The House Beautiful: An Unabridged Reprint of the Classic Victorian Stylebook
336
The House Beautiful: An Unabridged Reprint of the Classic Victorian Stylebook
336eBook
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| ISBN-13: | 9780486157429 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 04/10/2013 |
| Series: | Dover Architecture |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 336 |
| File size: | 18 MB |
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The House Beautiful
An Unabridged Reprint of the Classic Victorian Stylebook
By Clarence Cook
Dover Publications, Inc.
Copyright © 1995 Dover Publications, Inc.All rights reserved.
ISBN: 978-0-486-15742-9
CHAPTER 1
THE ENTRANCE.
A FEW words, in the beginning, about the "Hall," as, in our American love of fine names, we are wont to call what, in nine cases out of ten, even in houses of pretension, is nothing but an entry or passage-way. A hall (aula) must be a large room, large at least in proportion to the size of the house; and such a hall it is rare to see in our modern city houses. Our old-fashioned houses had often halts; I remember some in houses about the Common in Boston, and some in old towns like Gloucester and Hingham, that were handsome, and that, seen to-day, give a pleasant idea of the comfort and substantial elegance enjoyed by many not over-rich people in old times, when the population was not so thick as it is to-day. In city houses, particularly in New-York, where I believe we are more scrimped for room, and where even the richest people are obliged to squeeze themselves into a less number of square feet than in any other city in the world calling itself great, there is often a sufficient excuse for these dismal, narrow, ill-lighted entry-ways, but there is no excuse for them in our country houses. As in meeting a man or a woman, so in entering a house, the first impression generally goes a great way in shaping our judgment. If, on passing the door, we find ourselves in a passage six feet wide, with a hat-stand on one side reducing it to four feet, and the bottom step of the staircase coming to within six feet of the door-way in front of us, and a gaselier dropping to within a foot of our head, we get an impression of something that is not precisely generosity, and which is not removed either by finding the drawing-room overfurnished, or by the fact that the hat-rack was made by Herter, that the carpet on the stairs is Wilton, and that the gaselier is one of Tiffany's imported masterpieces.
Of course, none of us are to blame for the smallness of our entry-ways. Our landlords must be called to account for this defect, and all they can say in excuse is, that house-building is a thing partly of necessity and partly of fashion. "When there was ground enough," the landlords will say, "when lots 25 × 100 were the rule, and not, as now, the exception, we built good-sized houses and gave wide enough halls; now that people are obliged to be content with two-thirds of a lot (houses sixteen feet wide being common in New-York), it is not possible to have anything but narrow entry-ways—a hall is out of the question." This is not exactly as the landlords say. There are houses in New-York—I once had a friend who lived in one, and I always recall the little box with pleasure —which, though among the very smallest, are better provided in the way of hall than many of the largest dwellings. The house I speak of had an entry that might fairly be called a hall, for it was sixteen feet wide, and nearly as long: the accompanying plan (No. 1) will show how it was obtained. The house was sixteen feet wide, and, as will be seen, the first floor was taken up with the dining-room, pantry, staircase, and the hall. The second floor had two rooms, one in front and one at the rear, with a large open hall (not a dark room) between them, and above were the bedrooms in two stories.
All I am concerned with now is the arrangement of the first floor, which seems to me, if we must have small houses, one that met satisfactorily the demands both of comfort and of good looks. On entering the front door—the house was what is called an "English basement," and the sill of the front door was only eighteen inches from the sidewalk —we found ourselves in a narrow vestibule, the outer door of which was always wholly or one-half open. The inner door being passed, there was a generous, hospitable space, which was thus disposed of. The vestibule was, as the reader will see, taken off this open space, and the recess formed by the left side of the vestibule and the left wall of the house was used as a bay-window to be filled with plants. Against the right-hand wall there was nothing placed, in order that the line from the front door to the stairs might be unobstructed, but some framed engravings were hung there, while against the opposite wall, was a table with a generous mirror—for, to parody Emerson, "All mankind loves a lookingglass"—and pegs for hats, and a rack for umbrellas. A settee stood against the end wall of the pantry, and this was all the little hall contained. With its ample space, its dark painted and shellacked floor shining beyond the edges of one of those pretty rugs made in Philadelphia of the clippings of tapestry carpets, its box of ivy in the window, its shining mirror, and its two Braun autotypes, I am sure there was no hall in the city, no matter how rich the man it might belong to, that had a more cheerful, hospitable look than that of my friend's house.
