced by a combination of a little gilt with the natural colors of wood in one of the most beautiful that can be obtained. Of course, in carrying out a design for a ceiling of this description, the side walls are made to correspond.
from...MANUFACTURER AND BUILDER, May 1869
The room is 18 x 22 feet. The ribs are of clear pine, with a head chamfer covered with narrow pine ceiling, headed, tongued, and grooved. These latter are two inches wide. The four small circular centre pieces consist of carvings in wood; likewise the large centre piece in the middle. The panels are bordered and finished with leaf pattern moulding. The various strips are covered with a coating of shallac of a light color, while the ribs are stained of a darker hue. The carved moldings as well as the raised work of the centre pieces are in gilt. The moulding in the panels consists of a half-round, gilt strip. The effect produced by a combination of a little gilt with the natural colors of wood in one of the most beautiful that can be obtained. Of course, in carrying out a design for a ceiling of this description, the side walls are made to correspond.
from...MANUFACTURER AND BUILDER, May 1869
Sunday 8 July 2007
19th C. American Townhouses
The following is information about townhouses in several eastern American cities. Most of it dwells on the houses of 1830, with a bit about the changes wrought in floorplans later in the century. Strictly speaking, 1830 is not Victorian, as Victoria was just a princess at the time. I've tried to stay away, for the most part, on the subject of Victorian exteriors on this site, but I found this segment of a book interesting, as I hadn't found anything like it before.
New York
Exterior of an 1830’s style house, still standing in 1890’s. on the N. side of Washington square.
The New York city houses of 1830 tended toward high stoops. To those unfamiliar with the term stoop, it’s the term for the stone steps leading from the pavement to the front door. A small landing would be found at the top. The stair of 1830 would be built with 8 to 13 risers.
The front was of plain brick, often with white marble lintels and stoops . Others were of Connecticut brown stone.
The design of exteriors and even interiors was simple. The use of extensive plaster or stucco decoration of 30 years before, applied to cornices and ceilings in the Classical style, etc., had disappeared. These elaborate decorations were replaced by one or two handsome details. In many of the houses the doors on the parlor story, and sometimes on the bedroom story, were of mahogany or rosewood veneer. The woodwork around them was of white pine, simply painted white, unornamented.
In both larger and smaller homes, the front basement room served as the dining room.
These town houses were similar to those found in London at the time with one difference. In New York, instead of entering the house on the dining room floor and then going upstairs to the drawing room, you entered on the drawing room floor and went down to the dining room.
The kitchen would be found in the back half of the basement, with closets and pantries dividing it from the dining room. Sometimes there would be a pass-through in the wall between kitchen and dining room, in other houses there would be a door.
In later years, the back yards were dug down so that they were 6 or 8 inches below the kitchen floor, but in 1830 they remained at their original level. Instead, a sunken area was dug out, with stone retaining walls to hold back the earth, and steps leading down into it so that one could enter the kitchen by a back door.
The second floor held a large front bedroom with two windows and an adjoining smaller room. The rear of the house had a similar arrangement . The space between the larger bedrooms would hold closets, called “pantries” in those days.
When city water was introduced, the small back hall-bedroom, as it was called, was often used as a bathroom. The supply of piped in water was generally limited to this bathroom and a kitchen sink.
There were, as yet, no dumb waiters in use, since dining was expected to be done in the basement level next to the kitchen.
A cellar would be found below the basement level. It was generally paved with cobblestones. It would be set up with some shelves and perhaps some “hanging shelves”, which were light wooden platforms, hung by strips of wood nailed to the beams overhead.
Things were stored in the cellars, as there were few attics. This was because there had begun a trend toward building with what were commonly known as flat roofs. They actually weren’t quite flat. they had a very slight incline to drain away rainwater and they were at the time, usually covered in metal sheathing. Access to the roof was by means of a movable ladder.
A house like this, if it had 2 stories of bedrooms above the parlors was called a “two-story house with finished attic”. The parlor story counted as one, the second bedroom story was still called an attic, even if the ceilings were nine or more feet high and there was no slope. Some houses however, did have a slop on the back side roof, making an upper floor bedroom with one 5 or 6 foot high wall on the back and a sloped ceiling.
Baltimore and Richmond
From the plan you can see that the lot was wider, since lot prices were cheaper than in New York.
The front part had one room and the staircase hall , and was usually three stories high with a ground floor 2 or 3 steps above ground level, the drawing room floor and 1 or 2 bedrooms on the 3rd. Floor.
The back section would have bedrooms on the second floor. The back stairs in the kitchen lead to these bedrooms and a sort of attic. Sometimes there were 2 stories of bedrooms above the kitchen wing.
These houses had no water except for a pump at the end of the back yard. Later, when a city water supply was available, the pump was replaced by a hydrant.
The ground floor plan of a Richmond house shows a modified, more expensive version of the above Baltimore house.
Both the Baltimore and Richmond plans show a more spacious and conveniently planned house than the New York model. New Yorkers were stuck with limited space, and therefore smaller, more expensive lots.
Boston
Here’s a plan for a typical Boston town house . Boston had a severe land shortage before they started filling in the Back Bay.
The arrangement of the entrance flight of stairs within the front wall of the house is a Boston feature. The first story was raised 5 or 6 steps above the sidewalk. The front room was almost always used as a dining room, with the back room being the kitchen.
Beneath this floor was a cellar, raised up halfway out of the ground.
The cellar story held the “archway”, which was a way into the kitchen. A delivery boy could ring the bell, and when the door was opened, go down the steep flight of stairs. He’d then go down a corridor, partitioned off of the rest of the cellar, and mount a second flight of steps into the back yard, just opposite the kitchen door.
This was Boston version of the Baltimore or Philadelphia alley. The alley was placed under the house instead of beside it. Some Boston houses kept the street level alley, but built upper stories of the house over it.
This shows the drawing room floor plan of the same house
The room back of the staircase was often arranged as a china closet, which may have meant that the Boston family often dined in the back parlor. There was no dumb waiter, but the author of the source book was inclined to think that since Boston tended to take after London ways, that a maid would probably bring the dishes up and down to and from the kitchen, as they did in London at that time. He espoused the view that “ a New York maid or man would consider quite out of the question“.
This 1830 Boston house would have had no plumbing or water supply except in the kitchen, and no furnace. When city water appeared in Boston, a bathroom would have quite possibly have been fitted into the ground floor extension or upstairs on a bedroom floor.
The cost of this sort of house was about the same as a New York house of the same size, but Boston lots were usually not as deep. Since Boston back yards were much smaller, the laundry was dried on the roof of the one story extension on specially built frames and racks.
This is a view of an old style Boston town house, much like the shown plans, only reversed. The steps leading up to the front door were often of wood because they were partially protected from the effects of the weather. In the very expensive homes, the steps would more likely be stone.
Philadelphia
In the three previous houses the dining room was generally on the floor below the drawing room, but in Philadelphia the living rooms were all placed on the same floor, and this floor was usually at or close to street level.
The Philadelphia town house had access to a back alley that ran the length of the block. Each back yard had a gate into this alleyway through which deliverymen could reach the kitchen.
The front, therefore would have only one door, with no more than 5 marble steps leading to it. The front end of the hall tended to be only as wide as necessary, allowing for a large parlor. The hallway would widen towards the back to allow for the stairs to the upper floor, making the back parlor somewhat narrower. This back parlor was often used as the dining room. Often there would be a pair of facing closets between the front and back room, forming a sort of short passage. Two sets of doors were also sometimes used.
More expensive homes had a larger back building, and the dining room would often be placed there. These larger examples could also have a service or butler’s pantry between the dining and kitchen spaces.
The back building was usually only one story high, so the staircase hall was usually well lit from the windows on the landings.
Philadelphians also had more building room than New Yorkers and Bostonians with more spacious rooms and more natural light.
Rear View of Houses at Eighth and Spruce Streets, Philadelphia.
The house on the left is the corner house on the block. The entrance has been placed on the side street shown here. The long brick wall running along the street encloses a somewhat larger than normal back yard and the back building is larger than most, apparently constructed in 3 sections.
Group of Houses at Third and Locust Streets, Philadelphia; built about 1810.
These houses are from an earlier period.
Double houses
Wealthier families in cities could afford double houses, or houses with rooms on both sides of the entrance hall. Their lots tended to run from thirty-seven to fifty feet in width.
Apparently not nearly as many examples of those were built in New York, compared to cities like Philadelphia and Baltimore. Even crowded Boston had more of them than New York.
C. Astor Bristed, author of The Upper Ten Thousand: Sketches of American Society, put his typical wealthy New Yorker into a house 3 rooms deep and 27 feet wide. He explained that the house stood on a corner lot, and so had windows in the second of the three bedrooms. The author of the source for this article notes that;"anyone who knew New York about 1845, will remember how unusual was the house with four or five windows in one story of its front. Still, such houses were known."
This example of a New York double house stood on Washington Place and in the 1890’s was no longer a private dwelling.
Here is an example of a Boston double house. The lot was about 40 feet wide. A New York double house would be similarly set up, but without the rounded bow window. The windows were described as “swell fronts” and are mainly a Boston feature, though there were a few built in New York.
You can compare the Boston and other houses to the drawing room floor of an old London house.
This shows the first floor, while the entrance to the house would be on the ground floor, together with the dining room. This particular example shows a very long extension because it was used as an art gallery. Normally the extension would only be about 15 feet long.
The Next Step
The next step in the evolution of the new York town house was basically the same plan as the first one shown at the top of this page, with the addition of a vestibule and a back room.
This room was called the "third room," the "tea-room," and often the " extension." This room originally was a one story addition, though later on it became a part of the original conception of the house.
New York, 1860, ground floor
This sketch shows the abandonment of the wall between the two parlors. In place of the wall, we see columns dividing the space. One reason for this was the fact that the central room no longer had windows, so that by removing the wall, it was now part of the windowed front room. At first there was an arch or transom in this divider, but eventually that disappeared leaving one long room, with one centered fireplace.
The back room eventually came to be used as a dining room, and cupboards and a dumb-waiter would be installed in the enclosed back end of the hall.
This photo is from a later period, but happens to illustrate the 2 parlors becoming one with the use of dividing columns. The fireplace in the inner room seems to be unused. The area has no windows. To gain more light, and give the feel of a more open space, the homeowner has installed a set of French doors on the back wall. One opens to the “back room” which has been set up for dining. It’s unclear if the stationary section is clear glass or mirrored.
In older houses, where there were 2 parlors and a back room, the house would be about 57 feet long, but once the two parlors started being replaced with one longer room in newer houses, the longer room tended to shrink to a length of 34 feet or less. The additional 15 feet or so of back room brought the total length to about 50 feet.
At the same time that these changes were being made on the first floor, the upper floors were also extended to the full length of the house, making 3 bedrooms on each floor.
