liiiiiliiiii

III

III

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^=^
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105^-5
The

British

Home

^^4^

To-day

of

l'lJ!I.I.SHi:i).

^. t.

Jfainous Hrt Cities.

,^,

A Collection of Monoj^raphs on tlie Fine Art

Centres of the World.

PERRY C
(.KM' IdN

li.icll

Vol.

().

I:L1a

TO

Ol-

TKK
SUIT
l)i;i

LK.ll

ALL

Translatcil

l>y

\\.

mi

p.

F.

and well

post

(.,/.

fic(.'.

With

Richard HriKlemunn.

Prof.

TAr.i uiKi>

M,.\.

\-',u\,

By. Dr. Qujttav Pauli.

G. KoNODV. ,(>. net.

(s,

With

195

lu-l.

illustrations.

i.jj

NUREMBKKG, I'LOKKNCK.

series of lavishly illustratud niono^raphs, ailniiralily

profhi['cfl."--/.ff(/^'',f I'ictorial.

/Iftonocjrapbs on Hrtiets

>

?^

l>\

An imeresling

rilitctl

ilotli,f;ill Ii)|),

By

In the Press:

FTTTINCS
S^^Ll:s

ORAIION

Nvo,,

VENICE.

'

l,irt;e

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Vol.11.

St- r.oND- St-\\

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POMPEII.

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l,.litcii

.Hid

wriinn

^ilt

RAPHAKL.

Vol.

HOLBEIN.

\'ol.

Ml.

\'nl.

IV.

and

ilhislr.-itcfl

top.

Vol.1.

KNACKFUSS,

Auihcis. hy H.

Koy.il .\c;ul.iiny ul Arts, C.issi:!.

lliu

<it

Price per Votume, richly

II.

Willi (illLii

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Frofussul'

4,s.

net

With
With

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j::8

151

bound, large yvo., with

tastefully

4s. (ul. jiost-free.

Illustrations.

45, net.

4s.net.

RKMBRANDT. With 151J Illustrations.

VAN DVCK. With 55 Illustrations. 4s.

4s.net.
net.

DLIRKR. With 134 Illustrations. 4s.net.

BOTICfiLLI. With qo Illustrations. 4s.net.
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Vol. V.
Vol. VI.
\ol. VII.

DONATLLLO. With 141 Illustrations. 4s.net.

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Vol. VIII.

Vol. IX.

"The series, without question,

Uittly Chfonulc.

is

one of the best now

beiilK published.

THE ART DECORATOR.

Disifiiis in
I-ol.

3.5//.

ADANLS AN D
(.EOKC.IAN
(" H
P P E N DA LK S T V L Ii S A
srr. L\LLrv
?^
5^
?
t

for .^rt

for Printing
in

Black

and Colours

Containing 60 Coloured Plates,

Portfolio of Designs in Colour for

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Plates.

llir

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The

Home

British

of

To-Jax'

"i ..o -c ^wo .-c .c wc c ^vo .^D .o ArfO -c ^o wo -rC^.o .^c .5!) wo -JO -'O wo wo -iC -vo ^c -^ -

-^

^ J^

-i^ wo .^.O wo K,^

FRENCH AND
1

ENGLISH FURNITURE
AND
PERIODS DESCRIBED AND
DISTINCTIVE

^
49
49
49
49
4?
49
49
49
49

ILLUSTRATED

BY

D?<?

ESTHER
SINGLETON

49
49
49
49
49
49
49
49
49
49
49
49
49
49
49
49

Authoi'

"The

WITH
!!

SlXTY-EICillT

IjovukI

in

Cloih

8vo.

FULL-PAGE

Uno

VoIuiik

Price

2/2/0
nel.

dA4i)

ti
PUBLISIII-I)

49
49

Foivfafhcrs'

FN(}RAVINGS

\1.I--T()\E

llandsonielx'

of

our

of

Fuinituiv

49
49
49
49

STYLES

HODDER
27

-^

STOUGHTON

PATKHNOSTHR

49
>-

f ^ ^

P,Y

." /^'

ROW LONDON
^' ^< ^T-^r-jfc^'

The

J;
4.
|v

I
I

4>

of

4"^

superbly -illustrated book

kind ever issued.

is

^
^
?

and inclusive volume

the most complete

probably

indispensable as a book of reference for everyone who is interested in

furniture, whether an amateur, a collector, or a person desiring a guide for
is

decorating a house or

room

in

any

aW

style of classic furnishing.

ol*

range from the Louis XIII. in France and the Jacobean in

French Empire and English classic school of the Brothers Adam, and include
extensive studies of such celebrated styles as the Chippendale, Hepplewhite, and Sheraton.

The

periods represented

Engbnd,

The

.o
^"^

To-dav

its

I'

4'<

4>
4>
^>

of

Furniture ^
French and Eno'lish
^
^
^HIS

-''

4-^

Home

British

illustrations of the book are especially notable.

research

master

9J^

to the

among

rare books

makers

furniture

little

known

themselves.

on the

treatises

There

They

is

ol"

represent the most exhaustive

making

a frontispiece

i|^

by the old
colour, and there are

v_

of furniture

in

v^

J''}j

4i
4Tt

4>
4>

^'
j^.

JO

^
^2

and several pages of separate

details, supplementing the explanations in the text in a most intimate and elaborate fashion.
These illustrations reconstruct the old periods more completely than they have ever been

^
^

reconstructed before.

O^

sixty-eight plates, including a typical interior for each period,

^HE

''

To

authority in the matter of furniture and decoration,

her book, " The Furniture of our Forefathers."

i^-J

She

the task of

L||

a more

i|,

merely

iiL

describes each style at the period of

its

greatest purity and popularity,

li,

^
^

from the

master makers themselves, and enables the collector or prospective

furnisher of a house to appreciate and choose what is best in each style and period.

The

the

ol*

JACOBEAN

LOUIS XV.

SHERATON

LOUIS XIIL

HEPPLEWHITE

4^
4^
*t
4^
4^
4^

QUEEN ANNE

EARLY GEORGIAN
CHIPPENDALE

ADAM

LOUIS XIV.

LOUIS XVI.

EMPIRE

OKI'I'-K'

lOK'M.

I'M)

To

Please semi

^
^
p*

Date

(Bookseller)

mc one eopy

of

P:STHER SINGLETON'S FRENCH

AND ENGLISH FURNITURE

value

for

ichieli

enclose

two guineas (2 2 Oj.

'

Name
Conveyance

This form
the

S>

^
2:
f^
^
L^
^
^
^
^
^
^jft

If sent bv parcel post the extra charge will lie

7d. for the United Kingdom, and i/6 Abroad.

40

ifi

periods included in her book are as follows:

"l

wide

a book

49

\m

such old pieces of cabinet making as have survived the shipwreck of time.

masterpieces of

4^

4^
49
49
4^
<?
49
4^'

j-

recognized

known by

experience, a deep knowledge, and a rare taste.

to identify

i|:^

is

preparing the text for this book she has brought

She has aimed to make
which shall appeal to all interested in the subject of furniture, and her volume has
serious purpose than the numerous "Old Furniture Books" of to-dav, which attempt

^y

author

already well

ol*

niav

be

AddveSS

luuuted

to

off
v-

your

bookseller

or

foricanleil

direct

puhlisliers.

HODDER & STOUGHTON

2-

Paternoster

R.m

LONDON

to

^
^
^

The

THE

British

Home

To-day

of

STANDARD EDITION OF A GREAT CLASSIC."

THE CORRESPONDENCE OE
*?

WILLIAM COWPER

Arranged

Chronological Order with Annotations

in

THOMAS WKlGUr

B.\-

Principal of

Cowper School, Olney

Handsomely printed

by

volumes 8vo.
Messrs. T.

&

4?

IS

LIMITED

TO

ESSKS.

In four

type

Avitlior ol

A.

COPIES

FOR

ol

William Cowper,"

^ 'T

larRC

in

"Z

<^<-'

Edinburgh

Constable,

500

Tlio Life

SALE

IN

*-'

GREAT

etc.

/\

NET

BRITAIN

AND IRELAND.

and ST( H'C. ITON have pleasure in drawin.ij;

attention to tlie fad that Mr. Wright's ^reat edition of Cowper's
'I'he Work, which is the outcome often
Letters has now been puhhsht'd.
most
f^ratifvinic reception from the Press,
vears' research, has met with the
from
the earliest reviews to hand.
observe from the extracts we s^ive

1U)1)1)ER

as vou will
49 Everv reviewer has admitted
49
TTiat the work supersedes all preuious editions.
4^
That the letters runv added for the first time arc

equal to Coivper's best.

That the 'work has been skillfully edited and magnificently produced.
That the volumes at once take rank among the standard editions of the great

^
49

49
49

WHAT THE PRESS

"This edition marks a

4K
49
MO

Academy and

T^

Literature

'^

Daily Telegraph

Times

worthy

It is

4(
49
41
49
49
49
49
49
49
49
49
49
49
49
49
49
49
49

rank with

all

am

aiKaiuu on

SAY.
The

pivtUxessors.

is

classics.

best ul

the

new

letters are

imperative to sav that Mr. Wright has earned the warmest gratitude of the lovers, few but

Sonlhev has

lit,

at last

been deposed from his pride of pl.ice."

Grimshawe, Soulhey, and John Johnson are clearly superseded by this edition
"
with its fjreater completeness and elegance n.nd superior arrangement
" .\ really worthy and adequate edition.
riie work is ilu- Iruit of ten years' labonr, and the fruit is
The present will be to all time the standard edition of a great classic."
as near perfection as was possible.

"The

Scotsman

editions of Haley.

" A collection ol Cowper Letters as near to completeness as we are ever likely to possess.
Mr Wright
deserves our best thanks lor the very complete etiuipnient of the book the classification of ihr Icitirs, the
lists of correspondents, everything, in short, necessary to make it easy and pleasant reading

Standard

"""="

ORDER FORM
/'/csf

o"

but the very best of the old.

most tragic personality."

of this

^fi Daih Chronicle

49
MQ

to

j^rcal

^'

sfiid

"The

UK

Coir(.'.sp(.)iHlence

of William

Cowper,"

///

vols.,

for .vkick

ciulose

},

3s.

(net).

^'
^'
^
^'
^'
^'
^'
^'

^'
^*
ritSVt.'iASi
tlunllty fiuitl f-nl

tliio

V.

ll.t\lfil.

form ma\

l.r

nni)I)P:i<

Imndel
cS:

to

anv Hookscller or forwarded direct

STOnc;HTON,

27,

to the Publishers:

Paternoster Row,

London
JjJ;

THE BRITISH HOME

OF TODAY
'rcMtectuwii theApplied^rts
EDITED

BV

W. SHAW SPARROW

[ODDER.
X[.

STOUGHTON
Patei^noster
1904

LONDON

Row

Printed by

PERCY LUND. HUMPHRIES

The Country
AND

3,

&

CO, LTD.,

Press, Bradford;

Amen Corner, London,

E.C.

The

British

Home

Prefatory

of

To-day

Note

ox?
(DA.O

^-2.

^^^^

The purpose of this book is to give specimen? of

in Modern Domestic Architecture and the
AppHed Arts. It is meant to be at once useful to the general

good workmanship

householder and attractive to the professional student. It cannot

claim to represent examples of all the notable work which has been
done in recent years by British architects and by British craftsmen. A thorough treatment of the present subject would require
several volumes, and a very singular display of mixed traditions
and opposed convictions. A book, like an essay, should have a
limited design of its own, a unity of intention and impression
and this being essential, manj^ points of view have to be passed
by in silence. But " The British Home of To-day," though
necessarily Umited in scope, contains a very rich selection from
the best contemporarv- work.
The Editor acknowledges with grateful thanks
the assistance which has come to him from many quarters. Mr.
Norman Shaw, R.A., has taken an encouraging interest in the
progress of the book and Mr. James Orrock, R.I., has permitted
illustrations to be given of the furniture in his well-known collecMuch help has been received from all the contributors,
tion.
and particularly from Mr. Aston Webb, R.A., Mr. John Belcher,
A.R.A., Mr. R. vS. Lorimer, Mr. Ernest George, Mr. E. L. Lutyens,
Mr. Leonard Stokes, Mr. E. Guy Dawber, Mr. C. J. Harold Cooper,
Mr. C. F. A. Voysey, Mr. George Walton, Mr. Charles Spooner,
Mr. Mervyn Macartney, Mr. John Cash, Mr. Arnold Mitchell,
Mr. Alexander Fisher, Mr. W. H. Brierley, Mr. H. T. Hare,
Mr. WiUiam Flockhart, and Mr. Frank Brangwyn, A.R.A., who
designed the badge for the cover and supermtended the hand-

drawn

lettering.

The initial letters in the text are the work of Mr.

David Veazey. Through the kindness of the Verlag Cosmos,
Leipsic, an illustration is reproduced from the excellent book
on EngHsh Architecture written in German by Dr. Hermann
Muthesius; thanks to the courtesy of Mr. B. T. Batsford, two
illustrations are given from Ernest Newton's " Book of Country'
Houses ;" and the Editor of " Comitr>' Life " has kindly lent several
copyright photographs of houses built by Mr. E. L. Lutyens.

}l7t/^ Jk/L<^r^^

8S9420

The

Home

British

To-day

of

Literary Contents
" Pl.vn-s

for the Home."

The Home from Ot'Tside." One

in

"

Plates in Colour and Sixteen Illustrations in

Written by Artiold Mitchell, Architect.

Monochrome.
"

Three

Monochrome.

The Home

.^nd

Plate in Colour and Fifty-eight Illustrations

Written by K.

Guy Dawher,

Dwt.lling-Rooms."

it.s

With a Note

R.A., Architect.

Written

TuE Home

.\nd

it.s

Bedrooms."

By

The Home and its

in

"

H.^LLS."

Monochrome.

The Home

One Plate

Plates

Colour and

in

Rooms,"

Thirty-two

Frank Brangwyn, A.R.A., and C.

Illustrations in Monochrome.

in

J.

Colour and Twenty-one Illustrations

Mervyn Macartney,

Written by

Furniture."

.\xd its

Xorman Shaw,

R.

Twelve

Harold Cooper, Architect.

"

by

on " Colour in the Decoration of

by James Orrock, R.I.

Three
Illustrations in Monochrome.
"

Architect.

Forty-nine

Architect.

Illustrations in

Monochrome.

Written by Charles Spooner, Architect and Craftsman.

"

The Home and

Decor.\tive Essentials. "^Two Plates in Colour and

its

Thirty-eight

Illustrations

Written by John Cash,

Monochrome.

in

Architect.

Special Plates in Colours

A House
A House
A House

.\t

Wokingham.

By Ernest Newton

at Great Stan.more.
at Puttenham.

By

Project for a House at

C. F. A. Voysey

By Arnold
C. F. A.

Mitchell

.To face Ai. of Text

Voysey

Bracknell G.\rdens.

Bili.iard-Room.

of

Decoration

for

at

Sitting-Room.

I,f)viNG Ct;p IN

Cviii.

By
C21

Cornbury Park.

By Jnlm

l!elcher,

A.R.A

Text

Cli

John Cash

The Inner Ham.

Bviii. of

By

Frank Brangw>'n, A.R.A

Scheme

A6

By

Mervyn Macartney
for

Aviii.

By

The Smoking-Room at Angley Park, Crembrook.

Scheme of Decokation

luv.ofText
Beaticn Silver enriched with Jewels

AND Enamels.

By Alexander

Stained Glass Windows.

Fisher

By Selwyn Image

Giv.

Gviii.

The

Home

British

To-day

of

Divisions

Sectional

A." Plans for the Home."

Sectidx B. " The Home from Outside."
Section C. " The Home and its Dwelling-Rooms."
Section D. " The Home and its Bedrooms."
Section K. " The Home and its Halls."
Secmon F. " The Home and its Furniture."
Section G. " The Home and its Decorative Essentials."
Section

and Table

Contributors

of

Illustrations
Adam

Brothers, Architects

Bankart, G.

P.,

Worker

C20, C21

in Plaster

ivg

F15.

C15, C16, C17, C29.

Barnsley, Sydney, Designer of Furniture and Craftsman

Batsford, B. T., Publisher

A8

A7,

Bedford, Francis W., Architect

Belcher, John, A.R.A., .\rchitect

W.

Bidlake,

H., M.A., Architect

C29.

B6, By,

B8

C2, C3, C4, and a Plate in Colour.

B15, B16.

Brangwyn, Frank, A.R.A., Designer and Painter

Eio, E12
Brierley,

W.

I.

H., Architect

Furniture

W. and

Di,

D3

C14

l'i6.

G36, and a Plate in Colour.

Fi, F6.

C20; F12, F13, F19, F25, F27.

Cabinetmaker

Wood

A.,

Fi, F2, F4, F6.

Chippendale Furniture

Clow,

B30, B37, B43, B45, B47

B46

Charles II. Furniture

Christie, Robert,

C5, C6, C7, C8

F28, F29, F34, and a Plate in Colour.

Cash, John, Architect

Charles

F42.

Bio.

B48

F35, F47.

Carvers

F31.

Cooper, C. J. Harold, .\rchitect

B36 C9 E8, E18 F44, F45
" Country Life "
B21, B24, B26, B28
C18, C19
E5.
:

Dawber, E. Guy, Architect

Denington, A., Designer

G9.

C15, C16, C17.

B29.

D9, D12.

Worker and Enamellist

Flockhart, William, Architect

C30, C31

Dig

G3, G4, G5, and a Colour- Plate

E20.

B9, Bii

Gimson, Ernest, Designer of Furniture and Craftsman

George, Ernest, and Yeates, Architects

Gibbon, W., Draughtsman

B20, B25, B27, B54, B55

Dawber, E. Guy, and WTiitwell, Architects

Fisher, Alexander, Metal

A2

E7.

Eii.
F26, F36.

The
Gray,

W.

London

E., Photographer,

E4

Home

British

To-day

of

C5, C6, C7, C8, C15, C16, C17

Di, Dj

Fi, F2, F3, F8. Fio, F13, F14, F19, F36.

Hare, H. T., Architect

B39, B40, B41, B56.

Heal, Ambrose, jun.. Designer

F38, F46.

Heal, Ambrose, and Son, Furniture Makers

Henr>-, J, S., Cabinetmaker

Hepplewhite's Furniture

F3S, F46.

F40.

C20

Bz

F3.

Image, Selwyn, a Plate in Colour.

Joe, J.,

Wood

Kitson,

Sydney

Carver

F31.

D., Architect

B48

Kodak Company, Photographers

Lee, T. Stirling, Sculptor

W.

I^thaby,
Liberty

&

Lorimer, R.

Bi, B2, B15, B16

li.

F31, F37

A6

L., Architect

A9, Aio,

Aviii.,

Architect

R.,

Ei4

A12, A13, A14, A15

C12, C32

Cvi., Cio,

B21, B23, B24, B26, B28

B42

A4,

Mallows, C. E., Draughtsman

J.,

An,

Div., D5,

B25, B27, B39, B53, B55.

A3

Mitchell, Arnold, Architect

MUliken,

E3.

G7, Gio, G32, 634-

Macartney, Mervyn, Architect

May, E.

Ci

G33.

A.R.S.A., Architect

Lucas, G., Draughstman

Lutyens,

D9, D12.

S.,

D4.

B12, B13.

Co., Photographers:

B14, B17, B18, B19, B22, B57, B58

D6

G8, G9.

R., Professor

Co

Cii, C13, C23, C24, C25, C26, C27

Leighton, Robert, Photographer

Umere, Bedford &

C29.

A5

17

Ci8, C19

E5.

F39, and a Plate in Colour.

G37, G38, and a Plate in Colour.

B3, B4, B5, B52, B56.

G31, G35.

Photographer, Kirkcaldy

Cio, C12, C32

D6

D5,

F31, F37

G7, Gio.
Moodie, T. A., Draughtsman

Nankin China

B54.

F15, F20, F21, F22, F23.

Newman, W., Draughtsman

Newton, Ernest, Architect

B20.

A7,

AS

Bio

Niven, D. B., and Wigglesworth, Architects

Old English Glass

En.

G20, G21.

f)ld Englisli Silver

C22, and a Plate in Colour.

G22.

Owen, William and Segar, Architects

B38.

Orrock, James, R.I., Collector and Connoisseur: C20, C21

F5, F6, F7, F8, F9. Fig, Fii, F12,

F19,

F20,

Pergolcsc, Designer

Powell, H.. Glass

F21,
:

C21

Worker

Prc-Elizabcthan Chair

F13,

F22, F23, F24, F25,

F16, F17.

G16, G17, G18, G19.

F2.

F37

IV9

Fi, F2, F3, F4,

F14, F15, F16, F17, F18,

;

G20, G21, G22,

G26.

The

Home

British

Queen Anne Furniture

Eg

To-day

Fj, F5, F6, F7, F8, F9, Fio, Fii, F18, F24.

Reynolds, Bainbridge, Metal Worker

Roberts, E. P., Designer

of

(Ui.

D12.

Shaw, R. Norman, R.A., Architect

Ai

Bi, B2, B51

Ci

lu, E2, E3, E4,

E6

Gi, G2, G33.

Sheraton Furniture

C21

Spooner, Charles, Architect

B44

E15

E19

A16

Stokes, Leonard, Architect: A6,

B53

F20, F21, F22, F23, F47.

I'i4,

F32, F33, F43.

B12, B13, B31, B32, B33, B34, B35, B52,

G23, G24, G28, G30.

Veazey, David, Designer and Metal Worker

G14, G15, and the

Initials Letters

B4g, B50

F30, and

to the Essays.
" Verlag Cosmos," I^ipsic

E6.

and Designer

Voysey, C. F. A., Architect

E21

Two

Plates in Colour.

Walton, George, Architect and Designer

C28

D4, D7, D8, Dii

E13

Cii, C13, C23, C24, C25, C26, C27,

F41, F48, F49

06, G12, G13, G25, G27,

G29.

Webb, Aston,

R.A., Architect

Whitefriars Glass

Wyburd,

G16, G17, G18, G19.

A., Designer

D9, D12.

.-HiMiT.
pii rii ii
i

ri..\N

OF MR.

C. E.

B3, B4, B5.