Even there, however, pains were taken to keep everything down. Sixteen feet square is a sizable hall, but it may be made to look small—as any room may—by being furnished with things out of proportion. Heavy-framed pictures or engravings on the walls, or sprawling patterns on the oil-cloth or the carpet, large pieces of furniture, fashionably clumsy, gawkily designed à-la-mode, and a bouncing gaselier in mid-air, will make a mere cubby-hole out of a room which by judicious treatment could get full credit for all its cubic inches. Remembering this, the hall I speak of was furnished with only those things that were really needed (the plant-stand and the prints must be excepted), and these were made to suit themselves to the situation. The mirror was a large, generous-looking affair (almost a horse-glass, as the English cabinet-makers of the last century translated cheval -glass), and the shelf under it was rather long and narrow,—a shelf of mahogany supported on brackets of the same wood. The hat-and-umbrella-rack was an affair of the same sort as the Moorish gun-rack shown in cut No. 3, with pegs for the hats, and rests for the umbrellas and canes. This Moorish gun-rack, Mr. Lathrop has copied from a photograph of one of Regnault's pictures, "The Guardian of the Harem," an Algerian subject. It would make, with the shelf above it, a most convenient hat-and-umbrella-rack for the entry; but, of course, its pleasantest use would be to support some choice arms on the rack, and vases, or casts, on the shelves. With the Turks and Algerians these shelves are common enough, and they are painted all over in bright, harmonious colors; flowers and ornaments on a blue or green-blue ground—the same sort of decoration that is seen on their camphor trunks, and on cradles and family chests and cupboard doors in Germany. If it could only be done well by our ordinary painters—if they had the natural eye and feeling for it which even these rough Turks and rude Fatherland peasants have, we could get a little more color and cheerfulness into our rooms.
These racks look coarsely made, seen near at hand, and the decoration is rather coarse also, but they are well designed, and the painting on them is effective. I wish they were more easily to be had. What a difference it shows in the taste of the two peoples, that, both of them, feeling the want of a contrivance of this sort, these barbarians, as we absurdly call them, should have supplied their want by a device at once pretty and convenient (and cheap as ours, at home, no doubt), while we are content with ugly things made of tiresome walnut, with hooks of brass or iron, convenient enough, but unnecessarily ugly. However, if one prefers something with a modern European look, there is a contrivance, made in Vienna, of Russia leather—two broadish strips of leather edged with brass, with a brass ring at the end of each to hang it by, and with brass hooks projecting from its face, on which either umbrella and cane, or hat and bonnet, can be suspended. This affair is pretty enough, but it has rather a temporary appearance, and can hardly be seriously recommended for a hall or entry-way that is much used. But there is really no need to fall back on one of the ungainly structures of wood or iron that are so much in use.
If one has only a passage-way to deal with, as is the case in nine houses out of ten, all that can be done is, to study the same simplicity. The mirror and hat-rack shown in cut No. 2, with the little bench beneath it, is taken from an entry that is even narrower than is common with us. But, while these things answer all needs, they seem to take up no room at all. And they are so pretty that the glance one gives at them prevents our noticing the narrowness of the space in which they stand.
The settee in the entry of my friend's house was of Chinese make—teakwood, with a marble seat and with a circular slab of marble ornamenting the back. At that time such settees were uncommon, as was all Chinese furniture; but it can always be found nowadays at Sypher's, where there are often some very handsome pieces. If one should find the settees too large (and they are too large for the rooms of most of us), there are arm-chairs of the same material that look well in small space, and give distinction to the most unpretending entry. Teak-wood-and-marble does not sound like a comfortable combination; but these settees and arm-chairs are comfortable, though there is nothing soft about them. They are not recommended for the parlor or sitting-room, however, but only for the hall, where it is true their comfort will be wasted on messenger-boys, book-agents, the census-man, and the bereaved lady who offers us soap at merely nominal prices, with the falsetto story of her woes thrown in. As visitors of this class are the only ones who will sit in the hall, considerations of comfort may be allowed to yield to picturesqueness, and any chair or bench that gives us that will serve, since, being designed to sit on, there will surely be comfort enough left for the occasion. If a lighter seat is wanted, there are several sorts that may be picked up; a Venetian chair—either the antiques themselves, or the modern copies—the seat, back, and supports (one before and one behind) all made of flat pieces of wood, inlaid with pearl or ivory, or carved with bold carving, or pierced, and the solid parts decorated with color. These chairs (unless it be the richly carved ones) are not necessarily costly, the painted ones ought to be cheap, but the finer kinds are by no means uncommon at such shops as those of Mr. Sypher or Mr. Hawkins.
Cut No. 4 is a drawing of an inlaid Italian chair—which may be recommended for the entry or hall. This example is perhaps too costly for the purses of most of us; but it was the only one within reach,—it belongs to the Messrs. Cottier,—and serves to show the model I had in my mind. Some of these chairs are made of a lighter wood, and inlaid all over with mother-of-pearl, arranged in geometrical patterns. These are manufactured to this day in Italy, and can be bought there at reasonable prices; but such things are not regular importations, and if they are found in our shops,—in Sypher's or Hawkins's, for instance,—they have been bought by those dealers at some family break-up, or from some traveler parting with his old trophies, and now off for fresh fields and pastures new. Some pretty stools of wood, thickly inlaid with mother-of-pearl, were in the Egyptian and Morocco Departments at the Exhibition; but they had hardly time to alight from their journey before they were picked up by diligent seekers after things out of the common. Another variety of this chair comes from Italy, and, keeping the same general shape, varies the flat surface with much bold carving. These chairs are often met with; but, of course, they vary in quality of design. Still, I have several times seen chairs with old Italian carving at Sypher's that I, for one, should be glad to own. Such pieces will, in most cases, prove to have descended from New-York families who, thirty or forty years ago, came home from Europe, where they had been living, keeping house, and educating their children, and who found it not unprofitable to bring back much of their household gear with them.