The use of this floor plan predominated in New York for about 30 years
The second floor of an 1860 New York townhouse
The small center rooms were easily equipped with sinks for washing. The passageway connecting the bedrooms was lined with cupboards. The two small rooms could be used either as bedrooms, a sewing or sitting room, or, as shown here, a bathroom.
If the house was deeper, the space between the front and back bedrooms was increased. Often the bathroom would be placed in the middle of the house between the closets. In this case a light shaft was installed for light and ventilation.
Finally, a townhouse plan from 1893
From
HOMES IN CITY AND COUNTRY, Russell Sturgis
1893
New York
Exterior of an 1830’s style house, still standing in 1890’s. on the N. side of Washington square.
The New York city houses of 1830 tended toward high stoops. To those unfamiliar with the term stoop, it’s the term for the stone steps leading from the pavement to the front door. A small landing would be found at the top. The stair of 1830 would be built with 8 to 13 risers.
The front was of plain brick, often with white marble lintels and stoops . Others were of Connecticut brown stone.
The design of exteriors and even interiors was simple. The use of extensive plaster or stucco decoration of 30 years before, applied to cornices and ceilings in the Classical style, etc., had disappeared. These elaborate decorations were replaced by one or two handsome details. In many of the houses the doors on the parlor story, and sometimes on the bedroom story, were of mahogany or rosewood veneer. The woodwork around them was of white pine, simply painted white, unornamented.
In both larger and smaller homes, the front basement room served as the dining room.
These town houses were similar to those found in London at the time with one difference. In New York, instead of entering the house on the dining room floor and then going upstairs to the drawing room, you entered on the drawing room floor and went down to the dining room.
The kitchen would be found in the back half of the basement, with closets and pantries dividing it from the dining room. Sometimes there would be a pass-through in the wall between kitchen and dining room, in other houses there would be a door.
In later years, the back yards were dug down so that they were 6 or 8 inches below the kitchen floor, but in 1830 they remained at their original level. Instead, a sunken area was dug out, with stone retaining walls to hold back the earth, and steps leading down into it so that one could enter the kitchen by a back door.
The second floor held a large front bedroom with two windows and an adjoining smaller room. The rear of the house had a similar arrangement . The space between the larger bedrooms would hold closets, called “pantries” in those days.
When city water was introduced, the small back hall-bedroom, as it was called, was often used as a bathroom. The supply of piped in water was generally limited to this bathroom and a kitchen sink.
There were, as yet, no dumb waiters in use, since dining was expected to be done in the basement level next to the kitchen.
A cellar would be found below the basement level. It was generally paved with cobblestones. It would be set up with some shelves and perhaps some “hanging shelves”, which were light wooden platforms, hung by strips of wood nailed to the beams overhead.
Things were stored in the cellars, as there were few attics. This was because there had begun a trend toward building with what were commonly known as flat roofs. They actually weren’t quite flat. they had a very slight incline to drain away rainwater and they were at the time, usually covered in metal sheathing. Access to the roof was by means of a movable ladder.
A house like this, if it had 2 stories of bedrooms above the parlors was called a “two-story house with finished attic”. The parlor story counted as one, the second bedroom story was still called an attic, even if the ceilings were nine or more feet high and there was no slope. Some houses however, did have a slop on the back side roof, making an upper floor bedroom with one 5 or 6 foot high wall on the back and a sloped ceiling.
Baltimore and Richmond
From the plan you can see that the lot was wider, since lot prices were cheaper than in New York.
The front part had one room and the staircase hall , and was usually three stories high with a ground floor 2 or 3 steps above ground level, the drawing room floor and 1 or 2 bedrooms on the 3rd. Floor.
The back section would have bedrooms on the second floor. The back stairs in the kitchen lead to these bedrooms and a sort of attic. Sometimes there were 2 stories of bedrooms above the kitchen wing.
These houses had no water except for a pump at the end of the back yard. Later, when a city water supply was available, the pump was replaced by a hydrant.
The ground floor plan of a Richmond house shows a modified, more expensive version of the above Baltimore house.
Both the Baltimore and Richmond plans show a more spacious and conveniently planned house than the New York model. New Yorkers were stuck with limited space, and therefore smaller, more expensive lots.
Boston
Here’s a plan for a typical Boston town house . Boston had a severe land shortage before they started filling in the Back Bay.
The arrangement of the entrance flight of stairs within the front wall of the house is a Boston feature. The first story was raised 5 or 6 steps above the sidewalk. The front room was almost always used as a dining room, with the back room being the kitchen.
Beneath this floor was a cellar, raised up halfway out of the ground.
The cellar story held the “archway”, which was a way into the kitchen. A delivery boy could ring the bell, and when the door was opened, go down the steep flight of stairs. He’d then go down a corridor, partitioned off of the rest of the cellar, and mount a second flight of steps into the back yard, just opposite the kitchen door.
This was Boston version of the Baltimore or Philadelphia alley. The alley was placed under the house instead of beside it. Some Boston houses kept the street level alley, but built upper stories of the house over it.
This shows the drawing room floor plan of the same house
The room back of the staircase was often arranged as a china closet, which may have meant that the Boston family often dined in the back parlor. There was no dumb waiter, but the author of the source book was inclined to think that since Boston tended to take after London ways, that a maid would probably bring the dishes up and down to and from the kitchen, as they did in London at that time. He espoused the view that “ a New York maid or man would consider quite out of the question“.
This 1830 Boston house would have had no plumbing or water supply except in the kitchen, and no furnace. When city water appeared in Boston, a bathroom would have quite possibly have been fitted into the ground floor extension or upstairs on a bedroom floor.
The cost of this sort of house was about the same as a New York house of the same size, but Boston lots were usually not as deep. Since Boston back yards were much smaller, the laundry was dried on the roof of the one story extension on specially built frames and racks.
This is a view of an old style Boston town house, much like the shown plans, only reversed. The steps leading up to the front door were often of wood because they were partially protected from the effects of the weather. In the very expensive homes, the steps would more likely be stone.
Philadelphia
In the three previous houses the dining room was generally on the floor below the drawing room, but in Philadelphia the living rooms were all placed on the same floor, and this floor was usually at or close to street level.
The Philadelphia town house had access to a back alley that ran the length of the block. Each back yard had a gate into this alleyway through which deliverymen could reach the kitchen.
The front, therefore would have only one door, with no more than 5 marble steps leading to it. The front end of the hall tended to be only as wide as necessary, allowing for a large parlor. The hallway would widen towards the back to allow for the stairs to the upper floor, making the back parlor somewhat narrower. This back parlor was often used as the dining room. Often there would be a pair of facing closets between the front and back room, forming a sort of short passage. Two sets of doors were also sometimes used.
More expensive homes had a larger back building, and the dining room would often be placed there. These larger examples could also have a service or butler’s pantry between the dining and kitchen spaces.
The back building was usually only one story high, so the staircase hall was usually well lit from the windows on the landings.
Philadelphians also had more building room than New Yorkers and Bostonians with more spacious rooms and more natural light.
Rear View of Houses at Eighth and Spruce Streets, Philadelphia.
The house on the left is the corner house on the block. The entrance has been placed on the side street shown here. The long brick wall running along the street encloses a somewhat larger than normal back yard and the back building is larger than most, apparently constructed in 3 sections.
Group of Houses at Third and Locust Streets, Philadelphia; built about 1810.
These houses are from an earlier period.
Double houses
Wealthier families in cities could afford double houses, or houses with rooms on both sides of the entrance hall. Their lots tended to run from thirty-seven to fifty feet in width.
Apparently not nearly as many examples of those were built in New York, compared to cities like Philadelphia and Baltimore. Even crowded Boston had more of them than New York.
C. Astor Bristed, author of The Upper Ten Thousand: Sketches of American Society, put his typical wealthy New Yorker into a house 3 rooms deep and 27 feet wide. He explained that the house stood on a corner lot, and so had windows in the second of the three bedrooms. The author of the source for this article notes that;"anyone who knew New York about 1845, will remember how unusual was the house with four or five windows in one story of its front. Still, such houses were known."
This example of a New York double house stood on Washington Place and in the 1890’s was no longer a private dwelling.
Here is an example of a Boston double house. The lot was about 40 feet wide. A New York double house would be similarly set up, but without the rounded bow window. The windows were described as “swell fronts” and are mainly a Boston feature, though there were a few built in New York.
You can compare the Boston and other houses to the drawing room floor of an old London house.
This shows the first floor, while the entrance to the house would be on the ground floor, together with the dining room. This particular example shows a very long extension because it was used as an art gallery. Normally the extension would only be about 15 feet long.
The Next Step
The next step in the evolution of the new York town house was basically the same plan as the first one shown at the top of this page, with the addition of a vestibule and a back room.
This room was called the "third room," the "tea-room," and often the " extension." This room originally was a one story addition, though later on it became a part of the original conception of the house.
New York, 1860, ground floor
This sketch shows the abandonment of the wall between the two parlors. In place of the wall, we see columns dividing the space. One reason for this was the fact that the central room no longer had windows, so that by removing the wall, it was now part of the windowed front room. At first there was an arch or transom in this divider, but eventually that disappeared leaving one long room, with one centered fireplace.
The back room eventually came to be used as a dining room, and cupboards and a dumb-waiter would be installed in the enclosed back end of the hall.
This photo is from a later period, but happens to illustrate the 2 parlors becoming one with the use of dividing columns. The fireplace in the inner room seems to be unused. The area has no windows. To gain more light, and give the feel of a more open space, the homeowner has installed a set of French doors on the back wall. One opens to the “back room” which has been set up for dining. It’s unclear if the stationary section is clear glass or mirrored.
In older houses, where there were 2 parlors and a back room, the house would be about 57 feet long, but once the two parlors started being replaced with one longer room in newer houses, the longer room tended to shrink to a length of 34 feet or less. The additional 15 feet or so of back room brought the total length to about 50 feet.
At the same time that these changes were being made on the first floor, the upper floors were also extended to the full length of the house, making 3 bedrooms on each floor.
The use of this floor plan predominated in New York for about 30 years
The second floor of an 1860 New York townhouse
The small center rooms were easily equipped with sinks for washing. The passageway connecting the bedrooms was lined with cupboards. The two small rooms could be used either as bedrooms, a sewing or sitting room, or, as shown here, a bathroom.
If the house was deeper, the space between the front and back bedrooms was increased. Often the bathroom would be placed in the middle of the house between the closets. In this case a light shaft was installed for light and ventilation.
Finally, a townhouse plan from 1893
From
HOMES IN CITY AND COUNTRY, Russell Sturgis
1893
Sunday 24 June 2007
VICTORIAN VIEW OF THE HOUSE OF THE FUTURE
The house of the 20th c. as described by a visionary of the 19th
The Twentieth-Century Dwelling
The typical dwelling of the twentieth century has not been built yet, but we are near enough to it to be able to forecast, at least in a general way, what it will be like. It will be made of concrete, or some similar material that will be comparatively unaffected by the weather and that will provide thorough protection
against changes in the external temperature. On the outside the building will, of course, be tinted and decorated to suit the taste and means of the owner. Inside it wi1l be given a hard, durable, smooth finish that will not hold dust and that will be impervious to moisture. Not only walls and ceilings but floors will be finished in
this way, and at a moment's notice the furnishings can be taken out and a room or the whole house washed down with a stream from a hose and wiped dry with the utmost ease.
