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The Historical Tradition Rooms in General Walls Doors Windows Fireplaces Ceilings and Floors Entrance and Vestibule Hall and Stairs The Drawing-room, Boudoir, and Morning-room Gala Rooms: Ball-room, Saloon, Music-room, Gallery The Library, Smoking-room, and "Den" The Dining-room Bedrooms The School-room and Nurseries Bric-à-Bracooms may be decorated in two ways: by a superficial application of ornament totally independent of structure, or by means of those architectural features which are part of the organism of every house, inside as well as out. In the middle ages, when warfare and brigandage shaped the conditions of life, and men camped in their castles much as they did in their tents, it was natural that decorations should be portable, and that the naked walls of the mediæval chamber should be hung with arras, while a ciel, or ceiling, of cloth stretched across the open timbers of its roof. When life became more secure, and when the Italian conquests of the Valois had acquainted men north of the Alps with the spirit of classic tradition, proportion and the relation of voids to masses gradually came to be regarded as the chief decorative values of the interior. Portable hangings were in consequence replaced by architectural ornament: in other words, the architecture of the room became its decoration. This architectural treatment held its own through every change of taste until the second quarter of the present century; but since then various influences have combined to sever the natural connection between the outside of the modern house and its interior. In the average house the architect's task seems virtually confined xx to the elevations and floor-plan. The designing of what are to-day regarded as insignificant details, such as mouldings, architraves, and cornices, has become a perfunctory work, hurried over and unregarded; and when this work is done, the upholsterer is called in to "decorate" and furnish the rooms.
This classic works on The Decoration of Houses was originally published in 1897, With chapters including; The Historical Tradition - Rooms in general - Entrance and Vestibule and The school room & nurseries much of the information is still useful and practical today. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
This book explores the beginnings of the interior design profession in nineteenth-century France. Drawing on a wealth of visual sources, from collecting and advice manuals to pattern books and department store catalogues, it demonstrates how new forms of print media were used to ‘sell’ the idea of the unified interior as a total work of art, enabling the profession of interior designer to take shape. In observing the dependence of the trades on the artistic and public visual appeal of their work, the book establishes crucial links between the fields of art history, material and visual culture, and design history.