Cut No. 5 is a good chair for a hall, and comfortable, too, for a writing-chair. This example came from the "Lawrence Room" of the Boston Museum of Fine Arts.
In Mrs. Oliphant's "The Makers of Florence" there is a pretty cut of Savonarola's cell in the convent of San Marco, showing his desk at which he worked, and, in front of it, a chair similar to this.
Another chair, called the Abbot's chair, from a model existing, I believe, at Glastonbury, used to be occasionally seen in our curiosity shops; but, of late, I have not met with one of them.
What ought to be sought for in arranging a hall or entry is, I think, to give a pleasing look to the house at the very entrance. How many halls look as if the house had put its hands behind its back, and met you with a pursed-up mouth, and a "What's your business?" Nobody ought to be willing to have visitors get that impression. Even the messenger-boy will start off with more alacrity when he hears your signal, if he remembers the Turkish gun-rack or the photograph of Dürer's rabbit in your entry, and the bereaved soap-vender may moderate her falsetto a little in the cheerful company of your flowers.
Before leaving this part of my subject, I will describe more in detail the lower story of my friend's house, at the risk of leaving the decorator's ground for that of the architect. This floor was only ten feet in height, but even this is too high for an easy stairs, unless more room is given for it on the floor than is common. Perhaps, however, the builder's wife had been a martyr to the ladder-stairs of our city houses, and, thinking of her, he let his nineteen steps stretch along sixteen feet, so that with risers a little over six inches, and treads a little over ten inches, the ascent was reasonably easy. The supports of the hand-rail were of iron, and were screwed to the casing outside the steps, so that the width of the stairs was not intruded upon. This is the way the balusters are fixed to the stairs in all the new houses in Paris, and it works well in practice. The newel-post was made as light as possible, consistent with its duties, instead of, as is the rule in New-York generally, being made as heavy as can be contrived. The passage to the dining-room, between the stairs and the pantry, was eight feet wide, leaving three feet for the stairs and five feet for the pantry, which was, however, nearly sixteen feet long. This pantry contained a dumb-waiter, a silver-tub, and a china-closet; it was lighted, or aired rather, for the gas was always going, by a pretty lunette window in the end facing the front door, and by a window on the side opposite the stairs.
The dining-room was sixteen feet wide (the full width of the house) and twenty feet deep. As sixteen feet is scrimp width for a dining-room, unless (as a servant said lately to a lady who wanted to hire her) "you do your own reachin'," it would have been a mistake to diminish it still further by putting a chimney-pier on either side. The builder had, therefore, carried up his chimney between the windows,—a great improvement every way, although not, I believe, an economical one in building. The end wall of the house had to be much thicker in order to prevent the air in the chimney chilling in cold weather, but, both externally and internally, the advantage was all on the side of good looks. The chimney was so managed as to be a handsome feature, and within, the thick walls gave the old-fashioned window-seat, which every young lover of reading knows the pleasure of. Besides, on entering the dining-room, in the season of fires, the family saw the welcome hearth and the bright mirror; and, when all were seated, the fire was in no one's way. The servant had room enough to go about the table without squeezing, and the served had room enough and to spare. On the whole, this was a comfortable house, in spite of its "only sixteen feet," and the wonder is, that the general plan, with whatever modification and improvement can be devised, is not more followed, since we are all the time building narrow houses.
Just a word about the way of lighting these small entries of ours. The gas-fixtures, which depend from the ceiling, are almost all too large, and are clumsy and meaningless in design. They are inconvenient to light and to put out, and, in overcoat time, are responsible for many a scarified knuckle, the entryways being seldom large enough to swing a coat in, and the gas-fixtures hanging low. A simple bracket like the one shown in cut No. 6 is the best for ordinary purposes. It is both convenient and handsome. In one case we know of, an old-fashioned hall lantern has been furbished up and turned into a gas-burner; but this was partly from economy (the lantern, when all was done, costing much more than the most expensive bronze chandelier!) and partly from a desire to keep an old piece. It will be found, however, that a gas-burner which shall meet all requirements of usefulness, right size, and good taste, is a difficult thing to discover.
(Continues...)
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Table of Contents
Contents
Title Page,Copyright Page,
ART.,
The House Beautiful - Essays on Beds and Tables Stools and Candlesticks,
Dedication,
PREFACE.,
INTRODUCTION.,
THANKSGIVING FOR HIS HOUSE.,
CHAPTER I. - THE ENTRANCE.,
CHAPTER II. - THE LIVING-ROOM.,
CHAPTER III. - THE DINING-ROOM.,
CHAPTER IV. - THE BEDROOM.,
CHAPTER V. - WORDS HERE AND THERE.,