The lighting of the twentieth century dwelling will be by diffusion from tubes of electrified vapor that will give an even and soft illumination all over the house- an illumination that, in many respects, will be better than daylight. But it is in respect to the regulation of atmospheric conditions that the twentieth century
house will possess the most decided advantages over the houses we live in now. The heating and cooling of the air as it will be brought in through screened openings will be done automatically by electricity. There will be electric heaters in winter and refrigerating coils in summer, and the interior of the dwelling, if the occupants so desire, will be kept at an even temperature the year round. Thus it will be possible to have any climate to order- warm or cool, moist or dry - and no doubt the adjustment of these conditions to individual needs will be an important part of the therapeutics of the future. If families cannot agree upon a uniform
climate for the entire house, each member of the family can have the sort of climate he or she requires in his or her individual apartments.
The twentieth-century kitchen will delight the heart of the careful housewife. It will be as clean and perfect in all its fittings as a laboratory for the most delicate chemical processes, and, indeed, it will be a laboratory rather than a kitchen. Cooking by electricity will be an exact science. Along one side of the tiled room will be a series of asbestos-lined doors, with thermometric indicators on each door. Put in your materials properly prepared- that is where the art
will come in- set the thermostat at the given mark for simmering, stewing, boiling or baking, leave it so for a stated time, and there you are! Food cooked to perfection, and no dust, no dirt, no surplus heat, no steam, no odor. Who would not be a cook in the electric kitchen when the twentieth century house shall be built?
this was published in Harper's Weekly in 1896.
The Twentieth-Century Dwelling
The typical dwelling of the twentieth century has not been built yet, but we are near enough to it to be able to forecast, at least in a general way, what it will be like. It will be made of concrete, or some similar material that will be comparatively unaffected by the weather and that will provide thorough protection
against changes in the external temperature. On the outside the building will, of course, be tinted and decorated to suit the taste and means of the owner. Inside it wi1l be given a hard, durable, smooth finish that will not hold dust and that will be impervious to moisture. Not only walls and ceilings but floors will be finished in
this way, and at a moment's notice the furnishings can be taken out and a room or the whole house washed down with a stream from a hose and wiped dry with the utmost ease.
The lighting of the twentieth century dwelling will be by diffusion from tubes of electrified vapor that will give an even and soft illumination all over the house- an illumination that, in many respects, will be better than daylight. But it is in respect to the regulation of atmospheric conditions that the twentieth century
house will possess the most decided advantages over the houses we live in now. The heating and cooling of the air as it will be brought in through screened openings will be done automatically by electricity. There will be electric heaters in winter and refrigerating coils in summer, and the interior of the dwelling, if the occupants so desire, will be kept at an even temperature the year round. Thus it will be possible to have any climate to order- warm or cool, moist or dry - and no doubt the adjustment of these conditions to individual needs will be an important part of the therapeutics of the future. If families cannot agree upon a uniform
climate for the entire house, each member of the family can have the sort of climate he or she requires in his or her individual apartments.
The twentieth-century kitchen will delight the heart of the careful housewife. It will be as clean and perfect in all its fittings as a laboratory for the most delicate chemical processes, and, indeed, it will be a laboratory rather than a kitchen. Cooking by electricity will be an exact science. Along one side of the tiled room will be a series of asbestos-lined doors, with thermometric indicators on each door. Put in your materials properly prepared- that is where the art
will come in- set the thermostat at the given mark for simmering, stewing, boiling or baking, leave it so for a stated time, and there you are! Food cooked to perfection, and no dust, no dirt, no surplus heat, no steam, no odor. Who would not be a cook in the electric kitchen when the twentieth century house shall be built?
this was published in Harper's Weekly in 1896.
MISCELLENY
INTERIORS
A well equipped Victorian kitchen should have a pot board or shelf between the legs of the table. Often equipment also hung on rack above. If possible, a marble topped table for rolling pastry should be included.
Kitchen dressers, or as we would call them in America today, cabinets, were usually built in to the walls of the room or fitted into an alcove. In England they were often painted chocolate brown or bottle green.
Plasterwork was expensive well into the 1700’s, but by the Victorian era it had become the cheapest most reliable finish. Wooden paneling had become a status symbol, and if one could not afford the real thing, one could simulate it with paint effects or anaglyptic paper embossed with wood-grain patterns. The full height paneling of the gothic revival
period was rare for most of the 19th c., because it made the room so dark. Towards the end of the century, with the introduction of electric light, the very wealthy could and did have oak paneling.
The Queen Anne revival introduced a new kind of paneling that was often painted off-white to complement bright chintzes and William Morris papers. They were the smallish
square panels that ran ¾ up the wall with a display rail on top. This was first done in Britain, America lagged behind in returning to painted woodwork.
The ideal for woodwork was the authoritative oak, but since it was expensive cheaper woods were often grained to look like it. Doors were often grained or stenciled to imitate marquetry. Upstairs doors would not be grained.
For door and window trims and other interior woodwork, white pine was often recommended by architects because it was the cheapest. Quoting a source from 1884: “It may be stained, if too light the transparent stains merely darken the wood and do not conceal the natural grain. Under no circumstances try to imitate oak or walnut by graining. Such shams deceive no one and are in the worst taste. If we use paint for interior work let us use it frankly, carefully selecting the color, and avoiding a shiny surface, a flatted or dull finish being preferable“.
Another source, published the same year declared; ‘The panels of doors, etc., may be tinted to give a good effect, It is fashionable just now to lay on a pale French gray to the principal parts of the woodwork, and then make the panels a shade or two darker‘.
I thought it interesting that several books noted that a bedroom should have space for a bed, so that it need not be placed in front of a window or a closet, which leaves one to believe this must have been a not unusual condition.
EXTERIORS
The final quarter of the 19th c was the era of the wide front or side porch, called in those days, a veranda, and it was regarded as a “particular American feature”
From a mid 1880’s source….
“……Naturally the more expensive houses were the first to get the benefit of the architectural inspiration drawn largely from England. But now that English gables and dormers have spread so widely, now that we realize the beauty of our own colonial architecture, and that the Queen Anne craze is subsiding, so that only its best features remain, the less ambitious dwellings must not be left to the mercy of those builders whose ideas of beauty are limited to scroll-saw brackets and French roofs. ……”
“We have discovered that considerations of cleanliness do not require us to paint our houses white, which, even with the addition of green shutters, is hardly satisfactory. “
Writers had been criticizing the monotony of white houses with green shutters, or blinds, for the past 30 years. They would continue to do so for another 30, during which time householders continued painting their houses white with green shutters.
The Gothic style was more correctly known as Pointed, and the Greek was also called Horizontal, though a source from the day pointed out that the American house was built more in the Roman style than the Greek. Moreover, the Italianate style had subcategories like Tuscan and Venetian. During this period of architectural history people were also building in the Colonial, or more properly known, Georgian, the Queen Anne and in something that was referred to in several books as the American style. Just quite what the American style was has eluded me.
In a book published in 1908, the author looked back with modern eyes at the styles of just a few years past.
“The houses of 1880-1900 had only portholes punched through the side of the house wherever there seemed to be a chance to destroy a restful space, and these holes were sometimes accentuated by making all the sash lines invisible from the outside by painting them in dark colors.”
I’ve enjoyed the writings of a noted 19th c American architect, E.C.Gardner.
From 1875
. You may have learned that life is a succession of compromises. Building in New England certainly is. No sooner do we get nicely fortified with furnaces, storm-porches, double windows, and forty tons of anthracite, than June bursts upon us with ninety degrees in the shade. Then how we despise our contrivances for keeping warm, and bless the ice-man! We wish the house was all piazza, and if it were not for burglars and mosquitoes, would abjure walls and roof and live in the open air. Just here is our dilemma. We go "from Greenland's icy mountains to India's coral strands" and back again every twelve months, whether we will or no, and are obliged to live in the same house through it all. It's really a desperate matter. I've been to the ant and the beasts and the birds. They recommend hibernating or migration, but our wings are too short for the one, our fur too thin for the other!
Seriously, you must not forget to prepare for extremes of climate. Fortunately the walls that most thoroughly resist the cold are effective against the heat. The doors and windows—the living, breathing, seeing, working part of the house—demand the twofold provision. You must have double windows in winter, to be taken off (laid away and more or less smashed up) in summer; outside blinds to ward off the summer sun, which may, in their turn, be removed when we are only too glad to welcome all the sunshine there is. The vestibules—portable storm-porches are not to be tolerated—must also be skilful doorkeepers, proof against hostile storms, but freely admitting the wandering zephyrs.
A well equipped Victorian kitchen should have a pot board or shelf between the legs of the table. Often equipment also hung on rack above. If possible, a marble topped table for rolling pastry should be included.
Kitchen dressers, or as we would call them in America today, cabinets, were usually built in to the walls of the room or fitted into an alcove. In England they were often painted chocolate brown or bottle green.
Plasterwork was expensive well into the 1700’s, but by the Victorian era it had become the cheapest most reliable finish. Wooden paneling had become a status symbol, and if one could not afford the real thing, one could simulate it with paint effects or anaglyptic paper embossed with wood-grain patterns. The full height paneling of the gothic revival
period was rare for most of the 19th c., because it made the room so dark. Towards the end of the century, with the introduction of electric light, the very wealthy could and did have oak paneling.
The Queen Anne revival introduced a new kind of paneling that was often painted off-white to complement bright chintzes and William Morris papers. They were the smallish
square panels that ran ¾ up the wall with a display rail on top. This was first done in Britain, America lagged behind in returning to painted woodwork.
The ideal for woodwork was the authoritative oak, but since it was expensive cheaper woods were often grained to look like it. Doors were often grained or stenciled to imitate marquetry. Upstairs doors would not be grained.
For door and window trims and other interior woodwork, white pine was often recommended by architects because it was the cheapest. Quoting a source from 1884: “It may be stained, if too light the transparent stains merely darken the wood and do not conceal the natural grain. Under no circumstances try to imitate oak or walnut by graining. Such shams deceive no one and are in the worst taste. If we use paint for interior work let us use it frankly, carefully selecting the color, and avoiding a shiny surface, a flatted or dull finish being preferable“.
Another source, published the same year declared; ‘The panels of doors, etc., may be tinted to give a good effect, It is fashionable just now to lay on a pale French gray to the principal parts of the woodwork, and then make the panels a shade or two darker‘.
I thought it interesting that several books noted that a bedroom should have space for a bed, so that it need not be placed in front of a window or a closet, which leaves one to believe this must have been a not unusual condition.