TODD'S HOUSE AT ST. ANDREW.^

-fp^
R. S. l.ORl.MER, A.RSJ\.,

ARCHITECT

The
Art

and

Life

Library

First

Number

June, 1904

^v^^ .#fi

^w^Vi''

%* ^

'^yv i^,
--

Home

Plans for the

By Arnold
[HEN

an

Mitchell, Architect

architect

essential

plans

success that

to his

is

it

how

remembers constantly

he

house,

experience

of

his

make a good first impresExamine the various plans by

design should
sion.

which
will find that the

arrangement of

dominated by what one

feels

all

paper

is

and you

illustrated,

the buildings has been largely

tempted to

call

the problem of the

impression.

first

The Entrance
possibilities of design

only
it

this

Hall, in even the smallest

which no other part

of a

house possesses. Not

the means of commvmication between the

is it

home, has

cliief

either contains the principal staircase or else leads to

rooms
it

and

in the staircase an architect often finds his leading " motif " for

a good effect in house architecture.

happy

Tliat

results

may

be

thus obtained can be seen both in the illustrated plan of Ijttle

Thakeham, a house by Mr. E. L. Lutyens

(A3),

and

also in the

colour-print representing a house at Great Stanmore, where a

short double flight of stairs leads to a gallery that runs across one

end

of the hall, the rest of the staircase being continued

For

side of the house.

we have
and

it

is

gallery, too, is a

on

dining-room
procession

low ingle-nook with a wide

the other end.

at

is

down

is

reached,

view down the long

its

to the gallery that the

fireplace,

drawing-room opens.

And

thus,

hall.

when the

The
little

we cannot reach the

the gallery, passed down

dinner takes place,

to

dining-room door imtil

two short

this reason, before the first floor

to cross the gallery with

Under the

on the other

we have

flights of steps,

crossed

and traversed the

full

length of the

hall.

In the plan of the house in Shropshire, by Messrs.

&

Ernest George

arrangement

in

Entrance Hall.

Yeates (A

2),

the approach

At

first

you may notice another

effective

to the Great Hall through the

glance the Entrance Hall seems to be

Ai.

Arnold Mitchell, Architect

the principal hall, and

upon the great

all

of

is

it

with

hall itself,

its fine

range of

Another

aglow on the garden front.

Major Meares'

come
sunny windows

a pleasant surprise indeed to

by Mr. R.

Uttle cottage,

the

plan

T^orimer (A12

and

illustration
S.

The

A14), has for us a pleasant surprise of a diflferent sort.

bule leads into a corridor that appears to be narrow

the comer on one side, the stairs are recessed, and

we

the corridor on the other side,

find a deep square

vesti-

but, around

when we turn
bay that gives

quite a noble air of spaciousness to the well-planned httle building.

In another illustration, representing the house Cold Ash (A16),

by Mr. I^eonard Stokes, we meet with another

effect

in kind, for the corridor entrance gives

no inkling

picturesque hall into which

and

unexpected

is

position of the

the utmost importance.

and

yet, in

It

element of the

stairs.

kitchen

is

another thing of

should not be far from the dining-

menu can be kept

within the kitchen.

they journey about the house in the smells of cooking,

the kitchen

badly placed, and some architect or other invites

is

criticism with our every meal.

Lord Pearson's
kind of

rooms

this

of the sunny,

even the smallest house, a visitor should find

that the secrets of the

When

enhanced by the half-hidden

The
room

leads

it

very similar

little

Uttle

house

Mr. R.

(An

Lorimer, in

S.

liis

plan of

and A15), places the pantry as a

buffer state between the kitchen

a very excellent arrangement for

all

and the dwelling-

cottage homes.

There

yet a further excellence in another plan by Mr. Lorimer, the

is

plan of Major Meares' house (A12), for a serving door connects

the pantry and kitchen with the dining-room, so that the food

need not be carried across the

the kitchen

is

much

hall.

Of

course, the

problem of

easier of solution in larger houses, as consider-

able space can be given to disconnecting passages and corridors.

Privacy being all-important in the dwelling parts

of a house,
a

means

of

(juartcrs.
re-spcct

an architect should take care not to turn the hall into

communication between the front door and the servants'

It is far

from easy

in

the privacy of the hall, but several of the illustrated plans

remind us of some of the ways

Ali.

domestic architecture always to

in

which the passage to the front

Plans
made
Thakeham

may

door

and

Little

and

tliis

be

Home

the

for

The House

private.

Shropshire (A2),

in

(A3), are quite satisfactory in this respect

appHes also to the smaller House at Wokingham, by

Mr. Ernest Newton (A7), and the one also at Great Stanmore where
a door opens from the servants' passage into the vestibule of the
front door.
It

own house

will

a dehghtful experiencethat the measure of comfort

home

to be enjoyed in a
in building to a

house

first

be owned by everyone who has built his

is

the result of a scrupulous attention

multitude of small

details.

begins to take shape, the

features of the design

the

mind

When the scheme of the

is

held

by the

principal

arrangenient and disposition of the

rooms, the general appearance of the exterior, and so forth

little

by

Uttle,

very slowly but surely, the lesser problems press

themselves forward,
so

at last their claims to attention

till

much thought and occupy

much

so

moment

this being so, let us think for a

in the building of a

demand

time, that both cUent

upon them with a rather astonished

architect look

but,

respect.

of these lesser

and

And

problems

home.

The choice

of a site,

and the fact that an architect's

plan must always be determined by the character of the ground

upon which he has

to build

these are things which need not detain

us here, for the reason that they are dealt with elsewhere by Mr. E.

Guy Dawber.
architect

and

As to the
his dients,

difficulties

which often

arise

between an

they are hindrances to good work which

cannot always be avoided, because the practice and the patronage

of every art leads inevitably at times to the clashing of strong

But

convictions.

it is

his plan in order that

itself

he

may

to a wife and husband

find a

who

tural question of real importance.

Quite recently,

far too often.

when an

distressing

it

half sash

the

compromise that commends

are at variance on

This trouble

is

condemned an

task of inventing a ridiculous kind of

and

architect has to spoil

casement half

of

struc-

one that happens

architect to the

new window,
it

some

half casement

being the wife's fancy,

and the other half the husband's.

In the planning of a small house, the shape of the
.^iii.

Arnold Mitchell, Architect

rooms ought to be considered apart from the

Square rooms

size.

should be built in a small house, because a long and narrow

room
form

square

in a

and, apart from that, an increase in width can be got by

means

may

appear to be far larger than the same area

will

bay windows, however small and shallow such windows

of

be.

We

now to the lighting of rooms, which

when it comes through a window in one

pass on

always most pleasant

the long walls, and not from the room's narrow end.

bedrooms, as a

Cross

Hghts are certainly pleasing, but the sacrifice of wall-space

great that the gain
is

too dearly purchased, for

is

required for bedroom furniture.

other

and especially

hand,

lighting

welcome

is

so that those

live in

passing out of doors

have their

The

the room

may

it

may

All

be.

and are prepared to make

see at their ease

It

two

glass line only

feet six inches

inches at the utmost

and

be

put

aside, being

a great refresh-

may have

convenient

an architect to keep his

from the

this difficulty,

into serious trouble \\ilh his design.

is

sacrifices in the external

difficult, of course, for

is

is

what

good architects recognise

treatment in order that the sitting-rooms

windows.

sitting-

glass line near the floor,

the view from the window

ment, however humble

this fact,

wall-space

but windows must not be placed opposite

again, should

who

so

drawing-rooms, variety of

each other, as that destroys the privacy of a room.

room windows,

is

In the sitting-rooms, on the

the

in

much

of

In small

only one window should be planned.

rule,

is

For

floor, or

no doubt,
all

that,

two

feet nine

may
it

get

him

should not

one of those things which are rendered

imperative and obligatory by the daily needs of a household.

In bedrooms the conditions are different, and

is

not too

line

much

if

the distance between the floor and the glass-

measures three feet three inches.

Of

less

importance

distance that separates the top of the glass from the floor

minimum of six feet six inches works

man when standing erect has a perfect

in small hou.ses a
well.

and that

tall
is

all

that

windows up to the
Aiv.

it

is

required.

ceiling.

This

the

but

perfectly

It is quite needless to
is

is

outlook,

run the

often a stipulation on the part

Plans

Home

the

for

who wish to build, but there are other means of changing

in the room at the ceiUng level, without having a hideous

of those

the air

casement window carried up to the cornice.

wide and low,

single casement,

the prettiest bedroom window, and from every

is

point of view the most desirable, being convenient for the hanging

and curtains,

of blinds

times,

as

true, the height of the

it is

when the ground

the window, that

the

window

of the

As

would

window

glass has to

be increased,

suddenly and abruptly from outside

rises so

it

Some-

as well as useful In other ways.

liide

the sky altogether from sight

room were a long and narrow casement.

to the aspect of the various rooms, there

only

is

one window in a house which should never be warmed by the sun

and that one window

British

their

own

homes too generously

do not get too much

them

of

we cannot open our

any season

We

and heat.

to the sun's Ught

at

may

sitting-rooms, the kitchen

but, with these exceptions,

In large houses, no doubt,

in the larder.

is

where servants have

be stmless too

if

Again,

of the year.

let

the breakfast-room have an eastern aspect, or a south-eastern,

for

what

is

more

refreshing,

what more gladdening than the

radiance in the early hours of the day

room,
latter

it

As

requires a two-fold aspect, south

giving

it

me

contradict

the

here,

afternoon

sunhght.

and may speak

sun's

to the drawing-

and south-west, the

Housekeepers

of bleached curtains

faded draperies, but the tonic of the sun

is

may
and

worth purchasing at

such a price.

There cannot be

many

differences of opinion as to

we

the best aspect for the bedrooms, for

awake and dress

in a

sunny room.

For

all feel

happier

when we

this reason, then, let the

general bedrooms have an eastern aspect, preferably a south-eastern,

and so win

for ourselves this delightfvd beginning to the day.

Pure fresh
that

is

air,

constantly renewed,

usually well supplied in British houses.

of a couple of tobin tubes in the sitting-room,

bedroom,

it is

moment

is

its

a necessary

With the help

and one

easy to add to the supply of sweet

into a house during the course of

of greater

is

daily working.

air

in

each

admitted
question

the means by wliich the upper air-space

Av.

Arnold Mitchell, Architect

room may be kept

in a

from

free at all times

vitiation.

It is a

question most readily answered by introducing into each

room

a separate air-flue, similar in construction to the ordinary smokeflue

and placed

side

by

should be built in

fiues

all

Plan them so that the

is

chimney stacks

they cost but

air-

little,

whole atmosphere of a house quite fresh and sweet.

in keeping the

that

In other words, these

it.

money, and they are wonderfully useful

either in trouble or in

flue

side with

by

air-flues are built side

side with

frequently used, they are thus kept

result is that the

heated

air

within them

rises

any smoke-

warm

and the

and escapes through

vacuum thus produced

from the room below draws it up

the gratings placed at their tops, and the

draws up the vitiated

air

through a grating that connects the

room

at the level of the ceiUng.

air-flue's

lower end with the

Thus, automatically, a con-

tinuous renewing of the room's atmosphere goes on.

In summer,

of course, with fewer fires in the house, the air-flues are less active

but the open windows are then a better ventilation.

moreover

preferably

the

dining-room can

have

One room,
its

air-flue

built near the kitchen smoke-flue, so that the taint of the after-

dinner'cigar

may

be drawn away during the night, and not be

distasteful at breakfast

to-morrow morning.

I^et it

be remembered

that the air-flues should not be carried to the top of a chimney

down-draught caused by a high wind might fill a room

smoke from the adjoining smoke-flue.
For this reason

stack, as a

with

the air-flue sliould be stopped off two or three feet below the

summit

of the

side face.

to finish

it

draughts.

As

chimney stack, and

fitted

with gratings on each

to the inlet of the air-flue into the room,

with a grid and

Mica

flaps are

silk flaps, as

it is

best

a check to possible down-

sometimes used

for this purpose,

but

they are objectionable on account of their noise in a gale of wind.

Then,
nine

last of all,

the outlets and inlets should not be less than

mches by nine

inches.

Turn we now
of doors.

and not

in

Bedroom doors should be

the centre of any wall.

act as screens
Alt.

to another point

when they

in

namely, the placing

a corner of the room,

It is a part of their utility to

are opened.

When you

are lying in

Plans
bed

aiid

door

the

may

everyone that

is

A bedroom

pass outside.

from the

may be

door

you don't wish to be seen by

open,

place of planning, and yet

Home

the

for

Tliis,

to be sure,

by

often overlooked

it is

quite near to a fireplace,

is

if it

common-

architects.

opens away

In every house, however small, a closet or cup-

fire.

board should be built for the housemaid's water cans, brushes,

brooms, etc

and

if

we

flushing cistern to keep

it

fit

the closet with a slop sink, and a

we

sweet,

arrangement of the house.

much

shall gain

When

the water closet

the household slops, a house becomes distressing to

It is well to

remember here that

home should be kept

in a

in the proper

together

(if

used for

is

all visitors.

all

the waterworks

possible).

The bath, the

lavatory, the pantry, the water closet, can usually be planned

in adjacent positions,

the next story

and

some on one

floor,

the others overhead on

this not only simpUfies the drainage of a

house, but lessens the cost of the plumber's biU.

In a very small house, where the luxury of a

place in the bath-room cannot be enjoyed,

room with a hot airing-cupboard

cupboard the hot-water tank

it is

well to

the bath-

Place in this

for the linen.

for

fit

and the

the kitchen range,

temperature of the bath-room wiU be always agreeable

An

frost.

objection

it

damp.

and

it

of the
fitful

But

this, after all, is

happens

also to

cupboard

is

way

just suggested

in

said

and makes

merely a theoretical objection,

be at odds with the

permanent,

it is

injurious to the linen

wliile

The warmth

fact.

the steam from the bath

and temporary, so that the odd half-hours

are counteracted

good

is

and

raised at times to the practice

is

of keeping the linen aired in the

that the steam from the bath

by the warmth

winter, too, the water pipes will be protected

from the

fire-

of moisture

by the steady and enduring warmth.

It

is

rule to insist that all the water pipes be exposed to view.

This would be unsightly in the principal parts of a house, but

is

is

it

usually possible to run the pipes on the less important walls,

where we can reconcile ourselves to a

little

of the practical advantage of being able to

difficvdty

and

at small expense.

ugHness for the sake

mend

the pipes without

Of course, every

effort

should be
Avii.

Arnold Mitchell, Architect

to keep the water pipes on the internal walls, for the tem-

made

perature of the house p/otects

When

them

from the

in winter

hot water and cold are taken to the same spot,

let

frost.

the pipes

run together as an additional safeguard against the troubles caused

by

freezing

but the cold pipe must be placed on top of the hot

one, partly because the iron pipe of the hot water will help to carry

the lead one,

by

its

and

companion,
In

partly tecause the lead pipe,

will in

all

the kitchen range,

time sag between

left

unassisted

supports.

houses where the supply of hot water

it

is

is

more luxurious and more comfort-

but they take from the water more heat than iron baths do,

and more heat than ordinary kitchen ranges can supply.

amovmt
great

with

from

wel} that the bath should be of iron.

Porcelain baths are certainly

able,

its

if

its

of

heat absorbed bj' a porcelain bath

and unless you 4)rovide a separate

own

The modern
households.

But even a

furnace, the strain

is

too

much

is

exceedingly

service of hot water

for the kitchen boiler.

iron bath is the best for the daily purposes of

It is a

The

most

good bath when coated with porcelain enamel.

better bath

is

one that

thinness of this material reduces

is

still

made

of copper, as. the

further the absorption of

heat from the water.

<^<!^cx><^X^

1)H. DOW.Nli;.-.

ATiii.

COTTAGP. AT COU.NTON

A.^--^<:^<1a>cc

R.

.S.

LOKIMBK, ARCHITECT

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Plans for the Home

HOUSE

IN

PLAN OF THE GROUND FLOOR

SHROPSHIRE

Ernest George and Yeates, Architects

GROUND PLAN

l.lTlLLi

E.

Lulvcns, Architect

THAKKHAM. I'UI.LBOKOUGH. SUSSES

Plans for

tiik

Mome

TME EKnUVNCE rBONT

VIEW OF THE ENTRANCE FRONT

MAESYCRUGIAU MANOR

Arnold Mitchell, Architect

MAE5YCRUCIAU MANOR

GROUND

FU3DR.

CAR.MARTHEN 5Hlk.E

PL^N

PLAN OF THE GROUND FLOOR

MAESYCRUGIAU MANOR

Arnold Mitchell, Architect

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Plans for the

Home

ai!Oi:>D PLAN.

A?

REPRODUCED BV PERMISSION OF B. T. BATSFORD, LONDON

A HOUSE AT WOKINGHAM
FOR THE ILLUSTRATION OF THIS HOUSE SEE THE COLOUR-PLATE IN THIS SECTION

GROUND PLAN OF

Ernest Newton,

Architect

GROUND PLA^.
AS

GROUND PLAN OF A HOUSE AT HASLEMERE. FROM MR. NEWTONS "BOOK OF COUNTRY HOUSES" (B.T. Batsfokd.
Publish..).
FOR THE ILLUSTRATION OF THIS HOUSE SEE Bio IN THE SECTION ON "THE HOME FROM OUTSIDE"

Ernest

Newton, Architect

Plans for the

nf

Home

p
F

rut

A9

PLAN OF A HOL'SE NOT ILLUSTRATED HERE

PLAN OF GROUND FLOOR

IN MR.

STEWART'S HOUSE

R. S. Lorimer A.R.S.A., Architect

'

'
..i

.I

^cAu

LORD PEARSONS COTTAGE, PLAN OF THE GROUND FLOOR

or

rtd

MAJOR MEARES' COTTAGE, GROUND FLOOR PLAN

R. S. Lorimer A.R.S.A., Architect

Plans for the Home

AI3

MR. STEWART'S HOUSE,

NORTH BERWICK

MATERIALS: STONE WALLS AND ROUGH-CAST, SLATE ROOFS

fiinf^'lV

"

'
"^'il'!'t,'.',

Au
MAIOR MEARES' COTTAGE AT COLINTON

MATERIALS: STONE WALLS AND ROUGH-CAST TILE ROOFS

-r-z- -,.^vS3S!^!|SiP^
A15

THE HON. LORD PEARSON'S COTTAGE AT COLINTON

MATERIALS: STONE WALLS AND ROUGH-CAST

TILE ROOFS

R. S. Lorimer A.R.S.A., Architect

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The Home from Outside

By

HE

subject

work
in

a spirit

of

traditions

only,

different

from

bygone

years.

in

so varied

but

all

this

has

to

there

for

was

The conditions
an absence

also

is

styles

local

like

and craftsmen

architects

be compensated

which

that

recognised

of

the

must be regarded

architects,

those which in earlier times helped

and

Architect

Modern Architecture, and

of

modern

of

common
are now
not

Guy Dawber,

E.

by a

striking

in-

The times that produced such work as that of

Wren's noble buildings have passed away.
It was then that
the architect was the master mind, the leader of a body of
dividualism.

trained craftsmen,

who not

only worked with him but under-

stood his aims and ideas, each in his

them

own department

carrying

out, not mechanically, but with a personal interest that

reflected itself in the general result.

At the present time, on the

other hand, the architect must be the sole creator of his works,

simply because the old

spirit of

workman now produces nothing

But, though this

craftsmanship

that

is so,

is

is

dead, and the

not detailed for him.

the times are changing, and

the last few. years have seen a very notable advance in Domestic
Architecture, in
is

all

parts of Great Britain.

being done, and the British architects

fore will leave a

homes.

Much beautiful work

who have come to the

permanent mark on the architecture

Very slowly, but

surely,

it

influences

and

it

of British

guides the

public taste, compeUing people to take a keener dehght in

beauty and thoroughness of good craftsmanship

great encouragement to

At

and that

the
is

all artists.

this point

it

is

convenient to say a few words

about the position of the architect and

his clients, a thing of great

importance to the well-being of architecture.

describe the position with exactness, but

It is difficult to

we may say with truth

that

the average cUent either regards the architect with indifference,

Bi.

Guy Dawber,

E.

upon

or else looks

luxuty.

liim

with some suspicion as an expensive

Only a person here and there recognises the architect

Yet

as a quite necessary adviser.

when an

Architect

architect of position

the house he builds

it will

be found invariably that

given a free hand, more or

is

a real success, harmonious in

is

all its

less,

parts,

being carried out as a single scheme in obedience to the direction

But

of one trained mind.

His art

free hand.

not often that an architect has a

it is

usually a thing of compromise

is

man

can be more disheartening to a

an

in

essential

sion forces

him

to look ahead

His zeal for his profes-

he cannot be content to stand

and take things as they are

still

than compromise

of genius

matter of design and art

new schemes,

better and

modernised planning, simpler treatments and broader

ever before

him

in his

thought

and what

and thus he

more

effects, are

loses heart

when he

compelled by his clients to abandon his efforts to do something

is

fresh

i.e.,

and good.

But we must turn now to another subject of interest

the country house and its construction. Of course, one of

the most important things to be settled

and although

it is

in

many

cases decided

the selection of

is

by the

site,

client alone, yet

the actual position of the house and the garden surrounding

it

needs the most careful consideration on the part of the architect.

Now,

there

is

a popular fallacy that a house once seen and hked

can be copied exactly and

site

but,

prove attractive on another

however aUke the two positions

there will always be

some great

maybe in the slope

A new house demands
or

ments

will yet

a
;

new

some few

means

plan, designed to

of approach.

meet the

require-

no two houses can ever be quite alike

more than they were

small one (of

appear to be,

perhaps in the aspect,

of the ground, or the

of its occupants

to-day, any

difference,

may

acres, or

in the past.

even much

If

our

site is

less in extent),

we

must devise the best approach from the road, taking care not to
cut up the ground by unnecessary drives and paths, and
considering whether any future houses on the adjacent property
will

be detrimental.