EXTERIORS
The final quarter of the 19th c was the era of the wide front or side porch, called in those days, a veranda, and it was regarded as a “particular American feature”
From a mid 1880’s source….
“……Naturally the more expensive houses were the first to get the benefit of the architectural inspiration drawn largely from England. But now that English gables and dormers have spread so widely, now that we realize the beauty of our own colonial architecture, and that the Queen Anne craze is subsiding, so that only its best features remain, the less ambitious dwellings must not be left to the mercy of those builders whose ideas of beauty are limited to scroll-saw brackets and French roofs. ……”
“We have discovered that considerations of cleanliness do not require us to paint our houses white, which, even with the addition of green shutters, is hardly satisfactory. “
Writers had been criticizing the monotony of white houses with green shutters, or blinds, for the past 30 years. They would continue to do so for another 30, during which time householders continued painting their houses white with green shutters.
The Gothic style was more correctly known as Pointed, and the Greek was also called Horizontal, though a source from the day pointed out that the American house was built more in the Roman style than the Greek. Moreover, the Italianate style had subcategories like Tuscan and Venetian. During this period of architectural history people were also building in the Colonial, or more properly known, Georgian, the Queen Anne and in something that was referred to in several books as the American style. Just quite what the American style was has eluded me.
In a book published in 1908, the author looked back with modern eyes at the styles of just a few years past.
“The houses of 1880-1900 had only portholes punched through the side of the house wherever there seemed to be a chance to destroy a restful space, and these holes were sometimes accentuated by making all the sash lines invisible from the outside by painting them in dark colors.”
I’ve enjoyed the writings of a noted 19th c American architect, E.C.Gardner.
From 1875
. You may have learned that life is a succession of compromises. Building in New England certainly is. No sooner do we get nicely fortified with furnaces, storm-porches, double windows, and forty tons of anthracite, than June bursts upon us with ninety degrees in the shade. Then how we despise our contrivances for keeping warm, and bless the ice-man! We wish the house was all piazza, and if it were not for burglars and mosquitoes, would abjure walls and roof and live in the open air. Just here is our dilemma. We go "from Greenland's icy mountains to India's coral strands" and back again every twelve months, whether we will or no, and are obliged to live in the same house through it all. It's really a desperate matter. I've been to the ant and the beasts and the birds. They recommend hibernating or migration, but our wings are too short for the one, our fur too thin for the other!
Seriously, you must not forget to prepare for extremes of climate. Fortunately the walls that most thoroughly resist the cold are effective against the heat. The doors and windows—the living, breathing, seeing, working part of the house—demand the twofold provision. You must have double windows in winter, to be taken off (laid away and more or less smashed up) in summer; outside blinds to ward off the summer sun, which may, in their turn, be removed when we are only too glad to welcome all the sunshine there is. The vestibules—portable storm-porches are not to be tolerated—must also be skilful doorkeepers, proof against hostile storms, but freely admitting the wandering zephyrs.
THE SERVANT'S QUARTERS
Servant's quarters were generally overlooked in decorating and homemaking books. Ella Rodman Church was unusual in that she devoted a whole chapter to them, albeit a very short one.
The servants’ quarters would generally be found on the third, or top floor of houses. The stairs to this floor would often be covered in an old Venetian carpet runner, or even just bare, stained and varnished wood, which was “not at all necessary to be ashamed of”.
This floor could also hold other family or guest bedrooms and perhaps a storeroom.
It had been noted by some, that in many moderate houses the servant’s room had no comforts of any kind. Ella Rodman Church voiced the opinion that a person who worked hard all day should had a right to the comfort of a “clean and at least moderately soft bed,….. and if she has a pleasant, comfortably appointed room to retire to, she will be likely to take all the more pains with herself and her work.”
Pillow shams were considered to be out of place, but the bed should be furnished with clean pillow cases and sheets. The blankets could be gray, which were half the price of white ones. A warm comforter should also be provided. A bureau should be available, for the girl’s bedlinens and belongings. A tasteful red or blue calico coverlet could cover the bed. If there were two servants, she advised that it would be preferable to have two single beds rather than one large one, as long as the size of the room allowed it. Two beds would prevent discomfort and quarreling.
Pitchers and washbowls, along with the necessities for washing should be supplied so that the maids wouldn’t have to wash themselves in the kitchen. A good supply of towels should also be provided.
An inexpensive or rag carpet should be provided and curtains to match the bedspread.
Other furnishings should include a table of some kind, a low chair and one or two higher ones. If there was no closet, there should be a row of nails upon which to hang clothes.
A few pictures on the walls would be a pleasant touch and “make a servant feel that she has been considered beyond the mere necessaries of life“.
Mrs. Church also makes note that: “A serviceable pin-cushion on the bureau will till a void that is usually gaping in this class, while a receptacle for pins that would otherwise find their way to the floor might save the mistress's stores from unlawful raids“
Finally…..
“The heat that comes up from below will usually make the servants' room warm enough to prevent water from freezing in it; and this, with the comfortable kitchen for a sitting-room, will be all that is necessary“.
The servants’ quarters would generally be found on the third, or top floor of houses. The stairs to this floor would often be covered in an old Venetian carpet runner, or even just bare, stained and varnished wood, which was “not at all necessary to be ashamed of”.
This floor could also hold other family or guest bedrooms and perhaps a storeroom.
It had been noted by some, that in many moderate houses the servant’s room had no comforts of any kind. Ella Rodman Church voiced the opinion that a person who worked hard all day should had a right to the comfort of a “clean and at least moderately soft bed,….. and if she has a pleasant, comfortably appointed room to retire to, she will be likely to take all the more pains with herself and her work.”
Pillow shams were considered to be out of place, but the bed should be furnished with clean pillow cases and sheets. The blankets could be gray, which were half the price of white ones. A warm comforter should also be provided. A bureau should be available, for the girl’s bedlinens and belongings. A tasteful red or blue calico coverlet could cover the bed. If there were two servants, she advised that it would be preferable to have two single beds rather than one large one, as long as the size of the room allowed it. Two beds would prevent discomfort and quarreling.
Pitchers and washbowls, along with the necessities for washing should be supplied so that the maids wouldn’t have to wash themselves in the kitchen. A good supply of towels should also be provided.
An inexpensive or rag carpet should be provided and curtains to match the bedspread.
Other furnishings should include a table of some kind, a low chair and one or two higher ones. If there was no closet, there should be a row of nails upon which to hang clothes.
A few pictures on the walls would be a pleasant touch and “make a servant feel that she has been considered beyond the mere necessaries of life“.
Mrs. Church also makes note that: “A serviceable pin-cushion on the bureau will till a void that is usually gaping in this class, while a receptacle for pins that would otherwise find their way to the floor might save the mistress's stores from unlawful raids“
Finally…..
“The heat that comes up from below will usually make the servants' room warm enough to prevent water from freezing in it; and this, with the comfortable kitchen for a sitting-room, will be all that is necessary“.
THE PARLOR AND DRAWING ROOM, CIRCA 1880
"The comedy was that so many of these rooms were alike"...A.E.Richardson
Who can not recall the huge, towering bouquets of dried grasses in gaudy china vases on the mantel; the numerous family photographs on the walls, in a bleak margin of ghastly white, enlivened, perhaps, by a coarse chromo given as a premium by the vapid periodical that is piled up in back numbers on the table ; the ugly horsehair or brocatelle sofa; the tapestry carpet, combining all the colors of the rainbow ; the showy curtains of coarse lace ; the "fairy basket," filled with artificial flowers, suspended somewhere ; the hideous plaster busts of popular men ?
The entrance hall of such a house is usually furnished with oilcloth and a map of the United States; the best bedroom has a "cottage set," fearful with highly colored flowers and gilding, and the other bedrooms have whatever they can get. Crocheted mats and tidies, of all sizes, shapes, and denominations, overrun everything, like weeds ; and it is quite possible that such works of art as cone frames and wax flowers under glass are added to the other things that should not be. In all this melange there will probably not be a single growing thing, nor a bit of the woods near by, to give a touch of nature.
From, How to Furnish a Home by Ella Rodman Church, 1882
But here I must protest against fluffy wool mats scattered about the tables, antimacassars of lace, worsted, or other work hung loosely over the backs of the chairs and sofas, velvet-covered brackets, with useless fringe fixed on with brass-headed nails, on which too often are placed trumpery bits of Dresden or other china, in the shape of dogs, cats, or birds. The wool mats and velvet-covered brackets are nothing but traps for dirt and dust, while the loose antimacassars are an endless source of untidiness and annoyance.
From, Decoration & Furniture of Town Houses by Robert W. Eddis, 1880
Church and Eddis were two highly regarded decorationg authorities of their age, Mrs.Church being American, Mr. Eddis, English. Decorating advice from both countries is interchangeable. One finds the same “ do’s and don’t’s” on both sides of the Atlantic.
Most of this article is repeated from their books as they were written. Again, you’ll see that in some cases woodwork was painted in others, not.
On the question of a chair rail or dado in the drawing room, it was felt by some, generally, that the drawing room should not sport a dado. Cabinets, bookshelves and other unequally sized furnishings would look better against a wall decorated as a single unit rather than against one cut in two by the dividing dado. A frieze, however, would be good addition. Of course, the dado or no dado ruling depended in the size and proportions of the room in question.
1882 parlor mantle
One drawing-room in a large house was described this way, ….“a rich and effective treatment of the wall would be with a low panelled dado of dark black, with a delicate inlaying of ivory-toned ornament, the doors and general woodwork being painted to match, the general wall surface painted bright warm-coloured golden yellow, and powdered all over with a flower pattern or diaper of a darker tone of golden brown, the frieze being coloured in a delicate vellum or ivory tone, with arabesque or figure decoration in black, the cornice treated with delicate shades of brown and green, and the ceiling slightly tinted to match the frieze”. It should also be noted that when black was used, it was often advised that it be a matte finish, not a glossy one.
More descriptions of drawing rooms from this 1880 period follow, from Mr. Eddis’ book.
I saw lately a drawing-room of a newly built so-called Queen Anne house, in which the whole of the lower portion of the walls was covered with a good golden yellow pattern paper, the woodwork painted a vellum or cream-coloured white and varnished, and the frieze formed m decorative plaster-work in very slight relief, like Adam's work; the ceiling formed after similar designs, and all slightly tinted like Wedgwood ware. The general appearance was bright and cheerful, and the low tone of colour throughout formed an excellent contrast to the Persian rugs, marquetry furniture, blue and white china, and other decorative objects in the room.
Drawing-room, about 28 ft. by 18 ft, .and 14 ft. high.Adam's ceiling, in low relief, tinted in ' Wedgwood ' colouring ; the cornice relieved in somewhat stronger tones ; the walls hung with ' brocade' paper of pale Indian blue, divided by pilasters of'Adam's' arabesques, painted in quiet tones of brown, warm greens, and russets, with carved medallions in each. Dado and woodwork of quiet cream tint, with line ornaments in drab and gold.