No hard and

as everything will be governed

of conditions
Bil.

by

fast rules

can be laid down,

local circumstances

but a great deal can be done

if

and diversity

we think

over,

on

The Home from Outside

the ground,

them

all

possible objections, in order that

we may overcome

one by one.

in imagination

For many years past houses have suffered

in that

they have been divorced from the gardens, which generally have
been laid out in a manner entirely apart from any scheme the
architect

had

in

view

and

this

why we

the reason

is

see so

many

gardens and houses, where care and taste have been bestowed

on both, but with a disappointing

garden has been planned to

fit

the aspects have been studied,

placing

it

rule, fixing

By

the other.

house nor

rights, as

we should plan out

soon as

the garden,

on the south or the west, and, as a broad

the site for the house

By

ground.

garden

possible)

(it

result, as neither

we

so doing,

itself

on the northern side of the

shall get the living

rooms and the

full of sunlight.

Old gardens have invariably a certain amovmt

architectural design bestowed
trades, flights of steps,

on them, that shows

and summer houses

of

itself in balus-

and gardens were

often enclosed with high walls, emphasizing the fact that garden

making was never considered apart from the house. Every tree
on the site, if possible, should be schemed to work in with the
garden and house.

and show

off

The

and many

manner

which

in

trees relieve

a building and the refreshing shade they afford

ought to teach us to

growth

delightful

them and

preserve

but, unfortunately, this

private, shut off

is

encourage their

by no means always done,

is

sites are ruthlessly cleared of

It

to

every

tree.

good to get some portion of every garden

from the

rest, either

by

trellage, walls or hedges,

so as to avoid the effect of a garden seen

all

at once

an

effect

that conveys no hint of seclusion, no air of mystery.

In

brief,

the general disposal of the gardens, and

harmony with the house, these

are essentially part of an architect's work to-day, just as they
used to be in years gone by and it is simply because the present-

the planning of the accessories in

day architect has allowed the

so-called landscape gardeners to

usurp his position in this matter, that

tliis

truth has been forgotten.

In arranging the actual plan of a house, a plain

commonsense

disposal of the various

rooms

is

ever the most

Biii.

Guy Dawber,

E.
satisfacton'

externally, as

produces the best results both internally and

it

Architect

may learn by

anyone

studying the plans of the great

The obvious and almost studied sim-

masters of architecture.

phcity and directness of their planning are patent to everyone,

all

the rooms being kept plain and square.

at eccentricity

you wiU look

will be.

We

made both

in vain for ill-shaped

is

no attempt

rooms

full of

Remember, then, that the simpler

strange angles and recesses.

our houses are

There

inside

and

out, the

more

successful they

should endeavour to plan them with an absence of

make work and

everything that goes to

labour, concentrating the

various departments, and tliinking carefully of the housekeeper

and the

There should be a similarity

servants.

throughout

of

treatment

one room should lead to another without any violent

contrast in colour or in detail, and the whole should be in unison

as a single scheme.

Perhaps the greatest charm

in the fact that

we

are in no

There are no

walls to contend with

hand, and

free

country a

stand

arranged, the plan

those cramped

in a

town

or

by

fall

of

plan

and so long as

may

it is

is

one

well

remembering always that the work

there should be no
buildings and offices
esting

back
all

"

will

and conveniently

of to-day, it is

it

In design-

out " in the round,"

be seen from

sides

all

to the design, no unsightly out-

should be self-contained, and be inter-

and picturesque from every point

When

the great

of

with advantage be spread out, as this

we should think
"

In the

design.

his

gives an opportunity for a display of picturesqueness.

ing a country house,

or city.

no narrow frontages, no long blank

spaciousness

fascinations of a house,

upon us

lies

consequently the architect has quite a

must

certain

country house

way governed by

conditions of building which are forced

" ancient lights,"

of a

of view.

people com]:)are good old houses with those

always to the disadvantage

of the latter

it is

forgotten that the builders of the old hou.ses had fewer difficulties

to overcome.
tlic

Drainage and sanitation were practically unknown

water supply gave

pi])es

trouble, for the utility of hot

and cold

within a house had yet to be discovered, like electricity,

and many other

UiT.

little

of those

modern

necessaries

by which an

architect

The Home from Outside

is

There

governed, pretty often to the disfigiirement of his design.

is

thus no basis of comparison between the

to

mind by the past and the present

It is also

ture.
cvilarly

and change the

their family hkeness

were employed in a

district,

marked than they

jarring

produces

note

are to-day.

It is all

of

of material

much

very different now.

many imported
of

effect,

Indeed,

landscape.

it

is

materials,

and many a
certain

the choice of materials becomes ever the more varied

every day something new

in

same neighbourhood

in the

contrasts

violent

the

in

Houses

the transitions of style were

At the present time, remark, houses

are bviilt in widely varying types and
this

of style

decades their distinctive type,

and even when various kinds

local

Building was

result of slow evolution.

many

parti-

men and with

work done by two successive generations.

the same district kept for

and

V)y local

and that there was no great transformation

traditional,

less

history of domestic architec-

worthy of note that the old houses, and

the smaller ones, were built

materials,
in the

brought

difficulties

that

almost

being introduced into the country

is

new woods, imported from the ends of the earth, new marbles,
tiles, slates, and stones, new metals, pigments, stuffs, and so on.
All these things,

and the faciUty with which they can be carried

about the country, tend to make architecture cosmopohtan

character,

and by

tliis

means the

local styles, so associated

One cannot but beheve that

traditions,

and encourage

all

with

It is a great

different parts of the country, are being ousted.

pity.

in

architects should foster local

local industries

and

trades, for

it is

better to build in the materials that have been used for centuries

than with those which are out of harmony with the

district.

Years ago, and to some extent even to-day, one

could

tell

by a glance

one was, each

istics,

in

at the buildings in

what part

being stamped with

district

not of style or date, but of material.

its

for wall-hangings

ing are the brick

England

special character-

The admirable way

which the Kent and Surrey builders used their

and

of

tiles for roofs

always excites admiration, and how charm-

and

flint

buildings of East Angha, with their

pantile roofs, interspersed with diapered patterns of glazed

As

to the red brick districts of Berkshire

and the Thames

tiles.

valley,
Br.

Guy Dawber,

E.

Architect

with their simple yet dignified houses, are they not deUghtful too
with their red walls and white windows
of

is

districts

Gloucestershire and the Midlands, the timber buildings of

Cheshire and Lancashire,

its

The stone

own

vernacular

all

and no

speak plainly and eloquently, each in

dialect in this household architecture

any other part

to be mistaken for that of

To-day

of the country.

doned, and architects in every district of the country use

slates are

of stone districts,

found in Kent, red

and stone houses are

As a consequence, a

tiles

built

hang

sorts

in the heart

where stones are not.

spirit of unrestfulness prevails in

Of course, many

the architecture of to-day.

all

Green West-

of materials, regardless of their appropriateness.

morland

aban-

this delightful tracUtion is being

all

will

much

urge that

of

it is

absurd to Umit the materials of a building to those obtainable

in the vicinity.

Nevertheless, just as genuine old

add a charm to the landscape, so the use

Enghsh houses

of local material fits in

best with the scenery of the neighbourhood.

Again,
in

it is

out of place to use a variety of materials

one house, such as brick and tile-hanging, half-timber work,

rough cast and stone, for in the country the texture and colour
of the walls

play a far more important part than a number of

Breadth

features in difi'erent materials.

essential to the repose
this

and dignity

can never be obtained

ornament and unnecessary

of

of the

treatment

detail.

look around us to-day to see on

all

absolutely

whole composition, and

the wall surface

if

is

Indeed,

is

broken up with

we have only

sides the instances in

the proper use of materials has been degraded.

to

which

Can anything

be more false in construction and design than the imitation in

plaster of half-timbered work, the plaster being painted to imitate

wood, or divided out with

hewn stone ?
these shams were

lines to look like blocks of

In past generations, to be sure,

met with, and were even encouraged. Sham doors

and windows, sham bookcases, deal doors grained to look like oak,

continually

and

slate

enamelled to look

like

marble, were

all

common.

fortunately, the good architects keep clear of shams,

To-day,

and encour-

age the simple and honest use of material, bearing in mind the
fact that eccentricity

is

not synonymous with genius.

The Home from Outside

Amongst many
other hand, there

is

the younger architects, on the

of

an unfortunate striving

after startUng eiTects

they labour to be original, to attract attention, and to produce

at

all

no doubt, much
will

uncommon and striking. For this reason,

what we see around us is only ephemeral it

costs sometliing

not hold

its

architecture.

of

come as representative of to-day's

Half the charm of old-fashioned houses and
place in years to

cottages, both here in Great Britain

and abroad,

consists in the

treatment of the roofs and in the liberal projection of the eaves

feature that

is

never considered by the jerry-builder.

over-hanging eaves there

and

shelter,

is

and the cool hne

In wide

a pleasing suggestion of protection

of

shade cast on to the wall beneath

emphasizes and yet softens the transition to the

It is to

roof.

be feared that we British, in the treatment of our roofs generally,

have much to learn from our continental neighbours, where

roofing
is

is

not only far more studied, but far more marked, than

Here we

in this cotmtry.

mechanically, keeping

them

treat our roofs too severely

(as a rule)

much

too

flat,

it

and

and forming

hips and ridges that destroy the surface quaUties of texture.

In

the old and beautiful stone slate roofs of Gloucestershire, as in the

blue slate roofs of
in a

Germany and

France, the valleys are worked

wide sweep, enabhng one roof to intersect another

ing fashion, without any hard Une of demarcation.

day

British

roof

up

method

is

in a

Our

charm-

present-

to put a rigid gutter of lead, cutting the

into varying planes,

and destroying that appearance

of

one single covering that a roof should always have.

Chimneys,

beauty of a house.

again,

have

much

the

mars the composition

and thin chimneys that come out

vmexpected places.

with

For economy's sake they should be few, and

their position well-balanced, for nothing so

as a lot of small

do

to

Tall

of the roof at

and massive chimneys add immensely to

the beauty of a house, and perhaps no architect has realised this

so thoroughly as Mr.

Norman Shaw,

R.A.,

who has shown

himself

a great master in the art of grouping and arranging his chimneys.

Windows,

too, should be all of the

same character,

and sash windows and casements should not be placed together,

Sash windows
in positions bearing the same relative proportion.
BTli.

Guy Dawber,

E.

Architect

more severe handling than casements, and a

demand

sense of

rhythm and symmetry

vertical instead of horizontal.

is

certain

essential, as the proportions are

Nothing

is

more unsatisfactory

than sash windows of varying heights and widths, particularly

when they
is

are scattered about the elevations, since

lost unless

all

dignity

they are proportionate one to the other.

Casements, to be sure, can be treated more elastically

they are the easiest form of window to deal with, and allow
of

variety

infinite

whether

wood

of

bays, in

in

or stone

or

oriels,

plain

in

and they may be stretched out into

by means

long and low windows, or coupled together and

Upon

transomes carried up to any height.

proportion of the windows

Windows,
This

made

is

much

of the

as a rule, without doubt,

built too big

due

the balance and

and casements

measure to the

especially, are

and proportion.

of scale

foolish building bye-laws

years ago for houses in crowded cities and towns, and,

consequently, inapplicable to country districts.

measure the windows

he

of

beauty of a house depends.

and wide, and therefore out

in a great

windows,

will

of

any well-Ughted room

be surprised to find

how

If

any one

will

an old house,

in

small the actual openings are,

and how much too big windows are made to-day.

With
it

is

this criticism I turn to a pleasanter

certain that at present, despite

movement

of progress

and encourages

all

all

duty

for

shortcomings, a strong

renews for us the youth of craftsmansliip,

of us not only to treat materials wisely,

but to

sever all connection with servile imitations.

It is a pity that this

movement

fine old traditions of

of progress should

design, for there

is

no reason, beyond that of mere novelty, why

we should not make an

knowledge.
feeling, a

We need

intelligent use of the past's

of old styles should

ridicule,

accumulated

a revival of the old simple faith in individual

faith expressed with all the

The mere copying

them with

be hostile to

and to

dishke or with impatience

enlightenment of to-day.

be scorned

but to point at

regard their rich thoroughness with

that,

too,

beyond

all

doubt, shotild

be deprecated.

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M.A., Architect

The Homk from Outside

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VIEW OI- THE COL'RTVARU. REI-ROIHCEIJ BY PERMISSION

COPYRIGHT PHOTOGRAPH BELONGING TO "COl'NTRY LM-E

SIR WILLIAM THANCE. BAUT.

IROM

LuUciis, Architect

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The Home ikom Outside

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MURRAY
VIKW OF THK EVTRAN'CE FRONT, NETHER SWELL ^HNOR. GLOl'CESTERSHIRH. THE Sl.AT (II- SIR JOHN
THE MATERL'^LS ARE: LOCAL STONE, STONE FOR TtU-; Ml'LLIONEn WINDOWS AND STOM-.
SCOTT BART
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Guv Dawber,

Architect

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The Home

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The Home from Outside

Ho\'ses n Caclo^anSqf Chelsea
R Norman Shaw- ll'v\ architect
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CADOGAN SQUARE. CHELSEA

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Norman Shaw,

1877

R.A., Architect

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The Home and

Dwelling

its

Rooms
By

Norman Shaw

R.

)S a

rule,

the

ordinary

in

furnishing

R.A.

middle-class

and the

rooms are not carried

guidance of

accordance

in

scheme

homes,

decoration

of

under the

out

controlling principle,

with a quietly

of design.

or

efficient

Indeed, the

general

householder seems to be quite sure that

he does well when he buys what he takes to be a sufficient

of "

number

handsome

" things,

and then throws them together

at haphazard, without giving any real thought to their proper

He

arrangement.

overlooks

the fact that the objects thus

and displayed, however

collected

interesting in themselves (and,

to be sure, they cannot be too interesting), should be

than a background

drama
rooms.

of

more

a background to those daily scenes from the

household

life

which are acted within the dwelling

It is disconcerting,

your host and hostess are

and

little

their furniture.

you

will

admit,

less noticeable

when you

find that

than their wall-papers

Such disenchantments are commonplaces,

for

who happen to be collectors, in even a small way

fall into error and make our homes too much like little museums
an error, this, that causes a room (and its owner, too, now and

those of us

then) to be just a

trifle

But would not a

tedious.

collector be

more than human did he not hasten to show you

his recent

" finds " or his

Alas

delightful

hobby

last costly

purchases at auctions

of collecting has

are apt to destroy that restraint

first

and the

drawbacks

of its

the

own, and they

and repose which should be the

chief characteristic of our British dwelling rooms.

And

here one

may

say at once, with confidence,

that years ago, in the supposed good old times, the times of our
fathers

and grandfathers, English rooms possessed

restraint

and
Ci.

Norman Shaw

R.

them

repose, possessed

in a high degree

R.A.
but to these virtues in

decoration was often added a singular dullness, a

Who

giving monotony.

walls

dismal-tinted

anyone a yearning

for

go back to the old craze for

desires to

painted

oil-colours

in

and pain-

stiff

moreen window

Or,

curtains, or the sprawling

and ill-drawn patterns on the Kidderminster carpet, or

chairs covered with a terrible black material

But,

when we think

and

of all this,

we should be critics ill

we ourselves have much to change

and many improvements to

Let us hope,

made

of other old

peace and comfort,

minds

for

enemies to domestic

in our surroundings,

The present-day

pattern

outrage on good taste.

improvement
that good

belief

wall-paper should be a background

is

If there is

any pattern

certainly an enrichment),

motive and shape.

The general

is

the important thing to be desired

in

comparison with tone.

little

The

consideration to this fact.

Morris, a great

papers.

it

ought

what

may

wall-paper."

of

pattern

is

a mere

It follows in the steps of

want

but

delighted in glaring wall-

of a better

name,

dozen or so of good patterns

well-drawn and unassuming

trifle

William

paper-hanging that we need most of

describe, for

and

waU-paper

tone of a

art teaching of to-day gives

man who somehow

The kind

an

is

to be of the simplest kind, quite unobtrusive both in colour

also in its

be

will

repeated ad nauseam

that and nothing more.

at all (and a discreet pattern

own

at ease in our

for instance, that a great

design consists of pattern

effect.

brought about very soon.

pure and simple

uneasy

of horse hair

mural ornament, and notably in wall-papers,

in English

has

again,

^modest

would be enough,

if

all is

as the " tone

patterns,

only they were

printed in from fifteen to twenty pleasant shades of any normal

colour, such as

red, green, blue, grey, or yellow, the

the colour ranging from pale tints to dark ones.

would then be to choose a wall-paper to

room

gamut

How

easy

of
it

suit the lighting of a

At the present time, when an apartment

has to be

re-papered, the " decorator " sends for our inspection half a dozen
thick books
so various
Cii.

filled

and

.so

with

sam])les of

useless that the

profusely patterned papers,

most patient man soon

feels

The Home and

distracted.

seldom that the pattern and the colour are

It is

right in the

Dwelling Rooms

its

same piece

that would be too

this

one thing

not really safe)

is

what

bed,

it is

know from

all

have always

to

to be

to choose a pattern

is

one knows, that one has seen elsewhere and

We

excellence, I

The only thing

suppose, altogether beyond our deserts.

done (and

much

liked.

sad experience, when

ill

and

in

evidence a patterned wall-paper,

in

a thing that transforms a wall into a labyrinth of curving lines,

by which the mind

fascinated and rendered anxious and feverish.

is

we might be spared

Surely

But

how

colour,

this distraction

wall-papers .should be quiet in design and

if

principle of quietness to be reconciled with

is this

the splendour of tapestry, the most beautiful of

a wall
is

of

The answer to

a thing apart

modest reticence

entrancing interest,

it

white

and

ties

rare,

material

keeps

way

is

and

treat

or

is

it

even

still

it

used in a good
it

in strips

as a picture

and

men

in black coats

But good tapestry

is

pieces, to

frame

it

vandal

who

is

and

The

the modern

many homes, but

in

woodwork

the real tapestried room has become,

rapidly becoming, a glorious thing of the past.

room the furniture

and

expensive

sees a tapestried room.

and to-day one rarely

employ

to

place flat against the wall

its

All painters love tapestry as the

look well against

is

of it is full of

though every square inch

backgrounds

of

Tapestry

this question is quite simple.

never challenges attention.

most exquisite

coverings for

has always, when good, the desired quality

it

all

reduced to a minimum.

In such a

He would be

placed a sideboard against a fine piece of tapestr>'

and what person

of taste

on a waU enriched with

Let

me

would ever dream

this fabric

and

say a few words

In treating this almost universal

of hanging pictures

its silent histories ?

now about

feature

in

the cornice.

the structure of

rooms, two widely different methods show themselves in the

practice of architects.

our

own

time, have

The

English, from the days of

commonly regarded the

Wren

to

cornice as part of the

ceihng, while the French, on the other hand, usually consider

as the top of the wall,

and treat

it

accordingly.

it

There can be
Ciii.

Norman Shaw

R.
doubt,

little

R.A.

that the French are the more logical.

I believe,

If

they paint the skirting surbase moulding a dark colour, such as

walnut, they repeat the same colour in the cornice, and by this

means they obtain

we Enghsh

consistency

To

often lose.

ceihng a ceihng

and handling

the French a wall

each has

logical

a wall, and a

and though there are many exceptions to these

common method

the Channel,

of

French

of the

still

one

feels

sounder and more

is

than our usual Enghsh treatment of the cornice.

But such
worth a

The

finds

its

though interesting and

details as these,

consideration,

little

importance.
art

is

that

effect

separate and distinct character

its

remarks of mine, on both sides

that the

structural

of

are

not matters of commanding

good

real subject of regret is that ver>^ little

way

our ordinary dwelling houses.

into

There

seems to be a curious

affinity

between the general householder

and the rubbish that

tries to

pass muster as good "

Why

furniture.

this should

be so

fairly accessible to all,

is

much

certainly

less costly

his

and the advice

The expert
owner

altogether, simply because every

likes,"

and can't be happy

unformed

taste.

What

could relate on this topic

that

is

fine

"
is

and

of experts is

than the unguided purchasing of bad

projects of house decoration.

he

much

It is conceit, I fear, that leads to

furniture.

art

cannot say, for good art

not so very rare at the present time

enjoyable

new

till

is left

of a

out of the scheme

house " knows what

he gets the bungling that delights

tragedies every architect of note

little

How many

a downfall in most

hundreds of noble rooms

have been utterly ruined by the expensive bad draperies and

furniture which the uninitiated

themselves in reckless haste

Still,

and

art

much

there are shortcomings within the architect's

sculpture,

together in liarinony.
it is

homes which he helps to

build.

and painting

do

not learn to work

They have long been unfriendly

rivals,

curious to see the development in architecture which this

rivalry has forced

Civ.

for

to be regretted that the tliree great departments of

architecture,

and

have bought

profession, as well as within the

It is

self-assured

upon us

in

England.

Painters often speak of

The Home and

the architect as " the

man

Dwelling Rooms

its

that makes the box," thereby implying

that the business of the architect

is

to construct the shell of the

house, the walls, the flooring, the roofs, etc.

the painter must be called

with colour, interest, and

latter

in,

may

so that he

Alack

art.

when that

"
ennoble " the box

for the painter

own

artistic

egotism

poor painter's needs scarcely enter his mind at

to cover the lower portion of

walls with

liis

panelling, to a height of eight or ten feet

gold leather or tapestry;

Blue Cliina and bric-a-brac

but embarrassing, positions.

arrives,

of

full

own

his

does not suit

me

at

all.

and should

and windows in
Alack

glory,

" Oh, this will

unfeigned.

His delight

all.

oak or with walnut

above

The

architect has

suit

all

sorts of picturesque,

astonishment

his

never do

Where

him he does not

it

for the painter

"
!

my

are

worked

he

When

is

cries.

was the band-master

perfectly skilled players in the

of

altogether

He employed

There

And

it is

ends, without giving

Time was when the great

art,

making

to which Goethe Ukened the structural

building.

he

" This does

pictures to go

own

for his

even a half-thought to the painter.

architect

he puts

this

not a single good place in this house for a picture."

true.

and the

over the fireplace he piles up shelves

hesitate to put in cross lights,

is

In these

he prefers to make " the box " to please himself, in

accordance with the dictates of his

for

done,

days the architect has taken a very different view of the

position

is

is

many

the employer of

"
of that " frozen music

symmetry

of

consummate

the sculptor, the painter of pictures,

the painter of frescoes, the

wood

carver, the mosaic worker,

and

many other able master craftsmen employed them aU, and with
so much skill that they worked together both in time and in tune,
;

forming a magnificent orchestration of harmonious

us think of this
recall

and

and renew the

There

dwell upon for a

is

past.
just one other point that I should

or two.

and farms are often such pleasant

and

Let

in this particular at least, let us try to

moment

so rich in comfort

effect.

in

Uke to

Why is it that country cottages

places, so aptly furnished

homeUness

It is

and

not only because the

cottages frequently belong to fine old periods in

EngHsh

architecCv.

Norman Shaw

R.
ture;

owners are natural and modest, and

also because their

it is

R.A.

never attempt to do more than the}' can afford to do well.

ashamed to be humble.

are not

towns and

cities,

were remembered

If this

money

Lamb
and

home

plainly,

We

to

care,

buy

all

and concentrate

work

to obtain such a

out Ufe.

in our

the ordinary householder would have a far better

He would

and more comfortable house than he has at present.

furnish his

They

of art as will

remember the

his

that enabled Charles

In the same

may buy

and

be a joy to him through-

self-sacrifice

his rare old folios.

every one of us

his energies

spirit,

at least one

with patience

work

of art

picture, a statue, a piece of Blue China, anything that is really

good and

really valuable as art.

it

may

competent friend

be " found " for ^lo

is

It

but

may

cost ioo, or perhaps

be the best of

let it

of

modern

"

handsome

to breakfast

it,

and

indeed a joy for ever

it

grows on us

feel

would be a daily

joy.

would

dis-

happy.

Is it not then curious that so

thing of beauty

incessantlj^

many

hostile to beauty, preferring costly trash

and

and never

persons should be
ugliness

^7^^'^

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COTTAGK AT COUNTON
Cvj.

than any amount

see his picture or his pot,

cover some fresh beauty in

greater enjoy-

" furniture.

The lucky possessor would

palls.

much

far higher educational value,

To come down

is

land.

always willing to advise the inexpert, and

the possession of one fine thing would give

ment, and have a

its

K. S. I.OKIMICR.

AKCHITI-CT

Colour

the Decoration of

in

Rooms
By James Orrock,
[T

is

little

R.I.

Only a man here

understood.

and there has any knowledge

which should guide

in the use of

colour for the adorn-

ment

is

to the

common

belief

have

been

they

that

the gifts that help to

all

And among

and comfortable?

make homes

the gifts thus claimed,

one of colour takes a high place in the convictions held by

this

the

not a

it

among women
beautiful

As

of his dwelling-rooms.

gentler sex,

endowed by nature with

the

principles

general

him

of

fair.

that

One has no wish

woman

it is

easy to admit

has often a true feeling for colour in isolated patches

and detached

work

to be ungaUant, and

effects

but when she

in orchestrated colour, it is

a half success, chiefly because

is

asked to devise a large

seldom that she meets with even

it is

her nature to be insistently

curious in matters of separated details.

For
to say a few

this reason,

colours,

toowhich ought

rooms,

simply
is

others, I

words on the present subject, and

than start with a warning.

There

among

have been asked

cannot do better

There are certain colours

popular

never to be used in the decoration of

because they disturb the harmony of

others.

emerald green, for instance, and there are brick red and

terra cotta.

Again, colour-harmonies are of two kinds, either

Colours that " match,"

those of contrast or those of kinship.

as the ladies say, form aUied harmonies

are too contrastive, that do not agree,

may

by placing between them a neutral zone

or of gold.

It is noticed, for

example,

that the lead lines (technically

peace between

many

known

but even those that

at times

be reconciled

or bordering of black

in stained glass

windows,

as leaded " canes")

make

discordant tints and hues.

Cvii.

James Orrock,

R.I.

more important to remember that there

are two great symphonic chords of colour chords composed not
of pure, unmixed, positive colour, but of colour broken and
It is

still

blended into
its light

notes in blue and yellow,

liant blues

is

The first of these chords has

and ranges from the most bril-

through a rich gamut

and yellows,
second

infinite gradations.

imtil at last

composed

it

of red

brings us to orange and black.

and green, and

trast range with infinite gradation

of

red,

dark greens, grey-greens,

of

its

harmonies of con-

from the most briUiant

and the most sombre tones

down

green,

of

The
tints

to russet

and deep crimson.

As an example

moment

for a

on a ground
It

all.

is

is

let

us look

Note the design

subdued golden yellow.

first

of

quite conventional, of course (for no good ornamentation

;

it is

formed of a simple running

scroll of leaves

flowers, the flowers being the pink, the crocus, the honey-

suckle,

and so forth

into horizontal bands

is

harmony,

at this piece of old Venetian needlework in silk

of

naturalistic)

and

of exquisite

strikingly

and the pattern made by them

by

lines of

modest and very

Indeed,

it

divided

The design

Greek ornament.

effective.

is

is

merely a

subject for the display of beautifully subtle tints and of strong

chord-plots of colour, varying from lines and leaves of lake-black

The black

to ruby- red and pale silver-greys and grey-greens.

notes of colour are used sparingly, and the general effect of the

needlework

is

one which might well be imitated in a drawing-

room, where we wish to arrange some

fine

examples of EngUsh

water colours and a noble old suite of satinwood furniture.

Finally, whatever
for a

scheme

of colour

you may choose

room, be a musician and keep to your key.

Remember

whenever you have a bouquet of beautifid

rich tints in

too, that,

a patterned carpet, you should not use a patterned cover for your
table
in

it.

let

the material be self-coloured with^a great depth of tone

table-cover of dark green will often keep

you from

scattering and sjioiling a nearly perfected design in colour.

-Oo'uv^

Cviii.

0j^;^<r4C^

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LONDON, THE AKCHITECTS OWN

IROM A FHOTOOKAFH HY BEDFOKD l.KMICKK. LONDON

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Xorman Shaw

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HAMMERSMITH, LONDON

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AND FURNITURE AND WOdDWORK JOI-' MAHOGANY
Harold Cooper, Architect
C.

M-, IN
I.I-;.\THhK

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MOUOCLO

J.

IHK DIN1NC;IX)M AT

GKKAT WESIKKN

KKKALh. GLASGOW. WITH ITS WALLS

R. S. Lorimer .A.K.S.A., Architect

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R. S. Lorimer A.K.S.A., Architect

THE

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George Walton, Architect and Designer

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I'.LASGOW,

The Home and

Bedrooms

its

By Frank Brangwyn, A.R.A.

OST bedrooms
at

when we look

are neglected,

them from a standpoint

of seemly

and

quiet decoration, and they are neglected

just because they are private

enough not

to invite the circulating criticisms of our

acquaintances and

They

friends.

except their owners.

If

are

rarely

bedrooms were as

sitting-rooms and the hall, they would

little

private as the

come under the

from the

of that curious emulation which,

by anyone

seen

indiience

earliest times,

has led

to the ornamentation of every useful thing which could attract

public notice and cause envy or admiration.

very

little

art

if

men and women became insensitive to the stimulus

and the pin-pricks

of praise

pubhc forms

There would be

of art

Greek gardens, or

public,

like

the

Italy during the fifteenth

that

new

is,

Tie most

ail eivy.

of ridicule

like the statuary in the old

pictures in th^ great charch33 of

and sixteenth centuries

^these

most

public forms of art have ever produced the best traditions and

the greatest masters.

away from
aii laid her ia some

Privacy and seclusion

the main current of the world's big events,

miwholesome backwater, where she grows

small aims very

much

magnified by conceit.

then, that art needs nothing so

much

as

ta'<e art

sick

and weak with

Let us remember,

pubUc recognition and

public curiosity.

And

this being so,

it

is

a good thing that general

drawn to the very bad deco'ation of bedrooms

in vogue to-day, in ninety-nine home; out of a huaired.
far less art in mo^t bedrooms thai yo i will find in any

notice should be

which

is

There

is

piece of rude wood-carving done

the South Sea.

centuries

heedless

of

and

It

is

progress in

by the natives

singular that

we

other directions,

tasteless nation in the

wait

in the islands of

B-itisi people,

should

of respect

after

be such

we show

a
for

the importance of the present subject.

Di.

Frank Brangwyn A.R.A.

Wliat should a bedroom be
are an architect or a designer,

you

Let us say that

and that a cUent comes to

you and asks you to think out a complete scheme

You

tion of a bedroom.

your

restrictions,

client

by any whims

are not fettered

sympathetic

is

for the decora-

along the

all

accept his commission and begin at once to discharge

The

best of your ability.

mind the

first

thing you do

is

to the very

to resolve in your

and requirements which ought to

special conditions

guide 3'ou in the shaping of your plans.

the question together, in so far as

what

Well,

special conditions, the special requirements

are the

us consider

lyCt

concerns the decoration of

it

one particular bedroom (see illustrations Di and D3)

me

you

line, so

it

or

and

let

write down, under separate headings, just a few practical

considerations.

The room-space

1.

that of most bedrooms

at your disposal

will

The room must be one

airiness.

bed-chamber

a room in which a sick person

may

for

lie

nothing to force

itself

upon the eye with

it

should be placed so that the sick person

the winter

You may

The

your design.

logic of

really

is

of view,

may be

first

The need you

able to look at

litiJe

by

its

matters,

have

feel of

making the room appear

airj'',

leads

you

larger

you on by the

You

decide,

that you will not use patterned wall-papers.

When

patterned

and

mentioned

principles which should guide

more spacious and

is,

already

common-sense to several practical

for instance,

waU

bed

well that the

smile at these

considerations

brought you quickly to the

it

is

are ver}' important.

3.

than

it

and annoying

the grate, and be amused and cheered

fire in

brightness and flicker.

thc->-

in the decoration

a tiresome

For the same reason, too,

persistence.

Dii.

which

weeks or months, and

must be nothing excessive

in

produce

not only a sleeping-room, but

is

therefore there

in

may

be pleasant to sleep and to awake.

2.

yet

small, like

hence your chief aim wiU be to make

the utmost of the room's dimensions, so that you

an impression of

is

this

all

over

it

decisions.

challenges attention from

seems to bring

it

all

points

nearer to the eye and to rob

The Home and

the room of some of

its

Bedrooms

its

You

length and breadth.

that the furniture must not occupy more space than

required

decide, too,
is

positively

hence the workmanship and craft must be of the highest

structural excellence, so that

you may obtain the greatest possible

convenience and strength with the smallest amount of wood.

The room being a bed-chamber, you think

bed
to

ful,

should be the chief article of furniture, and you intend

itself

make

it

of

wood, partly because well-prepared wood

is

so beauti-

so quietly harmonious, and partly because metal bedsteads,

and notably those

of brass,

and simple scheme

will

the

quite justly that

would be out

of colour

not be so low that

it

the duty of brushing under

which you have

will
it

of keeping with the fresh

The bed

mind.

in

tempt a maid-servant to neglect

neither will

it

be so high from the

ground that the space between the mattress and the

may

floor

be used for the storage of boxes and the accumulation of dust.

when you think once more of the bed-chamber as a sick

room, you come in touch with the principle of reticence, the

Finally,

essential

need of restfuhiess in your design and of quiet cheer-

fulness in your
4.

scheme

of colour.

You have been asked by your

put

client to

painting into this bedroom, not hung up in gold frames against

the background of wall-paper, but arranged in such a fashion

that the painting forms a structural part of the wall

In

itself.

other words, your client wants a frieze and such other decorative
paintings as

may commend

themselves to your judgment.

must add to
colour which you think most

work must be something more than

the fresh and spring-like scheme of
suitable to a

must not
their place

bedroom

start out

and you

The

interesting

realise, too.

from the wall, but

a manner as effective as

lie flat
it is

it

that the paintings

upon

it

modest.

and keep

With these

conclusions before your mind, you decide that the frieze and the

other paintings shall deal, in a fanciful way, with outdoor

life

the country, and that the colour shall be an arrangement

pale blues and silver-greys.

You

decide, too, that

your walls into compartments by means

tions of

wood running from

you

in

of

will divide

of small upright parti-

the frieze-rail to the skirting surbase

Dili.

Frank Brangwyn A.R.A.

moulding, and in each of these

little

small painting in keeping with the

you

partitions

will

There

frieze.

is

frame a

one

still

other point to be considered.

What wood

5.

will

you use

you

It is clear to

that the decorative use of painting forces you to be severe as

well as simple in the furniture

but the severity of style

be counteracted by a fortunate choice of wood.

may

Walnut would

be too heavy in tone, and oak too assertive and stubborn

substance and mass.
gracious in character

experiments,

What you need is

and so, after much

of

it

is

pale,

is

It

It

that the furniture and panelling will be

contrast both to

it

finished,

it

tint.

many

made

And

has also a kind

tastes

and, as a pleasant

will

thus,

make the wallwhen the whole

and the early sunHght enters the room

morning, you hope your client will find that the room
restful, a pleasant

than

of cherrywood, then,

is

and to the paintings, you

paper a dove-grey, uniform in

and

many

has a beautiful texture,

pleasanter to

the glossy refinement of satinwood.

is

hesitation, after

warm, dehghtful, and

home-bred elegance that

work

a lighter wood, more

seems to you that you cannot do better than

it

take your chance with cherrywood.

the tone of

in

one to dress in and to

make

is

in the

cheerful

a good begin-

ning for the day.

''^v^M./v

MR. K, UOUGAi'S COTTAGE AT

Diy.

COWNTON

3^rru*^wrYVl

R.

S.

M)RIMER,

A.R.S.A.,

ARCHITECT

The Home and its Bedrooms

By C
Harold Cooper, Architect
J.

NE

most

the

of

important

domestic architecture

points

in

the approach

is

The eye should be carried

pleasantly up to the hall door by a path
to a house.

or a road lia\nng agreeable lines in

a curved road or path.

If

the line of approach

on either side should be

straight, the border

door to which the road or path leads

in colour

and

This, of course, appUes to

it.

in scale.

If

in keeping with the

in keeping with

have a proper tread and

welcoming appearance

of a

The moment a

and be

riser

mean

of

can

street, it

importance

in

the

home.
front door

of a dwelling-house should be felt

friendly impression should

it,

the approach to a front door be only

a step leading from a main pavement in a high

still

and

direct

is

opened the homeliness

is

by every

visitor

become stronger

as

we

and

this first

pass through

the hall into the living-rooms, and notice by what means a feeUng
for unity has

been maintained in the furnishing and the decoration.

The best way

EngUsh

to preserve unity

attributes of

and honest,

sterling

good design,

talk,

i.e.,

nation that detests effusive

ill-made

ought never to deck out

How

no doubt.

not improve.

It is

relating both to

dwelhng-rooms

much valued by

often has this been said

times, I have

and

till

they

a fashion-

Thousands

of

Yet the average EngUsh home does

to-day as bad as

harmony

houses

its

fill

and over-poHshed

its

resemble the trumpery waiting-room so

able modiste.

refinement with strength,

shovdd be ashamed to

with bad, showy furniture,

it

to have faith in the three old

workmanship.

manners and flowery

certainly

is

of colour

it

can be in

and to good taste

Englishwomen are singularly neghgent

in

these

all

matters

in design.

respects.

If

they would give to the arrangement of their homes a small portion

of that time

which

is

spent every week in reading the latest novels,

they might with ease learn something very useful about the choice
Dv.

C.
of furniture, the

Harold Cooper, Architect

J.

management

of colour in a

many

room, and

Knowledge

necessary things in the household art of decoration.

of these tnings does not

the majority of

come

to the fair as a wedding gift, though

women seem

to believe that they do acquire

somehow, anyhow, without thought and without

as

other

it,

care, as soon

they are married.

It

in the

is

bedrooms, above

some ignorance

of misrule

uneasy ways.

The experience

this

shows

itself in

of

that the trouble-

all,

the most impudent and

architects has long been

all

that their chents, with few exceptions,

arrange their

like to

own bedrooms, however appaUing the results may be.

rooms are their own provinces, and with the aid of a "
in the

next

mentation
tor "

most curious adventures

street, the

may

pile of large

pattern books,

wall-papers

and

if

all

and good

smile

"

" decora-

The

comes

with a

with samples of bedroom

filled

by chance two

to be quiet in design

meek

decorator

in hideous orna-

be enjoyed at a moment's notice.

persuasive person with a

The bed-

or three of the patterns chance

in colour, the

unhappy man

assures

you, with some confusion, that they have got into the pattern
"

book by mistake.
papers

for
ill

bedroom

for a

and don't we

all

Anything

know

is

the terror

when a pretentious and hideously beflowered wall-paper

meets the eye on every

to follow the twists
are harassed

side,

ard turns

and tempts us to count the

of the pattern

by such barbarous and

Some
bedrooms.

Even

lines

and

sick children

cruel paper-hangings.

years ago a clever manufacturer was bold

enough to invest a large

for

see," he smiles, " these are expensive

a sitting-room, not for a bedroom."

good enough
of being

You

The

capital in the

furniture

facturer trusted to his luck.

making

was made

of simple furniture

well,

and the manu-

His courage was so novel, so at

variance with the customs of the time, that people became curious

and spoke

of the

anything really good should be made

for a

bedroom was a

to startle and perplex any average intelligence.

was an advertisement to the manufacturer.

for himself
iJvi.

That

matter with a wondering astonishment.

and did

well.

But

He made

all

fact
this

name

The Home and

The whole problem
be

summed up

to achieve

words

in four

Bedrooms

its

bedroom decoration may

of

Do

be simple, be modest.

more than your means

will allow.

If

you are poor,

do not be ashamed to show that your purse has in

still

furniture

not one

it

Plenty of good, old carpenter's furniture

sovereign to spare.

may

not try

be found for small sums of money, and some of the best

made during

second-hand for

the past decade or so

than you

less

will

may

be bought at

be asked to pay for the showy,

many shops.
What is needed is

second-rate trash in

This applies also to carpets

and curtains.

taste with discrimination in

Then, as regards wall-paper,

the art of buying.

a good rule

it is

but

for the general householder not to choose a patterned paper,

to content himself with one having a uniform colour of a neutral

kind, or one of as strong a colour as he Ukes,

keeping with

all

and

backgrounds,

cheapest

the

difficult

is

manage

to

well,

last

in

they make excellent

the

often

are

texture and in quality of tone.

good,

in

is

it

the other colours that happen to be in the

Such papers not only

room.

only

if

both in

best

patterned paper, however

scheme

and

decoration,

of

very few persons have knowledge enough to manage

it

in

proper way.

WTiat

said here about simpUcity applies to

is

bedrooms, however luxurious they

costly materials.
article of furniture

man

costliness

must keep

The general

scheme.

no

The

effect

may

be in the use made of

Every

must not be obtruded.

its

own

all

place in

the decorative

More than

must be unassuming.

this

can say unless he speaks of some special bedroom and

particular decoration.

But we may add a few words

of those fitments for a

bedroom which project very

the walls.

These useful things, when made with

in praise

little

skill

its

beyond

and

taste,

more beautiful than the

It would be a great
variegated surfaces of well-chosen woods.
convenience to the pubHc if these fitments were looked upon
are very attractive, for few things are

by landlords
because in

as

these

structural

days

expensive to tenants

of

necessaries

short

leases,

when changing

great

convenience,

fitments

houses.

Why

are

cruelly

should not
Drii.

C.

Harold Cooper, Architect

J.

bedroom fitments be an

essential part of

They would add comparatively

well-built house

and

httle to the cost of building,

would form a considerable addition to the value of a house as

an investment.

Many
room

is

persons have noticed,

not comfortable when

dare say, that a bed-

has two doors to

it

that can be

it

It produces a feeling of unrest, of uneasiness, in

seen.

same way

as an

op3n door

room

in a

much the

people from

will stop

talking freely.

Among

the rich

attached to a bedroom, and

the bathroom, the

bathroom should always be

the washhand-stand

if

is

placed in

bedroom becomes a sitting-room

as

well.

Then, with respect to such modern luxuries as speaking tubes

and

electric

owner

Hghts and

bells,

they should be arranged so that the

room can use them

of the

ease without

getting

out

bed

of

all

and control them at

great

his

convenience, this,

particularly in times of illness.

One
most houses

may

of the chief causes of the

bad decoration

be found in the fact that there

is little

in

union

to-day between the various forms of art that go to the making

of comfortable

much

too

homes.

Architects labour too

of the special kinds of art

the inferior craftsmen supplied

It

would be well

if

by

their

the names of

all

cannot act

all

forth.

building

though

all
it

of

contractors.

wood

craftsmen

good

carvers, thorough

As the director

of a theatre

the parts in a play, though he should superintend

the acting aU round, so an architect cannot create with

hands

do

good architects were

master

designers of furniture, able sculptors and

and so

alone, or

work through the agency

associated with those of well-known

artists in stained glass,

much

liis

own

the decorative essentials in the building of a house,

is

a part of his duty to supervise everything.

this being so,

how important

it

is

And

that his assistants should be

thorough craftsmen, and not merely workmen engaged on a job.

l^JkvMicL ^-01
Dviii.

z
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The Home axd

DESIGNED AND CAKKIKD OUT

BEDROOM

MOlJLkN BEIJKOOM WITH

(11

I'rank

l.KKVWOOl)

I-

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1!|<NI

its

Bedrooms

liEORGlAN

TKI-:

STM

AND DOVK-CKi; V

MKssRS^

WAI.I, I'API;K.

&

hi-:ai.

Si:!']

Brangvvyn A.K.A., Pointer and Designer

11

son,

London

rslKAI'ION

Dl

Tim

lIiiMi:

and

ris

Ri-ukdoms;

PORTION 01-' A MUDLKN BLDROOM WITH CUKAM-VVHITK UKNITUKIC, A GREY CARF'KT. A GREY
FRIEZE WITH A STENCILLED DECORATION AND A GREY FILLING OF PAINTED CLOTH ON THE
1-

PANELI.ICD

WALL

George Walton, Designer

W'

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Till:

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CORNER OF

MODERN UKUKOOM WITH

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Geonie Walton,

OF

COLOUK AND MODEKN-MAU1-;

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I-LRNIITKi:

'6

bjc

The Home and

Halls

its

By Mervyn Macartney,
X

England

the

history

practically that of

Architect

the

of

house planning.

the earliest times the hall for

was

purposes

hall

really

the

all

is

In

practical

house,

for

it

served as living-room, dining-room, and

bedroom.