Drawing-room, 30 ft. by 18 ft., and 13 ft. 6 in. high.The plain ceiling was divided into three, and ornamented with plaster enrichment in low relief, very lightly tinted, and slightly relieved by gilding, cornice picked out to harmonise with the walls. The walls hung with crimson ground ' brocade' paper, with a pattern in very dull white and gold ; the dado and woodwork black and gold, with margins of rich maroon, next the gilt mouldings of the panels.
Small drawing-room or boudoir, 12 ft. high. Flat ceiling, panelled out with a painting about 8 ft. by 4 ft. in centre, with low relief ornament outside this. The whole room panelled 9 ft high, with pale wainscot oak; the space above this hung with embossed
leather paper, with pattern in gold, and colours of a light dull green tone. Curtains, silk and wool tapestry. Floor, oak, rather darker than walls, with Oriental carpets. Furniture, dark mahogany; the coverings varied to some extent. A few water-colours hung on the oak panelling; chimney-piece carried up in light oak, with arrangement for bronzes, statuettes in side niches, and spaces for china.
Another decorative treatment of a small drawing or music-room would be by panelling the lower portion of the walls with a deal dado, delicately painted in yellowish pink or blue, and covering the general wall surface with a golden-toned paper, arranged in panels to suit the proportion of the room, with painted and stencil arabesque patterns on the dividing spaces ; the frieze treated with good figure or ornamental enrichment of canvas-plaster or papier mache' in low relief, painted white, with a groundwork of reddish gold or Bartolozzi engraving tint. The floor might have a border of light ebony and maple or boxwood parquet, with a low-toned Persian carpet in the centre, with easy lounges or divans all round the room for rest and comfort, the centre space being left clear of furniture, so as to allow of ample room for guests passing through to other rooms, or to congregate, whilst listening to song or music. Or the general tone of the wall surface may be of a bright bluish drab-coloured pattern paper, with a frieze of small yellowish diaper pattern, the woodwork throughout being painted in brighter tones of blue, with mouldings and stencil decoration on white, like Wedgwood china.
COLOR OF WALLS AND CEILINGS ETC.
In the following excerpt, the author refers to the decoration of earlier, beautifully decorated Adams period ceilings in Britain. Otherwise, the information is also applicable to the US. I’ve seen similar suggestions in American decorating books from the last quarter of the century.
“It is a somewhat difficult matter in most town houses, where the ceilings are generally plain, and bordered by cornices of inferior design, to treat them with any amount of colour. In houses of the date of Adams, the ceilings have generally some very delicate enrichments all over them, either flowing or arranged in patterns very slightly raised. Whenever these occur, it is well to treat them almost like Wedgwood ware, with, say, light tones of pink, green, grey, or buff, in very delicate tinting ; but where the ceiling is quite flat, it is desirable to tint it a light tone of grey or cream colour, to get rid of the extreme glare of pure white. Next, the cornice, a simple distemper pattern, of a darker shade of the same colour, will often be found effective and useful, or one or two simple lines with stencilled corners. The tinting of the cornices must materially depend upon their design and contour; if plain moulded cornices, they may be tinted in one or two shades, the lighter tones being always at the top or next the ceiling, and gradually darkening off to the wall decoration.”
….Eddis
The following is from Mrs. Church’s book.
White ceilings and white woodwork should only be used with a light colored wallpaper, but a slight amount of color in the whiting would give the ceiling a more agreeable tint that stark white. If the woodwork in a room is pine, and must be painted, then any nuetral light color would be agreeable and preferable to plain white. It should never be grained to imitate richer woods as the graining is never very good and it tends to peel in spots over time leaving a blotchy effect. Pine could also be shellacked and varnished, but most people preferred to have it painted.
A French pearl-gray, a warm stone-color, a pale buff, a delicate green, are all beautiful for parlor walls. The faintest suspicion of pink, like the inner lining of some lovely sea-shells, is both pretty arnd becoming, and will go well with most things in the way of furnishing. A frieze of flowers and butterflies would not be inharmonious with this tint; and a dark, almost invisible, green dado, divided, perhaps, by narrow gilt panels, would bear a lighter green in furniture covering. Pale lemon-yellow is a pleasing tint, or a fuller apricot-yellow is very effective, especially with black wood-work. In speaking of the color of a room it is not meant that the walls must be of one single tint, but reference is made to the predominating hue, which exists even when pattern and coloring are complex.
A pale, dull sea-green goes admirably with a rich crimson or Indian red ; a pale, dull red with deep green ; but they must always be of very different intensity to look well together, and are always difficult to mingle pleasantly. Turquoise ….mixes very sweetly with a pale green ; ultramarine, being a red-blue…… is horrible with green. Pure pale yellow is a very becoming color, and will harmonize with purple; with blue, the contrast is too coarse.
As lovely a drawing-room as we ever saw in point of color was carpeted with gray felt with a deep dark-blue bordering ; the lounges and chairs were covered with chintz in the most delicate shade of robin's-egg blue….and the remainder was of wicker-work and black lacquer; the heavy pieces of furniture were in black lacquer and gilt; the curtains were of snowy muslin under lambrequins of chintz ; and the rest of the room was made up of vases, tripods, cups, pictures, flowers, and sunshine, till it seemed to overflow with harmonious color…
Somewhere in the sea of reading a parlor was described that lingers in the mind a warm, glowing, cheerful room, but not in the least glaring ; and, still rarer virtue, it was not expensive. The carpet was in two or three soft shades of red in a mossy pattern ; the walls were cream color with broken red lines in the corners; the curtains were crimson of some twilled material that hung in soft folds. But the furniture, two low sofas and one or two lounging-chairs, was covered with raw silk in rich Oriental colors ; and light chairs and tables broke up all appearance of stiffness. A lovely swinging lamp, with a wine-colored globe shade, hung over the reading-table ; and it was supported by a gilt, triangle, which was also the shape of the candlesticks on the mantel. Here was crimson judiciously used, and yet in sufficient force to make a deliciously inviting apartment
….Church
The following is a description of a wallpaper, from Eddis.
The general tone is a warm creamy yellow, with wall-flower pattern diaper (or diamond) of golden brown, in harmony with the yellow ground; the whole brightened up by the powdering over of the pale pinkish-toned petals or leaves, falling, as it were, from the sprays of almond flowers in the frieze. This frieze with its delicate blue ground and well-coloured sprays, with swallows flitting in and out, forms an exceedingly good contrast with the lower paper, when divided by a simple painted deal moulding or picture rail, painted golden brown and varnished, as suggested in the illustration.
FLOORS
I've mentioned quite a bit about floor treatments and coverings in other articles, so I won't repeat it. What was written stands true in the 1880 drawing room. I did however, want to relay this short paragraph written by Mrs. Church.
"It must be admitted that many sensible people are quite opposed to uncarpeted floors, and especially to stained floors, on the score of their showing dust and every footmark, as well as the roughness and inequalities of the boards, when not made for this particular purpose."...people liked their wall to wall carpets.
A carpet and accompanying border from 1882
THE FIREPLACE
The usual mantel-piece is a shelf of white marble, …… and the sooner this cold, unsuggestive surface is decently buried out of sight the better. A plain covering of any kind that harmonizes with the other draperies is a great improvement; and this should reach the bottom of the slab beneath the shelf, and be finished with a fringe. Most elaborate mantel coverings are wrought with crewels, and silks, and applique ; but these are not always in good taste, and should be well considered, before venturing upon them, in connection with the other furnishings. The latest fashion is for wooden mantel-pieces, ….In the parlor the mantel is usually surmounted by mirrors, but shelves for holding vases and other bric-a-brac are admissible. The shelves may be covered with cloth, in colors to harmonize with the drapery of the room if preferred. In Fig. 17 we give an example of treating a mantel-piece with lambrequin and back piece supported by rings on a pole. Vases and plaques standing against the drapery have a good effect. The screen and hanging cabinet in the engraving are from objects exhibited in the rooms of the Society of Decorative Art in this city.
figure 17
FURNITURE
The following advice is from Mrs. Church
A sofa should, if possible, turn toward the fire, so that its occupant may have his face toward the cheerful glow. At the same time, a little wicker-work tableblack and gold, if you willmay hold a lamp for reading.
As to chairs, a couple of good, well-stuffed easy-chairs…….arranged so as to look toward the fire, ought to be sufficient for luxury while six or eight little ebonized and cane-bottomed gossip chairs are the simplest and prettiest "occasional" furniture one can have. The gossip chair has a curved back which exactly fits the natural curve of the body, and the seat slopes gently downward and backward so as to give the best possible support with the least angularity or awkwardness.
With these pretty little clean cane seats, a black wicker-work chair, two easy-chairs, and a sofa, you should have enough places for family and guests in a quiet household.
The ugliest piece of furniture that can be put into the parlor is a piano ; the cottage, or cabinet shape, is tolerable, because less prominent, but the dark, clumsy, obtrusive structure in general use is a perfect nuisance in a small room, and should be gotten as much out of the way as possible. An irregularly shaped room with recesses is delightful for this purpose, if any of them will accommodate it; and, if there are two rooms, let the piano by all means be placed in the farther one. A handsome cover will clothe its dreary aspect with a little beauty, and its loud sounds will be sweeter from the enchantment lent by distance. Some parlors are all piano and carpet; but such apartments can in no sense of the word be called "living-rooms."
For furniture covering,………Raw silk is an excellent material ; and there are many woolen and other stuffs. The soft, pretty cretonnes of endless tints and styles are charming for a cottage parlor, and also for a city one that may be treated as such. The curtains should be of the same material, while a carpet of plain brown felt with a bordering of green, and a mantel-cover of some brown material embroidered with roses and leaves, would make a cheerful room.
A screen also affords good opportunity for the display of home skill in embroidery.
A cabinet is usually a handsome piece of parlor furniture…..This is the proper receptacle for all sorts of dainty and fragile things : choice bits of china, carving, or engraving, the numberless little treasures that one picks up along the path of life, and that one does not like to see carelessly handled.
Many parlors as well as purses will not admit of a large piece of furniture … and the small hanging cabinets are both pretty and convenient. These may be made by an ordinary carpenter of common wood, and ebonized at a comparatively small expensethe two little doors painted, if one can paint, in birds and flowers, with a little gilding judiciously added. Where painting is not to be had, panels of Indian red oilcloth decorated in various ways or pieces of embroidery can be used instead. Small, hanging shelves without doors, and a railing across the top, will make a very good substitute.
Marble-topped tables have very justly been stigmatized as parlor tombstones; and the simplest cover is preferable to one of these cold, polished surfaces. A crimson table-cover gives a warm, bright look to a room ; and the effect is heightened by making it long enough to touch the carpet. What a rich, warmly tinted picture is made by the "Cloth of woven crimson, gold, and jet".