To-day the hovel

of the Irish

peasant, or the cabin of the Scotch crofter, represents ver>' nearly

home of
Wars of the
the

Roses, the hall in

there,

with

two good reasons

family

his

for this

to the days of the

Enghsh houses served that

The owner not only

fold purpose.

slept

Down

a family in Saxon times.

lived in

and

arrangement

but ate there and

it,

retainers

three-

and there were

one being the poverty of

the people, the other the necessity in troubled and lawless times

have

for the lord to

for

his

bodyguard always at hand and ready

any emergency.

As

civilization

less turbulent, these

advanced and the country became

precautions grew to be needless, and people

began to recognise the desirableness both

and

of setting apart a portion of the house for sleeping

To meet

modation.

grouped about the

principal

chamber

withdraw] ng-room
little

of separating the sexes

by

little,

these
hall,

but the hall

itself

The

solar

of the house.

was

other rooms were

stiU

remained the

the

parent of the

introduced into the larger houses, and

as the owner's wealth increased, other

were added around the

Henr>^ the

new requirements,

Seventh's

accom-

hall, till at last,

reign, the

chambers

towards the beginning of

planning and construction of

Enghsh houses were nearly what they remained through the

Elizabethan period. The plan, usually, was like an H or like an
E, with the hall

on one

side

colleges at

still

the centre of the building, the living-rooms

and the kitchen

offices

on the

Oxford and Cambridge show

other.

this

Some

of the

arrangement, with
Ei

Mervyn Macartney,

Architect

what we should now

the buttery hatches (or

call server^') at

one

end, and a dais at the other with a private approach.

At Lincoln
described, and, moreover,
letting the
for a

smoke

chimney

Oxford, the

College,
it

hall

as thus

is

retains the louvre in the centre for

escape, though, of course, this has been

abandoned

In these halls the owner dined on the

at the side.

dais at the high table, his retainers occupying the lower part of

the hall, where they also slept on straw.

cleanliness of person

was not a

The times

proper regard for

characteristic of that far-off age.

Tudors saw a vast improvement

of the

The

in the conditions of living.

intercourse w'ith

more polished

nations, like the French and Italians, brought in its train the

have more comfort and more decency

desire to

home

ings of

life.

and a great deal

now no

of care

fireplace

had obtained a firm foothold,

and fancy was lavished on

The smoke

it.

longer pervaded the hall and blackened the walls

furniture, so

The

The

in the surround-

became

possible to

hang the walls with tapestry.

done away with, and

roof could be

lofty

over the

it

and

ceiling

put

Some of the old halls show this alteration, like

Kent and Crowhurst Place in Sussex.
The hall still remained the central room, and had

hall.

Willesley in

windows on

The next improvement was the

tw-o sides.

intro-

duction of corridors, enabling the inmates to approach the various

rooms without passing through one room to another, and

this

arrangement also obviated the necessity of crossing the courtyard

in

those mansions where the wings had been extended so as to

form with the

hall three sides of a quadrangle.

staircases necessitated

linking

by

this plan

up the rooms by means

times.

in

mind

Jones that we

Here the rooms are joined together into a

single

plan which has

and staircase

in the centre

and

this

improve-

planning was doubtless the outcome of that study of

foreign buildings

which occupied Inigo Jones during

through Italy and France, as well as

ment he found
Eii.

of Inigo

to our

block, with the hall

ment

number by

come down

owe the true house plan

own

in

of passages.

It is to the practical

the

were reduced

The numerous

in

Denmark.

liis

journey

in the professional

employ-

This new type of house continued

The Home and

in

vogue

time

for a long

strength and upright grace are

name

we may look upon it as the

Numerous examples of its early
still extant, as in those Manor

indeed,

true type of the English home.

that

is

it

all

the

the architects of the eighteenth

century went away from the type of

going awaj' from

also, in

known by

is

Queen Anne.

of

True

Jones

which

built in the style

Houses and Rectories

Halls

its

home introduced by

they exalted the hall above

it,

Not only was the

the other rooms to an exaggerated extent.

hall carried

up to the

from the top

and

height of the building,

full

produced a cold

this

unhappy devices

necessary various

Inigo

it

was

also lighted

and rendered

effect,

for giving light

and

air

in

the chambers on the floors above.

was a

It

fault}^

scheme

of planning

due to an attempt

to introduce the Palladian style of architecture, without proper

regard for the differences existing between the chmates of England

and

Italy.

B3-

roofing the cortile of the ItaUan palazzo

architects of the eighteenth century imagined that they

EngUsh

had solved the problem

of

our

town houses

of producing a

grand plan.

this covered-in courtyard

owing to the exigencies

the only one possible.
of this plan, the

of the site,

We

have

in

In the case

was admissible, because,

such an arrangement was

London

countless variations

most satisfactory being that

of

Ware,

in

which

the front and back rooms are comiected by a corridor or passage,

thus securing complete circulation on each

of this

can be seen at Bloomsbury Square.

inordinate desire for

into difficulties

admit

but, for

all

vast
strike

in disaster.

grand manner

"

in

some

It is easy to
of these con;

air "

seem better suited

home hfe.
To be

century- has

Unfortunately, an

manner not to be found in works of later times

Such houses
that, we are not reminded of home.

with a " great

for

An example

led the authors of these designs

which often resulted

that there is a "

ceptions

than

symmetry

floor.

brief,

the " grand

for the reception of

manner"

Royalty

of the eighteenth

not been adopted by later generations, and the

creations

of

Paine,

of

Kent, of Campbell, of Vanbrugh

one as cheerless productions, because of the want of direct

Eiii.

Mervyn Macartney,

Nemesis followed on

sunlight in their halls.

tempt

hygiene and comfort, and

for

Architect

it

obvious con-

this

required only a keen and

sarcastic expert to upset the false principles

on which the idea

Pugia by his writings and drawings brought about the

rested.

overthrow, and succeeded for a time in turning back the style

of planning to
of

mediaeval

Some

tj^Des.

of

the worst examples

domestic buildings were erected during the

nineteenth centur>'.

decades of the

first

having shts for windows

Castles

castles

with turrets and impossible staircases, with keeps and moats

and drawbridges

were

introduced as appropriate features in

the buildings of an age especially famous for

mechanical inventions.
such
of

architecture was doomed

carried within

It

the seed of

it

tion.

This brief sketch in outline has

of the

haU within memory reach

modern

a glance at our

We

Tudor days rooms were added to the

sides

and at

style,

last

to

own

fail,

destruc-

the history

But before we take

have seen how in Saxon times

;

we have
hall at each

how

seen, too,

end

rooms were clustered about the

in

afterwards,

hall

on three

under the Georges, the fourth side was added

Through

to the number.

its

us recapitulate the distinctive

the hall was practically the house

Jacobean

its

now brought

of to-day.

ejfforts, let

features of the earlier periods.

in the

and

science

Nothing could have been more absurd

atavism in domestic

course.

its

these changes in the

all

number and

disposition of the rooms, the hall retained its old-time distinction

as the principal dwelling-chamber.

was towards the middle

It

several vigorous

modern

house-building.

of

Nesfield,

and conditions

century that

minds began to apply themselves to the

problems

Webb, Eden

of the last

and others

of the times,

strictly

Norman Shaw,

Phillip

of less repute, studied the

and devised houses

in

needs

which those

conditions and needs played an active part in the planning.

There was no slavish adherence to any

style.

The

earlier ex-

amples had a strong leaning towards the Gothic type, especially

in

work

the

of Phillip

Webb.

In the later designs, especially

Norman Shaw, the tendency

Adcote, Mr. Shaw introduces the

in those of

is

often classic.

In one

house,

hall rather in the

Tudor

manner
Eiv.

it

has an open-timber roof and resembles a large sitting-

Till

IIoMK AND ns Halls

5^^;^^zi]f.
'I

\^'

\1

COKNHl :k\ PARK

VIF.W

John Belcher. A.R.A., Architect

OF TIIK

1N.\1:K MAI.!

The Home and

room rather than the centre

Halls

its

of the household Hfe.

one of his latest creations, the plan

is

many

years, in

Also, the long corridor

During the

importance.

its

twenty-five

last

houses, the hall has been approached from the

outside, through a vestibule, with a staircase leading from

screened by an arcade

members

and

in

it,

often

such cases the space can be treated

Interruptions from

passage only.

as

and

of the classic type,

the hall a halting-place for the visitor.

robs the hall of

In Bryanston,

passing

of the family prevent privacy.

and

servants

But such

form

halls

men

a convenient meeting place for conversation, and allow the

chance of smoking in the company of ladies

of the household a

instead of being relegated to the isolation of a distant billiard-

room

The hunting man, the sportsman,

smoke-room.

or

are

allowed in this neutral zone to intrude their bespattered clothes

and thus the

become again the

hall has

room in the house.

to compare the plan of a modern

It is interesting

favourite

house with one of the Jacobean period, such as the Eltham Club

For

House.

ments
and

all

practical purposes

The

of the present day.

it

would meet

ment

the require-

vagaries of the i8th century,

also of the beginning of the 19th,

aside,

all

have to-day been pushed

and we have once more reverted to a common-sense

problem

of the

of domestic planning.

It

is

treat-

also instructive to

investigate the changes that have occurred in American plans.

Here, starting with the English tradition, the arrangement of

the rooms and their relation to each other have produced examples
that are most interesting, because the modifications are the result
of

cUmate and foreign

influence.

municating rooms was

extremely
doors

British

till

desire

The Continental plan

isolation

was not

and portieres are used everywhere.

com-

and the

recently almost universal,

for

of

Sliding

felt.

This plan admits of

the rooms being squeezed up, and there's a saving of space otherwise

given up to corridors.
in very extensively.

To-day, the British form of plan

It

may

coming

is

be from desire for novelty or because

the comfort of a room where you can talk without fear of being

overheard or interrupted

cannot say

methods

but

is

more appreciated than

do not think

of planning.

The most

it is

it

was.

from any admiration

of our

likely reason for its adoption is

Ev.

Mervyn Macartney,

Architect

Where 3-ou have all the rooms communicating,

and all are heated by hot air and water, there is a great absence
To me the houses in the States seemed very
of fresh atmosphere.
a hygienic one.

hot and

and several American doctors,

stuflfy,

after

attacking

the system of warming, have urged the importance of a return

to coal

fires.

" hall

The American Colonial house has a

with a staircase leading out of

Some examples

it.

way,"

are excellent,

being more or less borrowed from English houses belonging to

Anne

the so-called Queen

There

period.

is

one difference that

You

noted in these houses, namely, the absence of a vestibule.

enter straight into the hall

open to you as you

him

enter.

sensitive Britisher

insists

on

his

it is

this character of

The whole house, except the

that strikes you.

and

and

who

home

regards his

thrown

offices, is

retiring

and

as his castle,

being passed in review before admitting

x-isitor

But even

into the house.

openness

comes as a shock to the

It

in our direction in the plans

in this respect I noticed a

shown me

of

some

change

large houses

about

to be erected.

In planning, as in most other things, there

finahty, so

win take

it is

very

place.

fluctuates,
seclusion.

now

it

The social hfe of a nation

greater freedom, now towards

will be.

in the direction of

Just at present

had the greater

what direction the change

difficult to predict in

But changes there

would seem that the

latter tendencj'

influence, but later on, perhaps, plans

tinental principle

may come into

no

is

vogue.

on the Con-

In more than one mansion

the grand staircase has been abolished, and people ascend to

their
is

bedrooms by

lifts.

impossible to say, but

How

far this

if

should become

it

innovation

feature of the architectural treatment of

The

hall has already

the staircase

is

been abolished

giving

way

to the

The dining-room bids

section of society will simply

The

serious

may

general

proceed
a

main

a house will vanish.

in the building of flats,

and

lift.

fair to follow suit.

certain

own bedrooms and nothing

condition of domestic service

drives

else.

us along in

downward course, when we look at it from an artistic point

view.
Rooms in common can never have the same interest

Evi.

of

as

The Home and

those planned and decorated

marble and
thought.

gilt as

saw

you

will,

halls in

Halls

its

Lavish your

an individual.

for

you cannot excite more than a passing

New York

which for extravagance of

material and design could not be equalled by any palace of ancient

or

modern times, yet no one noticed them.

by people

indifferent to their magnificence

They were traversed

people

whose every

thought was concentrated on the making of money.

Are the
is all

art to

social forces gaining the

upper hand, and

be used for the purpose of building houses

munities, and not for individuals

Are we

This seems a fearful thing to contemplate.

all

for

com-

to live in hotels

But

it is

quite certain

modern inventions and requirements mast have an influence

on the architecture of the coming age. It is often thrown in our
that

we Architects are the most conservative and unprogressive of beings, and that we never adopt anything new till it is forced
on us. It is said that we have resisted every advance in mechanical
invention and construction, that we always look back to past
ages for our lessons, rather than investigate new methods of
planning for our buildings. The civil engineer is held up as an
example of a man who moves with the times and is not hidebound
by precedents hundreds of years old. The French have lately
teeth that

broken loose from their excellent tradition, and produced astounding edifices in L'Art Nouveau.

United States, reaching 40

We

as models to copy.
style

and

works of art

have

all .seen

many

To me

I/'

the

former

them impressed us

men

as

the task of

Art Nouveau.

the hall should manifest the character of

the building, and the character of

it

of

of

up by some

halls treated in the

Let me, then, leave to younger

speaking in praise of

offices

stories in height, are held

but how

in the latter,

The mammoth

its

owner.

In

tlie

country

should accord with country hfe, and be fitted for the needs

of people \^ho hunt, shoot

subject

has

unrivalled

and

ride.

opportunities

The student
of

of the present

becoming acquainted

with the best work, not only of contemporary architecture, but

with the finest examples of every age and nationality.

photographs at his
complete accuracy

di.sposal

He

has

which represent every feature with

and nearly

all

known examples worth

recording
Evii.

Mervyn Macartney,
have been measured and drawn by
aids to design are

Architect
draughtsmen.

skilful

Such

by some considered drawbacks, inasmuch as

they tend to lessen the amount of thought that should

be

devoted to working out the problems that meet an architect

his practice.

Yet there

is

in

no doubt that we have largely aban-

Every man does what seems good in his own

e3-es.
People choose a style as they do a motor car. They see
a clever pen and ink drawing of a picturesque hall, or a seductive

doned

tradition.

sketch of a French interior in the Louis XVI. style

exists

and there

We

no reason why they should not have one or other.

have arrived

at a condition of absolute impartiality.

how we

not see

are to

do more than ask

And

do

of a designer that

he should be true to the recognised rules that govern the style

he adopts.

Indeed, the greatest necessity of

architect should impress

upon

his client the

all

is

home.

styles cannot be

Opposed

building.

which
in

is

your

It is

the

What he

needs

a complete, unifonn scheme throughout his

hall, too,

made

to accord in the

same

remember, that gives the keynote

struck for the whole building.

hall, in

that every

importance of having

a definite aim in the plan and design of his house.

and should have

is

the style of Boucher,

let

If

you

start with panels

us say, do not introduce

an open-timber dining-room, or a billiard-room with a dado of

Lincrusta.

PLAN or DR.
Eviii.

DOWNIi;'.S

HOUSE,

COUNTON

K.

S.

LuKIMIiK ARCIHli;CT

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A HOLSI-: AT SONNINGON-TIIAMICS. WlTil IHE PANKI.I.ING AND THi; ILOOK OF OAK. A.NU Till-;
WITH CHALK. AITICR A COPYRIGHT PHOTOGRAPH KINDLY LKNT BY "COUNTRY I.II-i;-

FILI.KI) IN

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Architect

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The Home and

MAI. I.

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LONDON. WITH ITS

The Home

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IS

OCl.l-N ANNIC

James Onock

K.I.

rKNITlk]-;

AND

TH1-;

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Thf. Homi: and its Halls

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Architects

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Home of Frnnk Bran^^wyn A.lv.A.

The Home and

VIHW

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Halls

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WTCST URIVK. STRliAIHAM PARK. LONDON. MATIIRIALS

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OAK AND A CREAMY GKIT-STONE FOR THE PILLARS AND THE FIREPLACE

rilK

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H.

P>rierlev,

Architect

M\I1H1AIS AKK

The Homh

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Architect

THE I'KOPEKTY

Architect

Ol

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IIIONKV.

KSU.

The Home and

By Charles Spooner,

URING

Furniture

its

Architect

the last few years there has been a

very large growth in the admiration for

and

old furniture

in the desire to collect

The admiration

it.

often uncritical.

widespread, and

is

no doubt, and

Fasliion,

the hope of picking up a valuable thing

for a small

sum

of

money, have had a great deal to do with

nevertheless, there

buy

is

a real desire on the part of

beautiful things for their daily use,

find such people turning to old work.

present time to
it

buy a

piece of

would be pleasant to

many

a craft to-day,

carried on

demand
time

is

present

is

is

the

with which

furniture

making,

in a depressed condition.
is,

people to

difficult at

art of furniture

by very few people, and there

but,

not surprised to

indeed

It is

modern

The

live.

and one

many

it,

like

being

It is

as yet, but a small

made at the present

entirely without art, and as long as it is made under the
conditions it will remain so.
The men engaged in the
for

it.

The

great bulk of furniture

manufacture are to a large extent underpaid and over-driven,

and a considerable number have received no proper training

others

work

furniture are made,

and so they do not learn how to make any-

thing except the particular things they are used

the craftsmanship
the

price

at

the

very

is

much

expense,

but also of the character of the

a man's responsibility,
his labour into

work

is

only

not

What happens

good deal

up poor wood

afterwards

is

Besides this,

and that lowers

the

craft

itself,

taking

away

his ambitions

an unrelieved drudgery.

in " faking "

of

to.

men employed, by

very often shamefully scamped,

way, and

room.

sub-divided,

by narrowing

for the polisher to hide.

this

where only two or three special kinds of

in places

and turning

The construction

many

of the

defects being left

of ingenuity is

misspent

to look well in the show-

the purchaser's

affair.
Fi.

Charles Spooner, Architect

These slipshod methods are quite modern.

F.ven

as recently as fifty years ago the average furniture, although ugly,

was

fairly well

methods

put together.

It is instructive to

We

of our forefathers.

look back at the

working under

shall find tliem

very different conditions, and with a feeling of responsibility

How

far

since the

which

from that

different

back are

dawn

common

is

Furniture has been used by

w-e to look ?

furniture to be seen in the British

Museum about

common

are

all familiar.

up the history
to our

own

social

ture

would be

It

times, but that

by

is

properly.

it

of the

who made

We

To

about the

time in which the furni-

in

the

to those

which the people

lived,

find

many

of

of the people

life

who have

some extent what manner

it.

history of

house and what materials

in a

less vividly,

made and used them, and

to

it

pieces of old furniture that remain enable

us to picture, more or

tells

The

really to read a great deal

was made, and to know the way

The

way with which

not the object of this book, and

what was considered necessary

work

similar

from those old Egyptian things down

and commercial conditions

were available.

is

side with the history of the people.

we ought

it,

form

^the

no doubt, to follow

interesting,

large volvime to do

furniture runs side

understand

seats with rushes in the

of furniture

would take a

changed much

idea

use to-day, the same joints as ours are used,

and they formed the

we

thousand

five

They show us that the

years old, and ver>' interesting they are.

to that in

men

There are some pieces of Egyptian

of civilization.

of a chair, for instance, has not

to-day unfortunately.

of

man

eyes to see, the

the craftsman was

moods

his

who

and

feelings

unconsciously recorded.

The arts of peace were rendered impossible throughout Western Europe by the inroads of savage northmen, who
overthrew the

Roman

were very insecure.

Empire, and

When

lor centuries life

at last

and property

these savage people were

tamed, and law and order began to be restored, the arts had to
begin for the most part over again.
continuous.

The character

of the

From
work

that of the next, and although the style

this

of

time growtli

is

one age melts into

of

certain periods

is

The Home and

Furniture

its

ven' marked, the change from one style to another

The

greatest

the

Renaissance

in all the

and most sudden change

We

period.

work made

can

see

of all

occurred during

one general character

and another in the work

before,

gradual.

is

of all the

time after until about the middle of the nineteenth century.

much more

Before the sixteenth centurv' oak was used very

woods

largely than other

had a great

in the

North

of

Europe and
;

influence on the construction

Oak is a wood with strong

Craftsmanship at

characteristics

and design

and

wood was

but labour was scarce, and tools were primitive

was more economical to use the wood

it

up

Moreover,

small.

Not much

furniture

life

in large pieces

was rough and not

was required

of furniture.

of a stubborn nature.

was rough and heavy

first

this, of course,

plentiful,

and thus

it

than to cut

as yet very secure.

and cupboards were

chests

the chief things and they were immensely strong and fixed, or
so
ot

The

heavy as to be practically immovable.

boards laid on

trestles,

and benches or forms were used to

Most rooms
served to keep things

went on

in the

in,

and

uncommon

to find the

Ud

sit

on.

Middle Ages had a chest, which

As time

also as a seat, or table.

was decorated with carving and

it

table consisted

inlaid to

painting,

and

it is

not

form a chess-board.

Backs and arms were sometimes added, and so the

thing grew into a

At
for dignity.

settle.

first

The

benches or on the

chairs were used not so

much

for comfort as

principal person sat on a chair and the rest on

floor.

The cupboard developed along with the

forms of both chest and cupboard changed very
of course, in size

and proportion

little,

chest.

The

they varied,

but the general shape and

construction remained almost the same for a long time.

As the furniture makers found out more about their

material, and got better tools, they naturally became better craftsmen, and by the twelfth century we find them making very nice things,
and they improved more and more during the next two
even of Church furniture.

But there

is

very

was made or whether

little

very

little left,

it

has been destroyed

centuries.

Whether
I

do not
Fui.

Charles Spooner, Architect

Of course, we know that there were constant wars

know.

over

all

Europe, and although the craftsmen drew together in guilds in the

towns and fought bravely

for their

freedom,

was not

it

much

middle of the fourteenth century that there was

some

centuries,

There

is

security

Then, during the fourteenth and fifteenth

and propert5^

for life

tiU the

most beautiful

of the

of all furniture

was made.

a small sideboard or cabinet in South Kensington

Museum,

No. 602, Northern French work of the end of the fifteenth century,

and

one of the most beautiful things

I think,

it is,

have

seen.

has two doors with a fixed narrow panel between them, and

It

once

it

had a drawer below the cupboards.

The doors

proportioned and richly carved and moulded.

himg with strap hinges

of iron,

but even

it

has been badly used, and

The

at the time in

walls of the

room

in

sees red leather.

a good deal damaged,

is

standard of taste and

in its ruin it is a proof of the high

workmanship common

are

most daintily made and orna-

mented with pierced work through which one

Unfortunately,

extremely well

It is

which

was made.

it

which

it

stood were pro-

bably covered with oak panelling, and very likely a table, one or

two

and a large chest completed

chairs, benches,

its

furniture.

think the perfect proportions of this cabinet, the fitness of the design
for its

purpose and for the material, and also

it

would be a

simply so

was

man

figure, I
it

is

is

much added beauty and

of fancy,

just

what

interest.

it

if

it

should

The carver

and on the narrow middle panel he has put a

should think

much damaged.

S.

Michael fighting the great dragon, but

The doors and ends

an exquisite design of tracery and leaves, and

least, there is

so beautiful.

furniture even

piece of

But the ornament

were unornamented.
be,

delightful

simple unaffected

why it is

form and arrangement, are the chief reasons

Indeed,

its

are decorated with

last,

but by no means

the spirited artistic cutting of the ornament, includ-

ing the mouldings.

would

refer those

who

care to

know the

conditions under which such work was made, to the delightful

description of a mediaeval workshop in chapter xxvi. of Mr. George

Jack's book on

wood carving (John Hogg,

1903).

Under some

such conditions only can work of this character be produced.

I'iv.

The Home and

its

Furniture

The great upheaval caused by the

the

learning,

Reformation in

accompanying increase

in

the sixteenth

century,

and the

commerce, changed the character of

marked way.

building and furniture in a very

be forgotten that the art of furniture making

The study

of architecture.

revival of classical

must never

It

part of the art

is

made people

of classical literature

wish to go back to the fashion of building of the old Greeks and

Romans

great mistake as far as art

and exclusiveness

corruption

the craft guilds caused their

of

suppression, to the great loss of

increase in wealth

all classes

surprisingly beautiful furniture

was

gave

rise

was made.

for

furniture

and the number

of different pieces of furniture

drawers, and

of

the dres.ser was gradually turned into the sideboard.

and cabinets,

desks

common.

Chairs were brought

The chest became the chest

increased.

more

to a desire for

absurd idea of reproducing classical art some

in spite of the

into general use,

But the

the artistic crafts.

and consequently to a great demand

comfort,

and

among

The

was concerned.

folding-tables

and small

tables

Writing

became

Oak, chestnut, walnut and pine were the favourite

woods before the eighteenth century, but oak was used more
When mahogany was first brought
largely than the others.
into this countr\^

as

fine qualities

its

out

it

how

woods.

work

to

was thought to be too hard, but as soon

were perceived the furniture makers found
and

it,

quickly took the

it

first

rank among

Besides having a texture that calls for finish and refineit

turns a beautiful

warm

brown colour with time, and the best has

a fine rich figure.

It is

ment

of detail,

and being very strong,

perhaps the most trustworthy of

twist, or crack with changes of

woods

do,

and

it

make

the

developed
suited to

most
a

woods.

temperature as

how

to

of

it.

style

of

first

much

as

some other

to use mahogany, and his genius

employ the beautiful new wood and to

He first and Sheraton after him

design

quite

their

mahogany, which they used

tainly influenced

does not warp,

It

can be handled without a great deal of waste.

Chippendale was one of the

soon showed liim

all

them a great

deal.

own,

largely,

and perfectly

and which

cer-

They both learned much

Fv.

Charles Spooner, Architect

from contemporary French work

in the

way

and although they were both guilty

finish,

refinement and

of

some

of

absurdities

and extravagances, an instinctive good taste and sense

portion

made them

restrain

pro-

the exaggerated curvature to be

seen in the French furniture of the time.

making seemed to

of

The

art of furniture

die with the eighteenth century

some

of the

traditions lingered on into the nineteenth century, but the first

great exhibition
killed

was perhaps the

final stroke

that completely

it.

In the meantime there has been a tremendous

economic change.
its

The development

system with

of the factory

machinery has quite altered our craft-methods.

been

many

revivals

of styles, but

to produce an art which can be

the

work

have

they

that no one

who

all

these efforts have failed

compared

attempted

to

There have

moment with

for a

It

revive.

is

obvious

could do work as artistic as the old would be

He would want to tr>^ to express his

The man who copies must be kept from

content merely to copy.

own

ideas of beauty.

any such attempt

he must do what

certain standard of mechanical excellence,

him up to a

before

is set

and not have many

ideas of his own, or, as I say, he will cease to be a good copyist.

He

has,

no doubt, to learn certain

and groupings

styles,

i.e.,

and he repeats them again and again, quite

mechanically, and not with a transforming tact.

demand

for

work

artistic expression.

and

after

in

any past

On

style

means the elimination

for originality, often

been discovered long ago.

.so

But just

new

of

effects,

ends in affectation.

There appear to be a Umited number of forms,

have used their forms

Therefore the

the other hand, striving after

what may pass

of beauty,

certain shapes

all of

which have

as the workers of each past age

own way to express their own sense

and we must get our new effects by new

in their

must we,

arrangements and groupings modified by certain conditions, chief

among which

is

the nature of the material used.

certain .similarities, there

different kinds of

wood.

is

Fvi.

a great diversity of character in the

A good

particular character of the

In spite of

design will accept and express the

wood employed.

Other very important

The Home and

Furniture

its

conditions are fitness for the use of the thing, whatever

and

fitness for its position

then there

may

be,

sound construction.

is

This should not be unduly hidden, and

it

should regulate the

it

arrangement and the forms which are proper to the nature of the
wood.

Wood

very troublesome

is

and climate make

Differences of temperature
or twist,

furniture

however well

maker has to

it

find

use.

and shrink

swell

very

It is obviously

difficult,

if

not

any one to design furniture well who has not a

knowledge

first-hand

it

to

may have been seasoned, and the

out how to overcome these difficulties

in constructing his work.

impossible, for

material

this

of

and stubborn material,

difficult

and such knowledge cannot be picked up outside the workshop.

Modern methods have separated the designer and the craftsman,

The
so that they seldom meet and are apt to scorn each other.
ideal

but

would be
that

if

for

each

man

not possible,

is

and make

to design

it is

own work,

his

necessary for the designer to have

a thorough knowledge of the craft, and to be in touch and sym-

pathy with the craftsman, and

craftsman to appre-

also for the

ciate

good design and to labour under such conditions as

allow

him freedom to do himself

his craft.

The design

the piece of furniture

are of

The

for a piece of furniture is not

The

finished.

is

old

work speaks

But

conditions.

will

be ready

the art of furniture making

if

not to die out, admiration for old things must not blind us to

the beauty and interest of the new.

not find either quality in most

to

illustrations that follow

and most people

for itself,

interest in

complete until

work which has been done under some such

to give due appreciation.

is

and to take

justice,

will

suggest

small

some

amount

by men who
possible to

of

of

make

afraid that

and

furniture,

good furniture

are trying to

be thorough

am

we

have tried

is

now

being turned out

conditions under which

and some

of

shall

Happily, however, a

reasons wh3^

the

really

new

this

work

is

it

shown

is

in

the illustrations.

Up

till

now

competition has been confined to lower-

ing prices, quite regardless of consequences, and this has gone

Fvii.

Charles Spooner, Architect

to such lengths

that

is

it

now

of

dining-room furniture for a

to

make

a very

impossible

dining-table

plain

work

better

for

trifle

to

buy

to

possible

a whole suite

more than
properly.

It

would cost
obviously

is

such

into

enter

it

competition,

and we must be prepared to pay a good deal more money

for each piece.
prices,

but what

cannot, of course, enter into the question of

have just stated

will indicate the sort of pro-

portion in cost between furniture which will bear comparison

the old, and that being offered for sale in the ordinary

with,

of trade.

It is

so that each

way

time for the older sort of competition to be revived,

may

try to do the best and most beautiful work, and

In the end, of course, the responsibility

not merely the cheapest.

he remains satisfied with the poor design,

rests

with the buyer.

the

bad workmanship, the

If

art

of

making furniture

will

be

crushed out.
It is often said that it is impossible for people

small incomes to pay for good work.

and the only way out

No doubt

of the difficulty is to

be

not easy,

it is

satisfied

with

with very

few and very simple things, made of inexpensive material, and

to

buy these

gradually, perhaps one thing at a time

is

no doubt

to spend than

we have,

There

that they are thoroughly good of their kind.

that our forefathers had no more

money

and yet they managed to buy good furniture

might now be called prohibitive.
things are
It is

still

And

which

at prices

the fact that these same

good and useful proves that such was true economy.

sometimes said that old furniture and new give a patchy

effect

things.

to a room.

think that depends upon the individual

both old and new are good they

If

look well together.

ality of the

owner.

The

interesting thing

Morris' rule

is

ijclieve to

is

will

harmonize and

to see the individu-

the best guide

nothing in your house that you do not

know

know,

"

Have

to be useful, or

be beautiful."

o
Pviii.

taking care

Sj^i(Ttn^^^^r

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AKM-'. IIAIK

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and

IN

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Henry, Cabinet Maker

sritl.liOAKIl

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KNCI.ISII

WAI.Nl'T

Till-:

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l)lMNC-UOOM TADI.E

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IN I-INCI.ISII

OAK

hanislcy, Designer and Cnittsman

A COTTAdK IN SOMKUSETSHIKli

Charles Spooner, Anhitect

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HALL CHAIK

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J.

IN

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Cooper,

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Ill

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WITH

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Christie,

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DcsigiicT

MAHOGANY

Robert

AND

Cabinet Maker

OF SIlliUATON

tr

H
C
Z

The Home and

its

Decorative

Essentials
By John Cash,

VERY

year

tide of

Architect

now

sees a gradual rise in the

hope and promise

for those

who

are interested or engaged in the design of

houses and their

fittings.

accepted as an article of

It is

becoming

faith,

if

not a

dictate of commonsense, that the finish-

ing and furnishing of the

itself,

home must be

considered with the house

not in the scrappy fashion wliich has so long prevailed in

the indiscriminate throwing together of odds and ends without

common, a companionship of incompatibles.

Only an artist knows when to stay his hand, to be aware
an\-thing

in

that more will spoil rather than improve, and that showy elaboration

is

waste of material and labour.

hustling

in

fashions

still

as in other phases

art

of

There

is still

modern

life

too

much

changing

too often sway the mind, not only in neckties and

bonnets, but in the larger essentials of the home.

With modern machinery' and commercial methods

prevailing, a quick return to more stable character may for some
time yet be out of the range of possibiht}'. The bamboo ])eriod
still

has a career.

home

furnishing

There was a time, long since passed, when the

serious matter

received

careful considera-

when renewal with each spring cleaning was not thought

of, when household gods had stately dignity, and were made for
the niche into which they were placed and for no other. More
tion,

of sohd strength than comfort they

had doubtlessly,

reflecting

the character of the age when squire and yeoman sought httle
repose between field and bed.

From

then

till

now much water

has flowed under the bridge, manners and customs have changed,

and the designer

is

called

upon to adapt himself to the newer ways.

Gi.

John Cash, Architect

But

home

does not

even to-day, the proper ordering of the

still,

demand

that

good old things must be dated

all

and relegated to musty museums,

we be elbowed and crushed by

modern and

kinds,

room

is

no way lend
both

for the best of

may

bring an added charm

our best efforts without suppressing the budding modern

Have a care however

lustrous mahogany may not

genius.

or

in

Sheraton, Chippendale, Hepple-

ancestral.

white and a host of forgotten masters

to

which

antiquities

There

themselves to our needs.

on the other hand, must

nor,

those old friends of black oak

agree well

\\'ith

modern clean-cut

many a
time by much hidden elaboration of means. Everyone now admits
that we are gainers by close study of the old work and since the
great battle of the styles is now ended in a draw honourable to
the veterans of both armies, the admission is made without reserve.
When we now look at any piece of architecture,
specimens of constructive simplicity, simplicity obtained

external or internal, our

which

it

"

but rather " Has

any

air of

staring, self

incongruity of line or form, or

impression

and seek

air of indifference

The

essence of

form and colour,

in the

is all

asserting pattern,
first

any

and

of a purpose well

and forgive

at best

we assume an

oblivion.
all

good work, then, must be hannony

whole and
it

in every detail

may

be,

a counsel

but none the

less

after.

Who,

at

some time

or other, has not been horrified

by furniture or decoration quite out

claiming an
merits give
if it

yet must
Oil.

there

any garish

Is there

so tempered that the

perhaps, unattainable

of perfection

is

Should there be distracting elements

style will not help us to forget

Even

completeness, repose,

ample fulfilment

of the

is

defined and discriminating."

sought

an

out the meaning.

fill

or crude colour effect,

in

it

" Gothic, bah! " or

there anything wliich were better extracted or

is

need of anything to

lasting

not of the school to

is

must be accredited; we do not say

" classic, ah
fitness

thought

first

amount
it title,

of scale

with the room,

of attention to which, possibly, its intrinsic

but to the utter ruin of the total conception.

be of the best, the crowning work of some great master,

we

lift

it

into

more congenial surroundings before

its

The Home and

panels

polished

can

inlay

demands

of

wood and the

precious

appeal

fitly

Decorative Essentials

its

our senses and

to

delicate lines of its

understanding.

instant apology for our ignorance and for our

It

want

of

respect to its master.

vSome of the trouble

mere

which has

originality

is

its rise in

due to that straining

the rebellion against stodgy

and so the bottled up energy

indifference,

of youthful genius, in

sheer despitefulness, builds the pyramid on

a

hash of the

classics

irreUgious freedom, settles

down

new and the

of

old worlds

with us always, but there

We

reproduction.

which

make the

to

art.

The sketch book should be

recognise

joyfully

best of both the

no longer need

is

makes

point and

its

having shocked orthodoxy by

then,

for

for

any slavish

that heritage of beauty

remains in our old EngUsh homes, and cast them not

still

aside in new-born pride on escape from parental leading strings.

Merely to catalogue the more meritorious works of

some

of our

modern designers would be to exceed

and the accompanying

written.
tials

must

few words on some

wonderful that
of

The

suffice.

Always a centre

tance.

illustrations

it

commonplace
designers

long

ago.

It

fireplace, perhaps,

ment which
upon.
to back

by

it

skilful

tiles

of the

it is

to be the model for

rank have discovered,

its possibilities

they

really

its

or,

form^
let

us

were discovered

easy to-day to find a fireplace and

its

equip-

primary purjiose and be good to look

no longer a cast-iron thing with blocks

of

marble

up, but a unity of materials welded into one intention

manipulation, a charming combination of wood, metals,

or marble properly selected

What
of

impor-

in

first

was the case only a few years ago,

first

shall suit their

It is

comes

of attraction in our climate,

utility as

is

that cannot be

coidd ever have sunk to such degraded depths

more found,

say, once

much

of the details of decorative essen-

when the railway arch appeared

Now

tell

limits of space,

wrought

iron,

and

fittingly

used.

could be better than some of the arrangements

copper and

tiles

which have been recently pro-

duced, some quite simple, without ornament, depending entirely

for their effect on direct constructional lines,

way

except perhaps by a

unreheved

in

any

shghtly curved hood, or some other

Giii.

John Cash, Architect

departure from severe regularity.

more

used

about

the

Copper

fireplace

is

some

being more and

have dared to cover almost the entire expanse

breast with sheets of

chimney

of

with here and there some

it,

enamel, a

repousse panels or spots of

indeed,

designers,

and

solid, rich

by

relief

entirely

pleasing effect, with an air of permanence sufficient to satisfy

the most exacting expectations.

instance, copper gives the

matter of
polish.
off

cleaning

minimum

unlike

of trouble in the

brass,

it

harmful to

is

its

material, to

name

lends itself

in the

hands

been

vastly

have

tiles

somewhat

may

improved

to the old

both

on the part

manner

it

admirably

Of

late years

texture and

in

of

effects.

be of the same

a skilful worker.

colour, thanks to an attempt

return

the mere rubbing

only a few of the uses to which

of

important

most beautiful colour

box, fireirons, curb and even hearth

first

demand high

not

does

Indeed, any further attention than

of the dust

Coal

Properly treated in the

in

manufacturers to

of treating clay as clay,

not as a material to be compressed into a slab of

and

mechanical

smoothness, glazed with a glass-like surface and coloured in such

a

way that when

Tiles

may

fixed the effect

is

one of chequer-board regularity.

be obtained now which are really good examples of

the potter's craft, having colours which indicate some sympathy

for things

about them and with an eye to the purpose

for

which

they are intended.

How
is

realized only

in

comfortable a retreat the fireplace

by those who have whiled away an hour

some deeply recessed

ingle,

Away from

or

be

two

on a broad cushioned seat with

high, restful sloping back, and close to

books.

may

hand a few shelves

of

draughts, in pleasant gloom, the light falling

from behind through some tiny window direct on the printed

page, the, fireplace
invigorates the

is

an encouragement to a sweet idleness that

mind and body

for further effort.

]5ut this is

coming next

importance

the department of the moralist.

After

the

fireplace,

in

among the decorative essentials is the bay window. Every

bay window worthy the name is broad enough to hold either
a fixed seat or
Giv.

witli

enough

floor .space to give

plenty of room

llll

lldMK AM)

ITS

I~)l'C()R,\TIVIv

I.OVINCCUP IN HICATEN SILVER ENRICHED WITH JEWELS AND ENAMELS.

Aiij.xmidcr Fisher,

KsSKN TIMS

REPRODUCED FROM A COPVRItiHT DKSIGN

Dt-siyuer find Craftsman

The Home and

No window

for easy chairs.

Decorative Essentials

its

can be counted a bay which

passage to the garden or verandah.

from the room to the open

is

Neither must

its

easily

opened, and

the siU

airy,

and a bay window

low

if

there

is

the old lath and plaster

clearly

a pretty

is

well propor-

all

the making of a good room.

again being duly considered after

is

a long period of utter neglect or absurd misuse.

method

shown by the few modern

their special study, reinstating

artists

may

be

artistic

who have made

in the position

it

Probably after

the widest scope for

gives

treatment, and that the treatment

artistic

destroyed.

is

the sashes or case-

Let glass and wood or stone be

Ceiling decoration

all

exit

be too lofty nor too much encumbered with

it

garden outside.
tioned,

intention

first

hangings and trappings, but light and

ments

must be an

be by some other way, the bay

air let it

strictly for internal use, or

there

If

is

which

before the general decay of internal architecture.

it

plaster

occupied

Plaster

longer looked upon as a merely soulless stuff which

may be

no

is

easily

spread over acres of surface to hide the skeleton beneath, and

ornamentation run

off

by the mile and stocked

is

its

until called for.

Unfortunately with plaster as with other essentials, cheap machine-

made

imitations flood the market, and the paperhanger

is

busy

pasting up small scale rephcas of noble specimens of plaster from

Haddon

Hall, Hatfield

and other

historic

homes.

In smaller houses timber ceilings

at

little

expense and with the happiest

floor joists of deal, cut

by the saw to

may

of the ordinary commercial sizes,

of being

covered

timbers be
as

left

by a plain

field

rough from the

may

results.

is

on they

grey colour.

will

well be left exposed instead

of

flat

plaster.

saw, the effect will be quite

the time the

have assumed a very pleasing

soft tone of

varnished or painted,

ceilings of this character

varnish

on the smooth planed work

may

may

either

be

which looks so hideously glossy

of the carpenter bears quite another

look upon the rough sawn surface.

more elaboration

the

If

By

Timber

consideration, oak

Beams and

sections squarer than those

good as the older treatment by axe and adz.

roof

be adopted

Where

cost

is

not the

first

take the place of the cheaper wood; with

of detail

is

it

permissible in mouldings and carving.

Gv.

John Cash, Architect

Perhaps the walls more than any other feature of
the house have been at the mercy of ill-advised experiments.

What

horrors have they not had to submit to

No

papers have been so cheap and plentiful.

New

wall-

spring cleaning

considered complete without a change of pattern

and

is

colour.

Before the professor discovered the microbe which Uves within

the strata of wall coverings the character of the inhabitants for

by carefully stripping

generations past might be read

and

ofE

studying layer by layer the superimposed records of progressive

manufacture.

and

Below the cabbage

convoluted

cucumber

pattern of the other day was the greeny-yellow wild gooseberry

a

little

deeper the Greek honeysuckle and Egyptian lotus

the stripes and forget-me-nots

still,

of roses

bloom. To-day there

sides alike, big trees rooted

rampant and

no certainty,

in

fleur-de-hs,

further and bunches

little

trees with

both

the skirting to blossom in the

narrow

stripes

and broad

stripes,

Last year's patterns, grown anti-

colours without names.

all in

little

Noah's arks and flattened specimens of winged creatures,

frieze,

lions

is

deeper

quated, are thrown from the shelves to

make way for the brand new

goods of this season, until they can almost be identified by the

names
let it

of the

months.

If

we must

hide our bad plaster with paper

be as plain as possible, a simple, quiet tint with pattern just

visible or

none at

all,

a background for our pictures and not a

attempt to make the walls more interesting than that

useless

which they

shelter.

Why

should good plaster be covered at

all ?

One

we must obUterate the writing

on the wall of the British workman, who would certainly pick
up his tools should Iris sporting prophecies be denied so much
But his pencillings may
of permanence as the new wall affords.
be washed off if we care to take the risk. We may then, if the
reasonable explanation

plaster

is

stained,

not

be

is

that

good, coat the walls with a mixture of beeswax and turps,

if

we

so prefer, with

opaque

or

the

distemper or colour wash.

will give a

some

result

slight tint,
will

be

but the stain must

simply

an

effect

of

Properly carried out, this method

sHghtly glazed surface, varj'ing a

little in

depth of tone

without being patchy, a surface easily cleaned and as easily

Gvi.

The Home and

renewed.