Parlor tables are of various shapes and sizes ; and, whatever may be said to the contrary by those who condemn center-tables, a goodly sized round table with a crimson cover on it, and on that a handsome lamp, emitting a soft, steady light, and two or three new books and magazines, looks cozy and delightful, and as though the room was really lived in and enjoyed. A small upper cover, being in fact a square formed of small squares of white linen and drawn work alternately, saves the crimson cover as well as the eyes, and can be laundried as often as necessary.
Small corner tables with fancy covers are useful for five-o'clock tea, and, where this is not indulged in, for a great many other purposes, besides being exceedingly pretty and "helping to furnish." Very cheap ones can be bought, made of walnut or of ebonized wood, and apparently well made; these, with the tops covered and fringed, are quite unexceptionable. Felt, velveteen, canvas, satin, are all used for this purpose, and embroidered as fancy dictates.
Brackets, pictures, knickknacks, give a home look to a room ; but, with abundant means, there is such a tendency to overload in these matters that some are disposed to resort to the opposite extreme.
MIRRORS AND PICTURES
Large mirrors in quiet frames, a walnut frame with a gilt line of from a quarter to three eighths of an inch in the middle of the molding, and with perhaps a slight ornament at the corners, is recommended as having a richer effect than a gilt frame. Mantel mirrors are always handsome ; but a long, narrow one in the pier is a by-gone fashion belonging to heavy gilt cornices and immovable window draperies. Small, ornamental mirrors are almost as decorative as pictures, and may be hung in any part of the room.
The subject of pictures is one which opens a wide field for discussion ; and bare, indeed, are the walls that have not two or three of these ''counterfeit presentments" to relieve their bareness.
The next two art works mentioned by Mrs. Church must have been displayed in many a parlor.
What pleasure is there, for instance, in contemplating that dreary engraving, " The Death-Bed of Washington," or " Queen Elizabeth signing the Death-Warrant of Essex"?
I believe the engraving mentioned may have been based on this painting done in 1851
And here is Queen Elizabeth signing the death warrant of Essex
Yet there are rooms where these are the most cheerful adornments of the Avails. Neither is a picture made up principally of figures in black coats capable of giving the pleasure that a picture should give ; and many dismal representations of an historical character that are fondly supposed to be embellishments cast a gloom over country parlors, and depress the casual visitor.
Many valuable paintings, especially those of the Spanish and French schools, are no better, but rather worse : who, for instance, wishes to see portrayed on the wall the very unpleasant manner in which Cato committed suicide, or the details of a dissecting-room ? A picture that treats of a revolting or gloomy subject, if designed for a mural ornament, should be discarded as not answering the purpose for which it is intended.
Oil paintings are handsomer and more valuable than any other kind of pictures ; but fine oil paintings can only be secured at a price that places them quite beyond the reach of the majority.
Paintings in water-colors, some of which are expensive enough, may often be found at moderate prices by those who understand buying such things ; and, as a rule, they are better suited to moderate rooms than more pretentious pictures in oil. Colored pictures are bright and cheerful-looking, and their moderate use is very effective in a quiet parlor. Steel engravings, on the other hand, are somewhat depressing from their somber tone, and require the neighborhood of warm hues in walls and hangings to be thoroughly pleasing.
Engravings and photographs of the works of the old masters, or of any paintings that educate the eye, are always desirable ; and the low price at which really fine works of art may be purchased brings them within the reach of nearly all who care for such things.
The latter class of pictures look even worse side by side with water-color sketches than do the water-colors with oil paintings; "the print looking cold and harsh beside the water-color sketch, and the sketch seeming unreal and gaudy by the side of the photograph." It is also advised never to hang glazed drawings, when it can be avoided, opposite a window. " The sheen of the glass reflects the daylight and annihilates the effect of the picture behind it."
The frame of a picture should always be subservient to the picture itself, and, except in the case of oil paintings, it is better to have it of noticeable plainness. It should be substantial, but not wider than is absolutely necessary for a look of strength, a slight frame around a heavy picture being particularly objectionable. A walnut frame, with straight lines and a little gilding in the middle of each of the sides, or one of eboriized wood treated in the same way, has an appearance of quiet elegance; and very suitable
frames for engravings and photographs can be made of common pine, painted or covered with velvet.
Steel engravings and water-colors can not, like oil paintings, be framed with the frame close to the picture, and a space of white paper usually intervenes, which commonly makes an ugly and inharmonious spot on the wall. This can be avoided by first having the picture mounted in a passe-partout with a mat of gray or some neutral tint, and then placed in a frame. The required space around the picture is thus secured, while the objectionable expanse of white is avoided.
On the hanging of pictures we are told that, " to see them with anything like comfort or attention, they should be disposed in one row only, and that opposite the eye, or, on an average, about five feet six inches from the floor to the center of the canvas. A row thus formed will make a sort of colored zone around the room; and though the frames themselves may vary in shape and dimensions, they can generally be grouped with something like symmetry of position, the larger ones being kept in the center and the smaller ones being ranged on either side in corresponding places along the line." The cords used to suspend them should match the general coloring of the room ; wires, which have been so much in fashion, give an uncertain look to pictures, as though they had no visible means of support.
WINDOW COVERINGS
Finally a few window covering suggestions from Mr. Eddis
In the lower sitting-rooms of most town houses it is necessary to have some sort of lower screen or blind, to render the rooms fairly private from the gaze of too curious passers-by. For this purpose all kinds of contrivances have been carried out, from the old wire-gauze blind, with its general dirty and dingy look, and everlasting painted ornament of Greek fret or honeysuckle border, to the curious twisted cane inventions, which are bad in design, and infinitely too spotty and strong in colour to be pleasant accessories in any room, in which artistic decoration of any kind is thought of. Instead, therefore, of these coarse and unsatisfactory arrangements, I suggest that either a pattern of good diaper (note, by this is meant a piece of prettily embellished cloth hung in a triangle, or draped over a simple rod, point downwards.)or good ornament, be done on the lower portion of the window-glass, by the ordinary means of embossing, or that a second sheet of glass containing the pattern which may be done in slight tints be fixed on the inside face ; or, better still, have blinds of what is called jewelled glass in square quarry lights, or good figure or flower decoration in leaded glass, either done in outline, and stained in delicate tones of yellow, or worked out in good stained glass of various colours ; these can be made to any height, and fixed inside the sash so as to be easily removed for cleaning purposes....Blinds fixed to the sashes in this way may be objected to, on the ground that the sash weights will have to be altered to carry the extra weight of the blind, and that when the lower sash is opened the use of the blind is practically done away with ; but the first objection may be got over at the price of a few shillings per window, and if flower-boxes are fixed on the sills outside, made of ordinary zinc, with blue and white tiles inserted in the front, at a cost of from 205-. to 30^. each box, not only will the latter objection be done away with, but the bright and cheery look of low shrubs in winter, and many-coloured and sweet-scented flowers in summer, will add materially to the pleasantness of the room.
I am quite aware that I am offering no new suggestions in these remarks on blinds and flower-boxes. I am simply advocating their much greater use. For, beyond the pleasure to yourselves in the pleasant outlook upon bright flowers, the colour of the tiles and flowers would be grateful spots of life and colour in the dreary monotony of our town streets. All this kind of arrangement will be found much better than the ordinary frame blinds, which are fixed with bolts to the sash-beads, and are troublesome to take down and often in the way, especially when flower-boxes are set outside as I have suggested.
....Eddis
Decoration & Furniture of Town Houses: a series of Cantor lectures delivered before the Society of Arts, by Robert W. Eddis, 1880
How To Furnish a Home, by Ella Rodman Church, 1882
More pictures are available at
http://picasaweb.google.com/grazhe
Who can not recall the huge, towering bouquets of dried grasses in gaudy china vases on the mantel; the numerous family photographs on the walls, in a bleak margin of ghastly white, enlivened, perhaps, by a coarse chromo given as a premium by the vapid periodical that is piled up in back numbers on the table ; the ugly horsehair or brocatelle sofa; the tapestry carpet, combining all the colors of the rainbow ; the showy curtains of coarse lace ; the "fairy basket," filled with artificial flowers, suspended somewhere ; the hideous plaster busts of popular men ?
The entrance hall of such a house is usually furnished with oilcloth and a map of the United States; the best bedroom has a "cottage set," fearful with highly colored flowers and gilding, and the other bedrooms have whatever they can get. Crocheted mats and tidies, of all sizes, shapes, and denominations, overrun everything, like weeds ; and it is quite possible that such works of art as cone frames and wax flowers under glass are added to the other things that should not be. In all this melange there will probably not be a single growing thing, nor a bit of the woods near by, to give a touch of nature.
From, How to Furnish a Home by Ella Rodman Church, 1882
But here I must protest against fluffy wool mats scattered about the tables, antimacassars of lace, worsted, or other work hung loosely over the backs of the chairs and sofas, velvet-covered brackets, with useless fringe fixed on with brass-headed nails, on which too often are placed trumpery bits of Dresden or other china, in the shape of dogs, cats, or birds. The wool mats and velvet-covered brackets are nothing but traps for dirt and dust, while the loose antimacassars are an endless source of untidiness and annoyance.
From, Decoration & Furniture of Town Houses by Robert W. Eddis, 1880
Church and Eddis were two highly regarded decorationg authorities of their age, Mrs.Church being American, Mr. Eddis, English. Decorating advice from both countries is interchangeable. One finds the same “ do’s and don’t’s” on both sides of the Atlantic.
Most of this article is repeated from their books as they were written. Again, you’ll see that in some cases woodwork was painted in others, not.
On the question of a chair rail or dado in the drawing room, it was felt by some, generally, that the drawing room should not sport a dado. Cabinets, bookshelves and other unequally sized furnishings would look better against a wall decorated as a single unit rather than against one cut in two by the dividing dado. A frieze, however, would be good addition. Of course, the dado or no dado ruling depended in the size and proportions of the room in question.
1882 parlor mantle
One drawing-room in a large house was described this way, ….“a rich and effective treatment of the wall would be with a low panelled dado of dark black, with a delicate inlaying of ivory-toned ornament, the doors and general woodwork being painted to match, the general wall surface painted bright warm-coloured golden yellow, and powdered all over with a flower pattern or diaper of a darker tone of golden brown, the frieze being coloured in a delicate vellum or ivory tone, with arabesque or figure decoration in black, the cornice treated with delicate shades of brown and green, and the ceiling slightly tinted to match the frieze”. It should also be noted that when black was used, it was often advised that it be a matte finish, not a glossy one.
More descriptions of drawing rooms from this 1880 period follow, from Mr. Eddis’ book.
I saw lately a drawing-room of a newly built so-called Queen Anne house, in which the whole of the lower portion of the walls was covered with a good golden yellow pattern paper, the woodwork painted a vellum or cream-coloured white and varnished, and the frieze formed m decorative plaster-work in very slight relief, like Adam's work; the ceiling formed after similar designs, and all slightly tinted like Wedgwood ware. The general appearance was bright and cheerful, and the low tone of colour throughout formed an excellent contrast to the Persian rugs, marquetry furniture, blue and white china, and other decorative objects in the room.