Decorative Essentials

its

Should the plaster not be good enough

ment, there are other ways of covering the walls.

colourings

now

be counted a lasting virtue.

canvases in

tones

They

colour.

fairly safe

their washability mu.st not

are

many

qualities

hung, are

easily

of texture
lasting,

answer to the demand for annual change.

some the colours fade rather

in

of the

There are also a great number of

specially prepared

of

Some

sold as " washable distemper " or " water paint,"

and inexpensive, but

are admirable

for this treat-

quickly,

and

and a

Certainly

and moths must be

guarded against.

With regard
emulation

to

Where the

pictures.

spirit

of

keen and the hanging of the Royal Academy too often

is

taken for model, given an inch of unpictured surface and a postage

stamp
as

will

be framed to

fill

the void.

It is a portrait certainly,

good as many another, but even that does not

crowding of walls with framed subjects.

framed and carefully grouped, are

and

justify the over-

few pictures well

far better as a decorative essential

than a patch-work of pictures, even with valuable signatures

appended.
boots and
difficulty

we know, will accumulate pretty much as old

clothes.
Some people find a way out of the

Pictures,
cast-oflf

through their poorer neighbours

The most modern

electric light fitting.

have

changed

In this as

too quickly

decorative essentials

of
iti

to

or the public galleries.

is

the

other departments, conditions

find

ready to meet

us

them

we have the old fonns wliich served for candles,

without much straining, for gas, still struggling against

appropriately, so

and

later

environment

they are heavy and appear almost conscious of

it

we turn them upside down in the hope that they may gracefully
support a tiny glow and we notice at once the loss of that dignity
for which their prototypes were so much admired at Fontainbleau
we modify and emasculate them, but all to no
and Versailles
;

purpose

their

development

is

without sponteneity and must

in the natural order of things break

down.

made, not without success, to meet the

difficulty in all sorts of

metals, and of late in wood, a material which

mately used for the purpose and which

into forms in

harmony with other

is

Attempts have been

may

be quite

legiti-

capable of being wrought

features.
Gvij.

John Cash, Architect

Of
is

new can be

earthenware, and

glass, china,

said

that

silver, little

remain practically unchanged, and

their uses

they are ever ready to adapt themselves to modern forms in

the

hands

modern

of

the fascination of glittering

grace of blown,

What charms they have

designers.

cut-glass,

colour

its possibilities in

the

its

soft

charms

in words, but only handling can bring full

potters of old

Omar

may

Kha>'y^am

may

delight.

things and good things in earthenware there

is

and

contours

be sung

Of new

no end

the

look in wonderment from

rose-embowered tombs on the undreamt-of variety from the wheels

of their descendants.

gressive evolution

is

In silver and gold the same story of progoing on in spite of the brutal set back of

some decades, when mere weight of metal obtained ascendency

over workmanship, and when the casket was valued on the
weighing machine.

The
nor has

it

really

been a mere

rebellion has not

fruitless revolution,

been aimed against the best of the old work, but

by those who would bind the

the dead things of the past. The

rather against useless constraint

living spirit of progress to

rebellion has served its purpose

and

later j-ears of the last century,

may

be written

off,

are

architects

of so

and designers

much

of the

of the present as

no longer bound by mediaeval manners,

commonplace contempt, but having

gained freedom, are showing by works that they know and undernor by the

strict rules of

stand both past and present, and are willing to consider each
according to

its

needs and nature.

into line, and although mere novelty

still

time

stare with a diaboHcal vanity

is

quickly passing in which

Manufacturers are coming

and machine reproduction

from many a show

it is

case, yet the

possible to stay the

onward

march, the upward swing of the pendulum, which, at the highest,

may
and

reach beyond record.

especially that phase of

At
it

all

events those

which

is

who

care for art,

our daily outlook, live in

hope, silently working, thankful for such encouragement as

freely given

by

artist to artist,

and

for that

new-born

is

spirit of

toleration which spreads itself over an ever-increasing public to

which

Gviii.

skill in

design and craftsmanship must, in the end, appeal.

/U^^

'I'm

kiMi:

AND

ITS

Dkcokative Essentials

STAINKn GLASS WIXDOWS AS DESIGNED FOR A HOCSF. BUILT HV

Selwyn Image, Designer

L.

J.

HAROLD COOPER, AKC:Hm;CT

II)

y.

o
D

CO

^.

a
o

o
o
a:

'S)

c
E
O

y.

The

TO

ALTHHA FROM

Homi-:

I'RISON

and

(SIK

its

UlCHAUU
sti;ki.

Alcx.mdcr

l-'ishcr,

Dkcokative Essentials

I.OVEI.ACICl.

l'ANi;l.

OK liNAMKl. I-RAMICU

A\n oak

l^nnmcl-W'di'kcr ami ("iMflvni.in

IN

<

The Home and

CKNTUli-l'IKCK IN SIIA'KK l-OK TAIU.l- DKCOUATION,

T.

Slirliii'f

its

IKoM

I. ((_,

Decorative Essentials

'I'l Ic

iTDC.KAl'l

l)csi<MUM-

;in(I

l.l:N TdiV C. J.

Sculptor

IIAKOLI) ClXM'liK, AKCl'll

1(

Till

llcMi:

\\i.

ns

ni'.iOK

ri\ic

Kssr'.NTi.M.f

GALLHRV BAl

v^J
V,

USTUAPI-: IN 1>AK

I-'OK

T.

Stiiiin,<;-

HOUSE

IHMLT^BVccC.

J.

HAROLD COOPKR. ARC IiniX'l

Lee, Sculiitor

Gio

THE STAIRCASE AT

GREAT \VE5TERN TERRACE, GLASGOW,

K. S.

IN

THE HOME

Lorimer A.R.S.A., Architect

OI'

WILLIAM bURREI.L. LSg.

The Home and

its

Decorative Essentials

Gii

STAIRCASE GRILLE FOR A HOl'SE LUTI.T HV

P>aint)rid,i;e

KexiioUls,

C.

).

lL\KOLn COOPER. AKCllllECT

Mtlal-WdrktT and

I)esi,i;'iier

Gil
liLiiCTKic

Luair iirriNo

C.i.i

la.i-.i

trk

George Walluii, DcsigiiLi

ligiii

iiiiing

rm:

lIoMi-;

and ns Dicoka

ri\

fC()PVki(;nx Rksi-:kvki).

i-:

G15
ii.Joi*VKH,IlT

Kh>KK\ H'.

David Veazev, Designer

I'.ssi-.ntia LS

The Home and

its

Decorative Essentials

Till

II(i\ii:

\\n ITS DicoRATiVK F.ssi:ntim.s

()l.ni:N<;i.isil c,LA^

KU.M IIIL CUI.LKC rioX

DKKOCK

Ol-

|AMl;.S

OI-

J.\M1.S DKRlil K Kl.

U.I.

G2I
oli)-i:n(;i.isii

r,i

IKOM

ass

SOME EXAMPLES OF

OLD-EXCI.ISII

WORK

IN

III):

OIJ.lA

SILVER DESIGNED AND EXECL'TED

Collection of

James Onock

K.l.

IN

ION

THE EIGHTEENTH CENTURY

'S.

O
O
W

a;

y.

The Home and

its

Decorative Essentials

G27

ELECTRIC LIGHT FITTING

AXn

SILK

SHADE

Georse Walton, Designer

VICSTIIU'I.I-; IN A IIOUSI-; IN PALACI', C.AKI )l;NS, LONDON, WITH A I'LASTEK

CICILLNG. A l-I.OOR OE ULACK AM) WHITE MAKHLES, AND PANELLING Ol' PINE

THE

WOOD PAINTED CkEAM WHITE

Leonard Stokes, Ak

hilcct

Till.

IIoMI-.

AM)

ITS

Dl'.CoU ATIVK

l^SSICNTIAI.S

G29

ELECTRIC LIGHT IITTING

IN P()LISHi;i) IKON

George W'allon, Designer

G30

THE HALL FIREPLACE

AT SOOTI'REY, WORl'LESDON

Leonard Stokes, Architect

The Home and

HAI.t.

its

Decorative Essentials

FIREPI.ACK I.INUD

E.

1-

WITH OLD DTTCH TILES

M,i\,

Architect

Till

Ih'Mi

\M,

IIS

)i:c(.KA

riXl".

lisSI'-.NTIAI.S

CHIMNKYPIICCE IN THE I'lCTL'Kli CiAI.LKkV AT C.KAGSIUK, NUKTIlUMUIiULANU, THK SliAT OF LOKU AUMhTKUNG.
THE WHOLE OF THE I'Pl'EK F'ART IS IN AI.AUASTEU. THE REST IN BEAUTIFUL MARBLES, WITH A FINE
HKECCIAA LARGE KEU JEWEL IN THE CENTRE. Till-: WORK WAS AD.VIIRAULV CARRIED OUT IN 1884 BY
MESSRS. FARMER & HRINDI.EY. THE ILLl'STRATIO.V REPRESENTS A DRAWING BY W. R. I.ETHAUY

I\.

Xornian Shaw

1\..\.,

Architect

The Home and

'^^ir/

its

Decorative Essentials

^>yv^f"'

'Tm-'^-

:.

S;

j^'^ y'S^'Y

KINING-ROOM

li

llciMI

III

i^\i.;

\\h ITS

)i:(()k \11VI-:

IKK PLACE

E.

|.

May, Architect

KsSKNTIM.S

AT

l.VNliHA.M. ClllSl.KH I'KST

COKUIDOK AT SANT)VCROI-T. LITTI.KSTONKON-SKA, TUl: HOMK OF TIIL KT. HON. lIElUiliKT GLAIJSTONE
THK STAIRS ARK 1\ OAK. THK RKST OF THK WOODWORK IS PAINTED WHITE

John Cash, Architect

'J~.

CD

^-o

<

Tlio British

To-day

\\o\nc <A

'^Gillows"

Two

Adwriisenieni

Supi^Il'iik'iu

Centuries

of Interior Decorcition

\I{RYONR who

is

interested

furniture ;uul decoration

tlie

name

The

of Gillows.

this firm occupies to-da}-

the

great

P'irni

more

i)articnlar

than can be given here,

is

and

related

growth and

llie

enterprise

of

two centuries.
They commenced

Gillows

are

position wiiich

is

the result of

in

they

have

art.

detailed

Brochure published by Messrs. Harrison and

artistic

familiar witli

which

services

rendered to decorative

is

in

history of the
well-illustrated

vSons, in

which the

followed during the

greater part of

their history at Lancaster in

and from most humble beginnings

rapidly grew to be prosperous Merchants, having a great export trade
about the year

i6c)5,

or

tliey

with the West Indies, and receiving

in

exchange

for their furniture large

quantities of sugar and nun.

outcome

The

was the
establishment of a London House
about the year 1760, from which
time Gillows have taken a position
of supreme importance as niainifacturers of furniture and decorative
of this prosperit>-

artists.

The

earliest

books and

records of the. firm date from 1730,

i.

Chair inaniifactiired by Gillows for

Mr. de Trafford in 1789.

The

Drawing-Room

at

Home

British

To-day

(^f

Sneyd Park House, Stoke Bishop, Glos. iH. Dare Bryan, Arch.)
decorated by Gillows.

and

for

great part of

this

time

they

are

continuous

and

eontain the most careful working diawings of the articles produced.

As a history of furniture during this period, these books are of

most absorbing interest, and from them the influence of the various
styles and designs is plainly traceal)le. (lillows did a great deal of
work for the Brothers Adam, Chipi)endale, Sheraton and Hepplewhite, the latter oi whom was ap])renticed to them
then
;

followed

the

early

\'ictorian period,

towards the end

the influence of (rillows as designers began to be

felt.

The Jacobean

revival,

which remained

in

which

of

most clearly

vogue

for so

many

years 'following the Gothic), was due almost entirely to the genius

and encouraged by Gillows. The Ivnglish

century furniture, which has now been popular for some

of Talbert, fostered
1

8th

years, has given Gillows an ()p])()rtunity of reproducing from the

working drawings contained

in

llii-ir

old

books

maii\' line pieces,

while the later tendency towards Georgian work has

brought their records into

many

Ijcautiful

designs.

designed and executed

for

si

ill

to
use, and caused them
The Georgian Dining-room,
tlie

vSt.
ii.

Louis

further
i)rei)are

recently

Ivxhibition, reaches

Advertisement Supplement
degree of excellence both with regard to design and craftsmanship

which

woiild be impossible to surpass.

it

time to the Galleries at 40b,

X'isitors for tlic first

Oxford

Street, W'., are invariably

great extent, so
diversity

little

the objects contained therein.

of

from the educational

i)oint of

and the most com])etent

The adjacent Wallace

examples
of

furuitmv than
Gillows

tliat

Their iinjjorlance

have

laid great stress

on

which

reproduce

is

comprehensive history

contained

whatever

in

these beaut

deserves

through

all

of textiles, so

rooms have become

the

in

finest

world. Besides the

examples

the

of

con-

styles

tained

in

their

galleries, there are

many pieces of furand specimen rooms which

niture

new without
being eccentric,
are

show

and

that

much thought

has

been expended

011

their design, in con

junction with

\\i(le

experience,

with

the

that

result

many

original

and

effect
charming
been ])rohave

.s

duced.

its

over the

show-

their

old

il'iil

designjand beauty of form and colouring to be perpetu-

and moreover, they have sent their Agents

Continent to secure fine examples of carving and

the

this.

Collection, for instance, while possessing

ated,

that

llie

view would be hard to exaggerate,

critics

of the greatest \-alue, gives a less

galleries.

purity- of

surprised, not only at their

suspected from the exterior, but at

Panelled Hall with Ingle-nook, by Gillows.

iii.

The
A

Home

British
portion

large

of

To-day

of

the Galleries

is

taken np

Ijy

rooms representing French decoration and fnrnitiue. The Inrni

claim that their exhibition of French fnmitnre is not snqiassed
even in Paris, and is the result of many years' search through
Museums and private collections for the finest models and the
means of reproducing them. The work is carried out in Paris,

own

either in their

whom

tation, witli

methods
colour

of

the

Factory- or 1)y ihai isles of

they enjoy very

weaving the Tapestries,

and softness

of

of ol)taining the

the

Marqueterie,

the

highest reini-

The

close relations.

marvellous
llnish

heaulil'ul

metal

the

of

old

moulds (which
are often

X
.,-';

'

/',

Jill, *5-

''.-

from

the

ori-

andthe rich hut

subdued tone

^f'-^^"

::(

cast

of the gilding,

are followed in

ill

the most rever-

ential

Kach
as

si^irit.

piece

perfect

is

as

the most excrafts-

])ert
Georgian Dining-Room, rfesiRned and executed by Gillows
for St. Louis Exliibitioii, 1904.

manship

can

make

and

it,

ewrything save sentiment and historic

l\e])r(i(lueti()ns nl any e\am])les arc undi'rtaktii, and their
interest.
faithfulness would liardh- bc' credited exce])t on conii)aring them
equal to the

orii^inal

with the originals

in tin-

With
apjjlied

adjacent Wallace or " Jones " ColUvtions.

I'egard to Decoration,

]jroduced.

the same principles are

work is cariied ont undrr, as nearb'

the same condihons as exi.sted wln-n tin- originals were

aslo Ininitnrc and

as pos.sibU-,

Messis.

the most eminent

superintends
in

in

llu'

dillow
I''icnch

]ia\"e
1

sci-niX'd

)ecorative Artists,

the pre])aration

of

the work

one of

ser\'ices of

tlii'

in

designs and

wlio
I'aris

and

fixing

luigland by iMench workmen.

It

is

not

onl\-

honi
iv.

llie

artistic but

also

from

AJwriisfiiU'nt SupplenK'nt
commercial

jioint

of

\-ic\v

lo-day.

their existence

and

their large resources

Messrs. (lillow have to justily

that

This they have no dilTiculty

their

tine

record

hel])

the most powerful and effective organization

existence.

This

is

strikingly

in large C()m])etitive public

doiny;

in

ol'

tluir

them

to niaki-

kind

in

shown by the success experienced

contracts obtained recently, notably

North IJritish Railway Company's Hotel, Edinburgh, :i)()2;

and
the Midland Railway Company's Hotel, Manchester, iQo,]
At thr same time
the Savoy Hotel Kxtension, London, 190J-4.
at the

Louis

XV.

Salon at Messrs. Gillow's, 406, Oxford Street,

W.

may

be made of some beautiful work whieli they have

In their Oalleries will be
carried out for the City Companies.
found several rooms which they have furnished in an economical

mention

manner with charming

beautiful

designs

h'urniture, all of

of

effect.

They have

which are good

in

are produced for the sake of those

and refinement, but

economv.

Bed-room

inexpensive

are

bound

also prepared

and

many

Dining-room

workmanshi]) and design, and

who wish

to study

to furnisli with taste

the limits imposed

by

The

British

Messrs.

mercial claim to

Gillow

Home

of

To-day

h<nve\"er,

ha\'e,

more than a com-

In the consideration of their

consideration.

by the fact that as the

control of the business has passed from hand to hand and the
artists and workmen have succeeded each other, so those who have
become responsible have been subjected to that transmitted
influence which was characteristic of the Finn's early eft'orts.
They have carried out work or exported furniture cjuite recentlv
to Australia, South Africa, India, Canada, South America, the
United States and the Continent, while many pieces of their
furniture have been purchased by the curators of Continental
Much of their work has been carried out in the
^luseums.
Royal Palaces, and many of our most famous mansions bear
hi.stor\"

one cannot

fail

to be impressed

witness to the excellence of Gillows' design and to the honestv of

their

workmanship.

Sofa in Satinwood, decorated with cane seat and back,

From an

old Eighteenth

VI.

at

Century model.

Me.ssrs, Gillo\v',s

The

British

Stained Glass

Home

of

Windows

To-J: i\'

Advertisement Supplement

-^

-'-

-!

l._i^_

5 s
o <
Q UJ

1
lit

ui

fef

f.^\::?

UJ

-J

i
Q 3
UJ

.<
::isi^^

<

"^

w <

Siippk'nuMit

AdwM'tisL'iiU'nt

Domestic

Liuiitinu'

The Work

ot

W.

CDiisidcriiig

from a
l^oint,

])raotical
it

is

&

Benson

A. S.

Co. Limited

importance,

its

and a decorative

curious

Imw

little

bolli
staiid-

care

is

si

devoted to the pro])lenis ot house-lighting,

and liow often the position of lights (and

even the

choice of

persons whose

fittings^

tastes in

the

to

left

is

matter of

furniture or hangings would be thought

To some

beneath consideration.
that bane of insurance

offices,

extent,

the "ready-

wired "house maybe responsible

for

bad

practice in the arrangement of lights

but

it

is

also quite a

common custom

hand over the scheme

of

to

lighting

builder, a paper-hanger, a gasfitter,

or even

a plumber, as

if

personal interest in this branch

work
was unnecessary.
Nothing could be more disa.strous.

of
Lamp, wilh

Ubnson El
mod'.-Hed b.ise

'

.tn

kI.iss

shade.

rAiii.j;-Cl:M HI

iiai

l.l.i-.i

La

mi,

badly wired house

(in the case of electric light

is

a constant source of trouble

and expen.se, and even of risk,

are placed at random, after

house in which the lights

is

a misery to live

On

in.

comfort

conducive to

the ordinary gas-fitter's ideas,

the other hand, nothing

as a

thought

the lights have been properly

gives

more

signal

air

graceful and simple light

style

tings designed

fit-

The

to suit the rooms,

light

or writing,

modulation
artistic

is

provided

effect.

nothing

house than
scale

in

])roper

and

lighting

contrived so that
likely

in

is

of

positions

for

whilst

reading

pleasantly lighted, with that

wliich are indispensable to an

gradation

To obtain

so

mined not only by si/.e, but

ment, and decoration as well,
The number, power, position,

the whole space

and

and

out,

distinction to a

of

any particular space is deterby its proportion, arrangeand bj' the nature of its use.
etc., of the lamps should be
good

is

house where the positions of

such success requires training

A Mr-Nsos

Oil. l.AMi'.

ix.

The

and

British

Home

engineering and architectural, as well as in decorative problems, and

L'\])L'rienc(j in

can hardly be expected that these would be found

Mi. W". a. S.
of oil-lauips

To-dav

of

en'^on, wli I)

made

his

nam e

in

tirst

the average builder's foreman.

tweutv vears ago as the reformer

and candelabra, \^hich he redeemed from the bondage

taste, served

his a])iirenticeshi]) with Air.

r>asil

it

Cliampness,

of early Victorian

who warmly encouraged

his ambition to make a
line art of artificial light-

Benson

Mr.

ing

the i)rob1em

ajJiMoaelied

*^t^'_.-^-><.i.->^>*

from

the

has

standpoint

ol

the architect rather than

from

tliat

sponsible

things

the

of

irre-

designer

pretty

in

of

them-

.selves,but not necessarily

in
!..

i:,.,.,

,K i.,T.

'Vti'^-.f-6r-

harnioUN'

snrroniKhngs,

with
(11

their

])iopeuy

AdvertiseiiK'iu

Sui^pk'UKiu
When

to practical use.

a(la])tf(l

movement,

the Morris

lie

l)e.<;an,

uiiich has so ])rofoundly

was at its height, and

and natural connection,

influenced jiopular taste,

horn

l)otU

s\in])atli\-

hec-ame associated

r.i-nson

.Mr.

witli

it.

His

metal work achieved as wide a rciiulalion,

its

own way,

ta]H'stries of

Urn;

as the beautiful wall-papers

William Morris.

.\ew

in

Ueu'^on

and

Since then, the

founded by Mr.

Street

I'.ond

in

has ajiplied

successively to

itself

every

branch

house-li.^hting

of
first

to gas, with the old-

fashioned

burners

flame

flat

then

electric light

to

then

to in candescent gas
"^

III

ItKN.soN Kl.KCTKOLIKR IN

AND .ANTIQf K

lighting provided

which
lease of

seem

to

as

acet3'lene

admirable new adap-

Col'l'KK.

tations

by the little
have given the

of

gas-

inverted burners and mantles

illuminant

oIcUt

fresh

life.

lighting,

to

'"^'^^

ChoCOLATK BKO.N^L

As manufacturers
of

"~'\

methods

these

of ap])liances for a/l

the firm are thus able to advise imj^iartially

which

promises to

be the

most convenient or
and for each of them

any given situation

the principles of distribution and conxenience have been

econoniical for

thought

carefuUv
It

is

quality

tribute

as to

the

unskilled

and

are

that

the
Benson Ham. Lantkkn.

work

their

of

that they

out.

to

frequently

lighting

of

ancient

handling would
on

these

out the lighting of

called

upon to advise

buildings,

entail nuich

where

damage,

grounds they have carried

many

of the jirincipal colleges

and chapels at the Universities, as well as of

St. Paul's Cathedral, and other well-known ]:)ublic
buildings.