Drawing-room, about 28 ft. by 18 ft, .and 14 ft. high.Adam's ceiling, in low relief, tinted in ' Wedgwood ' colouring ; the cornice relieved in somewhat stronger tones ; the walls hung with ' brocade' paper of pale Indian blue, divided by pilasters of'Adam's' arabesques, painted in quiet tones of brown, warm greens, and russets, with carved medallions in each. Dado and woodwork of quiet cream tint, with line ornaments in drab and gold.
Drawing-room, 30 ft. by 18 ft., and 13 ft. 6 in. high.The plain ceiling was divided into three, and ornamented with plaster enrichment in low relief, very lightly tinted, and slightly relieved by gilding, cornice picked out to harmonise with the walls. The walls hung with crimson ground ' brocade' paper, with a pattern in very dull white and gold ; the dado and woodwork black and gold, with margins of rich maroon, next the gilt mouldings of the panels.
Small drawing-room or boudoir, 12 ft. high. Flat ceiling, panelled out with a painting about 8 ft. by 4 ft. in centre, with low relief ornament outside this. The whole room panelled 9 ft high, with pale wainscot oak; the space above this hung with embossed
leather paper, with pattern in gold, and colours of a light dull green tone. Curtains, silk and wool tapestry. Floor, oak, rather darker than walls, with Oriental carpets. Furniture, dark mahogany; the coverings varied to some extent. A few water-colours hung on the oak panelling; chimney-piece carried up in light oak, with arrangement for bronzes, statuettes in side niches, and spaces for china.
Another decorative treatment of a small drawing or music-room would be by panelling the lower portion of the walls with a deal dado, delicately painted in yellowish pink or blue, and covering the general wall surface with a golden-toned paper, arranged in panels to suit the proportion of the room, with painted and stencil arabesque patterns on the dividing spaces ; the frieze treated with good figure or ornamental enrichment of canvas-plaster or papier mache' in low relief, painted white, with a groundwork of reddish gold or Bartolozzi engraving tint. The floor might have a border of light ebony and maple or boxwood parquet, with a low-toned Persian carpet in the centre, with easy lounges or divans all round the room for rest and comfort, the centre space being left clear of furniture, so as to allow of ample room for guests passing through to other rooms, or to congregate, whilst listening to song or music. Or the general tone of the wall surface may be of a bright bluish drab-coloured pattern paper, with a frieze of small yellowish diaper pattern, the woodwork throughout being painted in brighter tones of blue, with mouldings and stencil decoration on white, like Wedgwood china.
COLOR OF WALLS AND CEILINGS ETC.
In the following excerpt, the author refers to the decoration of earlier, beautifully decorated Adams period ceilings in Britain. Otherwise, the information is also applicable to the US. I’ve seen similar suggestions in American decorating books from the last quarter of the century.
“It is a somewhat difficult matter in most town houses, where the ceilings are generally plain, and bordered by cornices of inferior design, to treat them with any amount of colour. In houses of the date of Adams, the ceilings have generally some very delicate enrichments all over them, either flowing or arranged in patterns very slightly raised. Whenever these occur, it is well to treat them almost like Wedgwood ware, with, say, light tones of pink, green, grey, or buff, in very delicate tinting ; but where the ceiling is quite flat, it is desirable to tint it a light tone of grey or cream colour, to get rid of the extreme glare of pure white. Next, the cornice, a simple distemper pattern, of a darker shade of the same colour, will often be found effective and useful, or one or two simple lines with stencilled corners. The tinting of the cornices must materially depend upon their design and contour; if plain moulded cornices, they may be tinted in one or two shades, the lighter tones being always at the top or next the ceiling, and gradually darkening off to the wall decoration.”
….Eddis
The following is from Mrs. Church’s book.
White ceilings and white woodwork should only be used with a light colored wallpaper, but a slight amount of color in the whiting would give the ceiling a more agreeable tint that stark white. If the woodwork in a room is pine, and must be painted, then any nuetral light color would be agreeable and preferable to plain white. It should never be grained to imitate richer woods as the graining is never very good and it tends to peel in spots over time leaving a blotchy effect. Pine could also be shellacked and varnished, but most people preferred to have it painted.
A French pearl-gray, a warm stone-color, a pale buff, a delicate green, are all beautiful for parlor walls. The faintest suspicion of pink, like the inner lining of some lovely sea-shells, is both pretty arnd becoming, and will go well with most things in the way of furnishing. A frieze of flowers and butterflies would not be inharmonious with this tint; and a dark, almost invisible, green dado, divided, perhaps, by narrow gilt panels, would bear a lighter green in furniture covering. Pale lemon-yellow is a pleasing tint, or a fuller apricot-yellow is very effective, especially with black wood-work. In speaking of the color of a room it is not meant that the walls must be of one single tint, but reference is made to the predominating hue, which exists even when pattern and coloring are complex.
A pale, dull sea-green goes admirably with a rich crimson or Indian red ; a pale, dull red with deep green ; but they must always be of very different intensity to look well together, and are always difficult to mingle pleasantly. Turquoise ….mixes very sweetly with a pale green ; ultramarine, being a red-blue…… is horrible with green. Pure pale yellow is a very becoming color, and will harmonize with purple; with blue, the contrast is too coarse.
As lovely a drawing-room as we ever saw in point of color was carpeted with gray felt with a deep dark-blue bordering ; the lounges and chairs were covered with chintz in the most delicate shade of robin's-egg blue….and the remainder was of wicker-work and black lacquer; the heavy pieces of furniture were in black lacquer and gilt; the curtains were of snowy muslin under lambrequins of chintz ; and the rest of the room was made up of vases, tripods, cups, pictures, flowers, and sunshine, till it seemed to overflow with harmonious color…
Somewhere in the sea of reading a parlor was described that lingers in the mind a warm, glowing, cheerful room, but not in the least glaring ; and, still rarer virtue, it was not expensive. The carpet was in two or three soft shades of red in a mossy pattern ; the walls were cream color with broken red lines in the corners; the curtains were crimson of some twilled material that hung in soft folds. But the furniture, two low sofas and one or two lounging-chairs, was covered with raw silk in rich Oriental colors ; and light chairs and tables broke up all appearance of stiffness. A lovely swinging lamp, with a wine-colored globe shade, hung over the reading-table ; and it was supported by a gilt, triangle, which was also the shape of the candlesticks on the mantel. Here was crimson judiciously used, and yet in sufficient force to make a deliciously inviting apartment
….Church
The following is a description of a wallpaper, from Eddis.
The general tone is a warm creamy yellow, with wall-flower pattern diaper (or diamond) of golden brown, in harmony with the yellow ground; the whole brightened up by the powdering over of the pale pinkish-toned petals or leaves, falling, as it were, from the sprays of almond flowers in the frieze. This frieze with its delicate blue ground and well-coloured sprays, with swallows flitting in and out, forms an exceedingly good contrast with the lower paper, when divided by a simple painted deal moulding or picture rail, painted golden brown and varnished, as suggested in the illustration.
FLOORS
I've mentioned quite a bit about floor treatments and coverings in other articles, so I won't repeat it. What was written stands true in the 1880 drawing room. I did however, want to relay this short paragraph written by Mrs. Church.
"It must be admitted that many sensible people are quite opposed to uncarpeted floors, and especially to stained floors, on the score of their showing dust and every footmark, as well as the roughness and inequalities of the boards, when not made for this particular purpose."...people liked their wall to wall carpets.
A carpet and accompanying border from 1882
THE FIREPLACE
The usual mantel-piece is a shelf of white marble, …… and the sooner this cold, unsuggestive surface is decently buried out of sight the better. A plain covering of any kind that harmonizes with the other draperies is a great improvement; and this should reach the bottom of the slab beneath the shelf, and be finished with a fringe. Most elaborate mantel coverings are wrought with crewels, and silks, and applique ; but these are not always in good taste, and should be well considered, before venturing upon them, in connection with the other furnishings. The latest fashion is for wooden mantel-pieces, ….In the parlor the mantel is usually surmounted by mirrors, but shelves for holding vases and other bric-a-brac are admissible. The shelves may be covered with cloth, in colors to harmonize with the drapery of the room if preferred. In Fig. 17 we give an example of treating a mantel-piece with lambrequin and back piece supported by rings on a pole. Vases and plaques standing against the drapery have a good effect. The screen and hanging cabinet in the engraving are from objects exhibited in the rooms of the Society of Decorative Art in this city.
figure 17
FURNITURE
The following advice is from Mrs. Church
A sofa should, if possible, turn toward the fire, so that its occupant may have his face toward the cheerful glow. At the same time, a little wicker-work tableblack and gold, if you willmay hold a lamp for reading.
As to chairs, a couple of good, well-stuffed easy-chairs…….arranged so as to look toward the fire, ought to be sufficient for luxury while six or eight little ebonized and cane-bottomed gossip chairs are the simplest and prettiest "occasional" furniture one can have. The gossip chair has a curved back which exactly fits the natural curve of the body, and the seat slopes gently downward and backward so as to give the best possible support with the least angularity or awkwardness.
With these pretty little clean cane seats, a black wicker-work chair, two easy-chairs, and a sofa, you should have enough places for family and guests in a quiet household.
The ugliest piece of furniture that can be put into the parlor is a piano ; the cottage, or cabinet shape, is tolerable, because less prominent, but the dark, clumsy, obtrusive structure in general use is a perfect nuisance in a small room, and should be gotten as much out of the way as possible. An irregularly shaped room with recesses is delightful for this purpose, if any of them will accommodate it; and, if there are two rooms, let the piano by all means be placed in the farther one. A handsome cover will clothe its dreary aspect with a little beauty, and its loud sounds will be sweeter from the enchantment lent by distance. Some parlors are all piano and carpet; but such apartments can in no sense of the word be called "living-rooms."
For furniture covering,………Raw silk is an excellent material ; and there are many woolen and other stuffs. The soft, pretty cretonnes of endless tints and styles are charming for a cottage parlor, and also for a city one that may be treated as such. The curtains should be of the same material, while a carpet of plain brown felt with a bordering of green, and a mantel-cover of some brown material embroidered with roses and leaves, would make a cheerful room.
A screen also affords good opportunity for the display of home skill in embroidery.
A cabinet is usually a handsome piece of parlor furniture…..This is the proper receptacle for all sorts of dainty and fragile things : choice bits of china, carving, or engraving, the numberless little treasures that one picks up along the path of life, and that one does not like to see carelessly handled.
Many parlors as well as purses will not admit of a large piece of furniture … and the small hanging cabinets are both pretty and convenient. These may be made by an ordinary carpenter of common wood, and ebonized at a comparatively small expensethe two little doors painted, if one can paint, in birds and flowers, with a little gilding judiciously added. Where painting is not to be had, panels of Indian red oilcloth decorated in various ways or pieces of embroidery can be used instead. Small, hanging shelves without doors, and a railing across the top, will make a very good substitute.
Marble-topped tables have very justly been stigmatized as parlor tombstones; and the simplest cover is preferable to one of these cold, polished surfaces. A crimson table-cover gives a warm, bright look to a room ; and the effect is heightened by making it long enough to touch the carpet. What a rich, warmly tinted picture is made by the "Cloth of woven crimson, gold, and jet".
Parlor tables are of various shapes and sizes ; and, whatever may be said to the contrary by those who condemn center-tables, a goodly sized round table with a crimson cover on it, and on that a handsome lamp, emitting a soft, steady light, and two or three new books and magazines, looks cozy and delightful, and as though the room was really lived in and enjoyed. A small upper cover, being in fact a square formed of small squares of white linen and drawn work alternately, saves the crimson cover as well as the eyes, and can be laundried as often as necessary.
Small corner tables with fancy covers are useful for five-o'clock tea, and, where this is not indulged in, for a great many other purposes, besides being exceedingly pretty and "helping to furnish." Very cheap ones can be bought, made of walnut or of ebonized wood, and apparently well made; these, with the tops covered and fringed, are quite unexceptionable. Felt, velveteen, canvas, satin, are all used for this purpose, and embroidered as fancy dictates.
Brackets, pictures, knickknacks, give a home look to a room ; but, with abundant means, there is such a tendency to overload in these matters that some are disposed to resort to the opposite extreme.
MIRRORS AND PICTURES
Large mirrors in quiet frames, a walnut frame with a gilt line of from a quarter to three eighths of an inch in the middle of the molding, and with perhaps a slight ornament at the corners, is recommended as having a richer effect than a gilt frame. Mantel mirrors are always handsome ; but a long, narrow one in the pier is a by-gone fashion belonging to heavy gilt cornices and immovable window draperies. Small, ornamental mirrors are almost as decorative as pictures, and may be hung in any part of the room.
The subject of pictures is one which opens a wide field for discussion ; and bare, indeed, are the walls that have not two or three of these ''counterfeit presentments" to relieve their bareness.
The next two art works mentioned by Mrs. Church must have been displayed in many a parlor.
What pleasure is there, for instance, in contemplating that dreary engraving, " The Death-Bed of Washington," or " Queen Elizabeth signing the Death-Warrant of Essex"?
I believe the engraving mentioned may have been based on this painting done in 1851
And here is Queen Elizabeth signing the death warrant of Essex
Yet there are rooms where these are the most cheerful adornments of the Avails. Neither is a picture made up principally of figures in black coats capable of giving the pleasure that a picture should give ; and many dismal representations of an historical character that are fondly supposed to be embellishments cast a gloom over country parlors, and depress the casual visitor.
Many valuable paintings, especially those of the Spanish and French schools, are no better, but rather worse : who, for instance, wishes to see portrayed on the wall the very unpleasant manner in which Cato committed suicide, or the details of a dissecting-room ? A picture that treats of a revolting or gloomy subject, if designed for a mural ornament, should be discarded as not answering the purpose for which it is intended.
Oil paintings are handsomer and more valuable than any other kind of pictures ; but fine oil paintings can only be secured at a price that places them quite beyond the reach of the majority.
Paintings in water-colors, some of which are expensive enough, may often be found at moderate prices by those who understand buying such things ; and, as a rule, they are better suited to moderate rooms than more pretentious pictures in oil. Colored pictures are bright and cheerful-looking, and their moderate use is very effective in a quiet parlor. Steel engravings, on the other hand, are somewhat depressing from their somber tone, and require the neighborhood of warm hues in walls and hangings to be thoroughly pleasing.
Engravings and photographs of the works of the old masters, or of any paintings that educate the eye, are always desirable ; and the low price at which really fine works of art may be purchased brings them within the reach of nearly all who care for such things.
The latter class of pictures look even worse side by side with water-color sketches than do the water-colors with oil paintings; "the print looking cold and harsh beside the water-color sketch, and the sketch seeming unreal and gaudy by the side of the photograph." It is also advised never to hang glazed drawings, when it can be avoided, opposite a window. " The sheen of the glass reflects the daylight and annihilates the effect of the picture behind it."
The frame of a picture should always be subservient to the picture itself, and, except in the case of oil paintings, it is better to have it of noticeable plainness. It should be substantial, but not wider than is absolutely necessary for a look of strength, a slight frame around a heavy picture being particularly objectionable. A walnut frame, with straight lines and a little gilding in the middle of each of the sides, or one of eboriized wood treated in the same way, has an appearance of quiet elegance; and very suitable
frames for engravings and photographs can be made of common pine, painted or covered with velvet.
Steel engravings and water-colors can not, like oil paintings, be framed with the frame close to the picture, and a space of white paper usually intervenes, which commonly makes an ugly and inharmonious spot on the wall. This can be avoided by first having the picture mounted in a passe-partout with a mat of gray or some neutral tint, and then placed in a frame. The required space around the picture is thus secured, while the objectionable expanse of white is avoided.
On the hanging of pictures we are told that, " to see them with anything like comfort or attention, they should be disposed in one row only, and that opposite the eye, or, on an average, about five feet six inches from the floor to the center of the canvas. A row thus formed will make a sort of colored zone around the room; and though the frames themselves may vary in shape and dimensions, they can generally be grouped with something like symmetry of position, the larger ones being kept in the center and the smaller ones being ranged on either side in corresponding places along the line." The cords used to suspend them should match the general coloring of the room ; wires, which have been so much in fashion, give an uncertain look to pictures, as though they had no visible means of support.
WINDOW COVERINGS
Finally a few window covering suggestions from Mr. Eddis
In the lower sitting-rooms of most town houses it is necessary to have some sort of lower screen or blind, to render the rooms fairly private from the gaze of too curious passers-by. For this purpose all kinds of contrivances have been carried out, from the old wire-gauze blind, with its general dirty and dingy look, and everlasting painted ornament of Greek fret or honeysuckle border, to the curious twisted cane inventions, which are bad in design, and infinitely too spotty and strong in colour to be pleasant accessories in any room, in which artistic decoration of any kind is thought of. Instead, therefore, of these coarse and unsatisfactory arrangements, I suggest that either a pattern of good diaper (note, by this is meant a piece of prettily embellished cloth hung in a triangle, or draped over a simple rod, point downwards.)or good ornament, be done on the lower portion of the window-glass, by the ordinary means of embossing, or that a second sheet of glass containing the pattern which may be done in slight tints be fixed on the inside face ; or, better still, have blinds of what is called jewelled glass in square quarry lights, or good figure or flower decoration in leaded glass, either done in outline, and stained in delicate tones of yellow, or worked out in good stained glass of various colours ; these can be made to any height, and fixed inside the sash so as to be easily removed for cleaning purposes....Blinds fixed to the sashes in this way may be objected to, on the ground that the sash weights will have to be altered to carry the extra weight of the blind, and that when the lower sash is opened the use of the blind is practically done away with ; but the first objection may be got over at the price of a few shillings per window, and if flower-boxes are fixed on the sills outside, made of ordinary zinc, with blue and white tiles inserted in the front, at a cost of from 205-. to 30^. each box, not only will the latter objection be done away with, but the bright and cheery look of low shrubs in winter, and many-coloured and sweet-scented flowers in summer, will add materially to the pleasantness of the room.
I am quite aware that I am offering no new suggestions in these remarks on blinds and flower-boxes. I am simply advocating their much greater use. For, beyond the pleasure to yourselves in the pleasant outlook upon bright flowers, the colour of the tiles and flowers would be grateful spots of life and colour in the dreary monotony of our town streets. All this kind of arrangement will be found much better than the ordinary frame blinds, which are fixed with bolts to the sash-beads, and are troublesome to take down and often in the way, especially when flower-boxes are set outside as I have suggested.
....Eddis
Decoration & Furniture of Town Houses: a series of Cantor lectures delivered before the Society of Arts, by Robert W. Eddis, 1880
How To Furnish a Home, by Ella Rodman Church, 1882
More pictures are available at
http://picasaweb.google.com/grazhe
Sunday 17 June 2007
A couple of books
Two books that I have recently read that have wonderful pictures are:
Authentic Décor, the domestic interior 1620-1920
by Peter Thornton
and
Victorians at Home
by Susan Lansdun
I learned a few things I hadn't known from Lansdun's book.
In the 1830's people were advised to arrange their furniture so that it looked as though someone had just left the room, with chairs comfortably set by the fire and perhaps a book left open on a table. This was considered a warmer and more welcoming arrangement than the previous practice of having furniture set along the walls, to be later placed near the window or fireplace when needed, then returned to its spot by the wall. This new furniture arrangement allowed the use of heavier tables and chairs. The fact that there had been improvements to heating and lighting were helpful.
Poor Queen Victoria found Buckingham Palace so cold that she used to take brisk walks along the great corridor to stay warm.
As late as 1880 open fires were still recommended in Britain as the best heating system, in spite of the fact that stoves were used on the European continent and the US. Visitors from these places often commented on the cold English chambers. One visitor to an English country house party complained that his room has too cold in which to pick up a pen, so he decided to go down to the drawing room to be by a fire. When he got there, he found the room overcrowded as everyone else had the same idea.
Finally we come to that beloved Victorian plant the aspidistra, also known as the cast iron plant. It seems that the fumes from gaslights killed many Victorian houseplants, but not the tough aspidistra. It was impervious to the fumes.
The gas was also another reason for the interest in plants grown in glass cases. The glass protected the plants inside.
Authentic Décor, the domestic interior 1620-1920
by Peter Thornton
and
Victorians at Home
by Susan Lansdun
I learned a few things I hadn't known from Lansdun's book.
In the 1830's people were advised to arrange their furniture so that it looked as though someone had just left the room, with chairs comfortably set by the fire and perhaps a book left open on a table. This was considered a warmer and more welcoming arrangement than the previous practice of having furniture set along the walls, to be later placed near the window or fireplace when needed, then returned to its spot by the wall. This new furniture arrangement allowed the use of heavier tables and chairs. The fact that there had been improvements to heating and lighting were helpful.
Poor Queen Victoria found Buckingham Palace so cold that she used to take brisk walks along the great corridor to stay warm.
As late as 1880 open fires were still recommended in Britain as the best heating system, in spite of the fact that stoves were used on the European continent and the US. Visitors from these places often commented on the cold English chambers. One visitor to an English country house party complained that his room has too cold in which to pick up a pen, so he decided to go down to the drawing room to be by a fire. When he got there, he found the room overcrowded as everyone else had the same idea.
Finally we come to that beloved Victorian plant the aspidistra, also known as the cast iron plant. It seems that the fumes from gaslights killed many Victorian houseplants, but not the tough aspidistra. It was impervious to the fumes.
The gas was also another reason for the interest in plants grown in glass cases. The glass protected the plants inside.
Subscribe to:
Posts (Atom)