With
Benson DrrrH Bkackkt
(fitted for

Acetvlene).

Professor
xi.

regard
.\.

to

the

H. Church w rote

design

many

of

fittings,

years ago, in

The
the

Home

British

To-dav

of

Mr. P.enson's work

of

Portfolio,

are
two
"There
for remark in the
in the most elaborate

these

may

rectness

out of

the

first,

These two
istic of

ornament
obscure

Many

of his

One

of

are

main

have no

properly

at

on sheer

beauty

mass, combined with

KKNSuN I'KNDAN

HIK
\\
UTI H Sll

IC

ImAM>KMKNT

GaS,

all,

design,

but
of

depend
line

due to

construction.

lienson

engineer

good

as

is

as he

or

NH\l)KS.

mechanical
Air.

to

ornament,

charm

the

which
not

lines of the

fittings

form."

in

emphasise,

for

correct

di-

character-

still

so-called,

eftect

of

fittings,

used to

the

as

dignity

is

features

is

as well

call

which indeed grows

Benson's

]\Ir.

simplest

constructional

the other,

which

patterns.

be called

features

an

is

For

an

artist,

and designs
his
fittings,
whether rich or simple, with
view to their purpose

a direct

and lasting properties.

A word may be added
specially

use

the

to

as

of

that dainty light, acetylene,

which,
current
Hknson

hi.i-c

tkh

logues,

Hkaikki.

name
the

"

of

new

of

the

all

cata-

(iMiiLHT ol

hcmg

IS

u\

In

series of sim])le, light,

place

and 83,

l)e

New bond

seen

by

liirtb

worn-out, heavy

of

by

or

this

and graceful

the brilliant jet of light.

])urposes, are to

at

notorious,

gas-lighting
art."

old,

the

jilant-makers'

^mothered
accunudalion

from

judge

to

almo.st

1-Zl,i;ni<l<

Hkackki

which have rendered the

designs

more

tasteless

exhibitions

of

Benson has produced a

admirably adapted to set off and enhance

ironmongery

fittings

rwo-I.K.MT

an

Mr.

These, witli littings of every otlier descriyjtiou tor lighting

al

Street,

Messrs.

London.,

A.

\\'.

vS.

W.

Hi'

Hi

N SUN

i.t.-l'i

xn.

1.

lienson

^v:

Com])auy's sliow-rooms, 82

Advertisement

Tiles,

Supplenicni

Mosaics. Etc.

The Woik

of

Messrs.

(j-;i\'en

Diinnill

(*v

Co., JackfielJ

^'mSSiM:

In this age of sanitation

it

whicli tlie glazed surfaces of tiles have.

them, the

facility

is

almost siipcrflnons to dilate on the merits

The

(lifliculty that

dust finds

in

adhering to

with which they can he kept clean, and their ])lcasant effect these

are things that speak for

them

strongly.

At the present time there

is

hardly a house from the most sumptuous

mansion to the smallest workman's cottage, that does not

use of

^m

in

some form

or other

make

tiles.

It

has been the object of our firm to try and cater

taste.

Xlll.

for

every house and

The

Home

British

of

To-day
%-\

1(

O,

The
excellent

thorough
clavs of

for

clays of vShropshire, and^particularly those of Jackfield, are pecuHarly

the manufacture of floor

firing

produce an

any other

article

]iart of

very

England.

tiles,

much

and

after their proper treatment

and

harder and more weai -resisting than the

There are evidences that the good qualities

of

Advertisement

of a church, tlu' stone of

this in

itself is

l^eeu

poor aiul of a friable (juahtv

of the special

aims

of

our firm

is

now

the carrying out

describing.

f)f

Architects'

is

to be found

designs and the adoption of any suggestions.

We
in

which appears to hav^e

an interesting proof of the excellency of the clays we are

One
own

Supplenicnt

the case of

claim to have more originality in our ]iroductions than

many

other nuikers, whether tone, colour, surface, design or sha])e be

concerned.

We

court the fullest

investigation

and comparison

of

our

tiles

with

those of other makers.

CRAVEN DUNNILL &

JACKFIELD,
Showrooms

LONDON:

37

Maddox

K.S.U.,

Street Regent Street \V.

MANCHESTER:

MOSAICS
SPECIAL

SHROPSHIRE
BIR.MINGH.VM

172 Corporation Street

Rational BuiklinKS Bridge Street Deansgate

Makers of
TILES

CO., Ltd.

Hioh-Class

FAIENCE ENAMELS LUSTRES

SHAPES KEY-BACKED TILES.
XV.

&c.

Tlie

Home

British

To-day

of

Modern Plumbing and the Bath Room

The Woriv
27 Victoria

PliRHAPS

few trades connected with

shown

ha\'e

The

Plumbing.

Room must

Bath
'["his

is

the

first

that

The
lu\ur\' of

and

l>ath

ihe

but

warm

t\s'o

illustrations

to-da\-,

C'xam|iles o(

work

the

Shower Spray and

of

The While

Westminster, S.W.

l'>aths.

htted

means

\\;\\\\

Mi:ssRS.

best

firms,

the

and applied,

secuics not onl\ the

rails

of regulating

is

as

Kooiiis

])i:a\i:n

Porcelain

leniperaluie

lln

t\;

b'.namelled

same material

shown

Sons,

La\atiir\ and

)ouehe, w hile the

(ireat attention
It is

the

of

carefullv studied

water through the lowel

with Marble b'ioor Slabs to match, the

l>ath.

hands

the

in

ot

the

nicety.

good
are

well-ecjuipped

in

noticeable in

is

combined.

haiipil\-

towels, but pro\ides the

to a

necessarv

appliances

and construction have been so

beaut\' are otten

|)ractice of circulating hot

Room

that which

homes
Modern
modern

reach the highest standard trom a sanitarv point of view.

essential

possibilities of design
utility

various

Street

essential comforts of British

tlic

more rapid advance than

Beaven & Sons

Westminster S.W.

of Messrs.

hicssini;

also

beiiiL;

is

applwd

wi.

Im

llie

<il

b.ilh

accompan\ing

the

\'icloria

27,

C'asl-lron

given to securing; the pure whiteness

practically c:verlasting, and

in

of

I'.alh

fitted

is

Table are
htted

Street,

ol

with

Marble,

undeineath the

the enamel on these

al

such

very great

AJvertiseiiKMU SupplcnieiU
temperatuiv
lliat

th;it

liecomes la'vcd to the

it

water, liowcxci- hot, has

no

ill

effects

iron,

upon

tonniii'^

;in

inlc-nil

part of

it,

so

it.

and Lavatorv, as shown in the second illustration, is of While roreelain

Enamelled i'lre Clay, and is sujiplied wuh lot, Cold and Tepid Shower and Shanii'oo
The Taps, Waste and Suj'pl) I'lpes, Spon.L,a> and Soap Holders, Lavatory
iMttin.-is.
Mri;il.
Supports, etc., are made of tht' best (piality nukel-pl.UiHl Copjier and (.un

The

Hatlis

Ihr W.dls

Dado and

It is

both liath

in

Ivoonis are

tastefully

(U'corati'd

with

(da/.ed

Tiles,

"

Frieze.

connected with Phinibing, Hot and

of the utmost importance that everything
not onlv in an
Drainage and Heating, should be carried out,

Cold Water Supply,

up-to-date manner, but on

which can be
varied experience as Messrs.
guaranteed by a firm of such long standing and
strictly

scientific

principles,

essentials

Beaven & Sons.

BEAVEN & SONS

&

Heating Engineers
Sanitary, Lighting
Plumbing, Sanitation,
High-class
in
Specialists
Lighting

& Heating

Works

WESTGATE GLOUCESTER
xvii.

Victoria

27

Street

WESTMINSTER
Established

1841

S.W.

The

Home

British

Musical Instruments
The Work
li(').

How

unfurnished

itself

in Florence,

ago

invented the

STYLE LOUIS XV.

is

&

S.

house withcmt

is

can

All honour, then, to

of

Home

the

in

Erard,

P.

Great AlaiiboroiiLih Street, London

may

hixurious aU other appointments

void which nothing but

To-day

of

l)e,

the

if

piano

piano

l)e

Xo matter how

lacking, there

is

fill.

Bartholomew
first

Cristopri, the

Paduan, who, 200 years

embryo piano, the foreshadower

in Marqticterie

of the chief

Designs to match the famous Bureau du Regent,

by Reissncr, with Extra Rich Ormolu Mounts, chased to rival the work of Gouthiere.

essentials ol
all

domestic nuisical instruimiit

the

honour to the long

])ar

excellence of lo-day.

line of clex'er ])erfecters of Cristoi)n"s priniitivv

.vnd

hannner-

harpsicliord.
Pre-eniincMi1

his nei>]iew I'ierre.

as far back as 1776.

among

Tlie elder

Ten

patent

lor

\\\v

latter

makci

sland onl

of the

firsl

Sclmslian

"repetition

wliicli

si ill

a(lioii."

bears his name.

Thiili-en

I'hard

and

S(|uave piano in I'ranct'

>-ears later lie caiiu' to Isiiglaiid

and pianolorte maniifaclory

first

was

these

and lonnded

llie

harp

In iSoS, he look out his

years afterwards

hi'

produced

SupplenKiit

Advertisement
his

tainous " douhlc cscapeinont

artistes to inijiart to tlieir execution tlie

STYLE LOUIS XVL

which

action,"

for ever

atlrrwards ])frniiUe(l

most tlehcate shades

of feehni;.

This

Vernis'tMartin, Richly Carved Case, with elaborate Undercarriage

picked out in Gold, the Panels being exquisitely painted.

triumph put the

Erard.

In

its

caj)

on the inventor's reputation, and was patented

b>-

Pierre

complete and shortened form this action was used more and more

THE MODERN STYLE

and Wrought

is

in

Steel Hinges.

Waxed Walnut,

inlaid

with Ebony, Holly, and Box,

This Model was designed by Andrew

during the last century, and at the present time

used by the permanent makers of the day.
xi.\.

is

Russell.

the ground work of every action

The

At the Exposition
and the Cross

Home

Britisli
of

To-day.

of

1834 tne house of Erard

Legion of Honour was awarded to

of the

In 1S30 the latter created the harmonic

won

a gold medal,

Mons. Pierre Erard.

which gave to the upper notes

1)ar,

of

the i^iano a degree of purity and intensit>' of sound never before attained.

The genius
and

alone,

The

is

hi

is

attested by the further

]3art.

accorded to the piano

this

London, the International

of 1851, in

Erard the only (irand Medal

accorded the house of

for the merit

an

result of this success the Cross of

was awarded to Mons. Pierre Erard,

in

Officer

verj- rare

Honour ever

of

the quality of

of its inventions,

instruments, and also for the artistic taste shown

As a

the fact that in Ivngland

they have obtained the highest awards and never

At the I'niversal Exhibition

Jur\-

proved

perfection of their instruments

fact that in all exhibitions

played a second

Erards

the

piano alone they have taken out more than twenty j^atents

in the

for in\-entions.

of

its

the latter's construction.

of

Honour

the Legion of

recompense indeed at that

period.

The celebrated
to

it

same year

firm in the

in

which

all

these honours

fell

brought out the iron-frame piano.

It will

remained

in

be seen that up to the

his appreciation of the sui.ieriority of an

no other instrument, unless

inter])ret

tour just

Egypt,

always

luu'e

the van.

Padarewski shows
for on

day the Erards

]:)reseiit

the great masters.

He

it

be impossible to obtain one,

"Erard,"

will this

genius

has taken five "E^rard Orands" with him on his

connnenced through Australia,

New

Zealand,

India,

.South Africa,

etc.

The outside
ha])pily, ]x-ople are

of the ])ianoforlt.' has

been too long neglected.

To-dav,

beginning to realize that perfect gems must be put into worthy

caskets.

Messrs. h'rard ha\'e

furniture,

and

lia\-'.-

])ro(luce(l

made

study

])ianos en

of

I'jiglisli

suite to nialcli

and iMtMU'h styles

all

periods

of

Sheraton,

Chippendale, .\dam, C.eorgian, I'.lizabethan, I.ouis XIIL, Louis Xl\'., Louis XV.,

Louis XVI.,

I'.mi)ire,
'

Renaissance,

works

in

of art for

etc.

these jniges a])pear illustrations of work of this kind, carried

out by the firm's staff of artists.

these designs

Xou\eau,

.\rt

inex])ensive

The charm

creations

to

of

suit

which they hav^e obtained such

x,\.

it

i^

all

that

tlie\-

ha\-i'

brought out

pockets, as well as in those

higli i)rices.

AdwilisciiiciU

Siii^plciiiciU

Uh

"1
u

d
Z

.2

J-

^
c

^
O 2
5 1"
O
O c'
a;

6 I
<
Q
>
><;

5
o

=
c
-^

The

Napery

The Work
i88,

To-day

of

Home

the

in

Home

British

John Wilsons' Successors,

of

Regent

Ltd.

London

Street,

OHX

W'lLSOX, the I'^ouuder of the famous Damask House, in

Bond Street now John Wilsons' Successors, Limited, at i88,
Re.2;ent vStreet, London
was a man oi great force of character,
,

and strong

artistic instincts.

This feeling for art descended to the

succeeding

generations,

fourth

designer

to

The house

branches.

make and
and

distinguished by the

fact

that

is

l)y

Walter Crane, IvCwis F. Day, R. Anning

artists as

an

artist

artistically

find

respect for art,

manufactiu'e
it

in

its

all

alone has decided to

them from such

liell

who wishes

that nowhere else can anyone

hou.se

his

is

same

also the

Damask and Linen

of

stock a large variety of designs connnissioned

the result
of

the present firm have

of

knowledge

]iractical

being

descendant

himself.

heads

Tlie

joined

the

designers

and many others

and

to complete the ecpiipment

such a variety of beautiful

designs,

perhaps

the

being Walter Crane's

famous cloth illu.strating the .Sen.ses. Of

this cloth Lewis V. Day has written an appreciation, which is found in the Catalogue
published by the firm, and in this he says
" It is safe to say that here is a Table
Cloth the like of which has never 1)een seen before."
.\ portion of the design is reprogreatest

of

these

duced next page.

I^ewis

and

we

his

work.

Mr.
Mr.

F.

reproduce
In

'

Mr.

Da>-

below

Day's designs

Walter Crane's "Chef

Anning

]!ell,

Three Designs

UruM.inc

illustrating
for

Thi'Ii.f..

the

of

figure

d '(Louvre "

most

been

has

himself

illustrations

three

subjects

but,

in

]\Ii(kunnncr

in

sirccessful

verv

beautiful

have

not

been

his

used,

ASM CiNyrta
.\xii.

as

of
in

the third illustration, a design by

Night's

Dream,

the

drawing

Table Linen, by Lewis F. Day, for John Wilsons' Successors, Ltd.

KiriitoN

designs,

examples

oit..

Kl'.NAISSANCK

.Sqi'AKI'.S.

of

AJwrlisiMiK'iii Siippk'UK'nt

A Tour de

Force in Damask.

his figures is verj' graceful

and

Designed by Walter Crane for John Wilson

artistic.

A description

of

Mr. Bell's cloth

& Sons,
also

is

the Wilson Catalogue, and in this will be found Mr. Bell's practical views on
in

which he says

"

do not want people at the

talkie to

to see
"

wish to

what

The

u]) their

lift

'n

plates

underneath," and again,

is

centre

found

talile cloths,

have

left

plain because

people always cover that part up, either

with a piece of embroidery or epergnes

and other large ornaments."

designs

in

worthy as those
tliese,

Wilsons'

Lace Curtains are as note-

as well

large outlay

is

in

as

Damask; and for

for the Damask, a

not at

all

necessary as

the prices are no higher, and frequenth-

not

(^uite

so high,
ordhiarj^

always glad
one

particularly dainty design for a Table Cloth, by

R. Anning Bell for John Wilsons' Successors, Ltd.
xxin.

to

interested

those

as

goods.

have
in

The

a visit

tlieir

asked for
firm

is

from any-

])roductions,

whether they wish to buy or not.

The

Home

British

To-da\'

of

Heating and Ventilation

The Work
The

svil)ject of

Heating and \'entilation

paramount importance, that

holder, as the atmospheric

Haden & Sons, Trowhridge

G. N.

ot

if

one

of

such

condition of the various rooms and corridors in the house

Indeed,

it is

a large one should be properly heated

but the particular system which

is

now
by

generally conceded

a suitable apparatus,

employed depends partly upon the

and partly upon the general conditions

The

" is

should engage the earnest attention of every house-

it

should be pure and genial, and therefore healthy.

that a house especially

Home

in the "

style of house

as well as the question of cost.

rooms

])roper ventilation of

is

of equal importance,

and should

be considered in connection with the heating.

From

I'hoto by

In

I-rUh

.-

(,...

small

readily

and economically

by

system a large

this

I.i

or

by

IIOUSlv.

IN' .l.l-AT

medium-si/.ed

means

ot

(|uantit>- ot ])ure,

duced into the various rooms, the

air

liouse

this

" Iladen's

warm

air at a

can

Hygienic

is

also

a]i])liefl

accomplished
Air

most

Ap])aratus,"

modeiati' temperature

is

as

intro-

being hunudilied at the same time.

This system has been .successfully emijloyed

and

be

to large mansions, in

in

which cases hot water

a great
is

many homes,

combined

tlieU'with

\
AJvertisenuMit Supplement
t'lir

heating outlying poitimis,

of the

etc.,

Most Nolile the Mai(|uis

g(i()(l

l'",(juall\'

A])i)aratus,

which can

l>e

ture of the rooms and

as

at

I.ongli'at

U'suUs are also

o])taine(l

I.nw

li\'

had

l)uildings,

Haden

.Sons,

^:

They have

is

avoided entirelv

riiolo by

F.

if

Frilli

who

ha\-e been

special

I'atent

l:)r

established since

Mansions, Churches, and

Apparatus

lor saving in excavation for

for

the

dealing with

old

away and nniking

deep chambers, such being

iS-

i:.\ TO.N

C./.

II.M.I..

Hall, the residence of His

Grace the Duke

Rt.

Hon. the Karl

is

likewise Wilton

Pembroke, and many other mansions, also

of

Roman

Westminster Abbey, Westmin.ster

Westminster,

of

heated by a Hot Water Apparatus designed and erected by this firm

for

iSi(),

nccessar\-.

Eaton

House,

Hot Water

nnieh more suitable

using small circulating mains, and thus reducing the cutting

good to a nu'ninunn, and also

From

I'lessnre

steam heating.

a large experience in designing installations

other large buildings.

ii'sidoiKx'

\eiitilaliou tliereof.

for residences tlian either high pressure or

ha\-e

llu-

requirements both as regards the tenqjera-

Hot water heating on the I.ow Pressure principle

Messrs. G. X.

Ilmisc',

Hatii.

dI'

(h'sigiied to niei't all

tlu'

case

tliu

is

Catholic Cathedral, Lichfield

Cathedral,

the City Temple, etc., etc.

The Head
offices at 123,

Cromer

Oflfice aufl

Street,

Works

London

4,

of the firm are at

Trowbridge, with branch

Albert Square, Manchester, and

Chambers, Birmingham.
XXV.

1=;,

BurHng^on

The

British

Home

To-da\'

of

The Garden
The Work

of

our homes that

first

im])ression of a

harmony with the general scheme of

decoration.

is

it

the garden

is

it

should be

in

The Terraces, Fountains and Flower

Artificial vStoiK'

lov

all

kinds of

forty

lardcn

the colour of carved Portland stone and more endurable, as

weather and

it

essential that

an exj^erience extending over more than

thoroughly reconunend our

is

home,

and as

designed from the best models.

l)e

After

it

S.W.

this country, oiu" y;ardens are the part of

us the most satisfaction arid pleasure

<;ive

from which we get the

Vases should

in

Co.

London

279 King's Road, Chelsea,

Almost without exception

&

Harrison

H.

T.

frost

Regent's Park and

our readers niav see examples of

in man_\- of

the ]Minei])al

it

in

it

years,
(

we can

)rnamcnta1i()n

is

unaftected bv

the Ilotanieal (lardens in

and private gardens throughout

i)ul)lic

the countrv.

In laying out a

can

l)e

'I"

II.

sjiecial designs,

which

carried out by us to his satislaction.

A
fwliicli

new estate the archilecl ma\' ha\'e

large

are very

Harrison

iS:

variety

nuieli

of

Cardcn

iMiuntains,

vogue at present

Co., 2jf), King's

may

he

X'ascs

seen

and
at

oui

Koad, Chelsea, London, S.W.

,\xvi.

.Sniuh'al

Pedestals

Works, address

AdwrtiScllKiU

T.

HARRISON & CO,

II.

279,

Sll[^pkMlK'lU

Kin-'s

RoaJ.

Ch.'Isca,

S.W.

VASES
FLOWER
FOUNTAINS.
SUNDIALS, GARDEN ORNAMENTS
In

Artificial

Stone

Tki.ephonk No. 1813 Kensington

.\xvii.

The

The

Home

British

To-day

of

Artistic Wallpexpers

JEFFREY & CO.

(oi-

li.ive

(14,

Road, Islington, N.)

lCssi:\

now on Exhibition

their

at

West

lind Siiowroonis,

Tm,,..

"WALLPAPER GALLERY,'
31, MORTIMER STREET
(

R E G E \ T St R E

1:

r,

L ( ) N D (3 N

have special interest as thev not merely include their

latest productions from designs by

Ckaxh,

\\Ai.ri;R

A.

Curiici" ut Ji:lluy ^; Co.'s

Owi;n

Showrooms

JoNiis,

this period

MuiiiiiiLi

C. L. 1'2astlai<k,

W.
During

.^i,

[.

MrcKLK'i,

Ji-;i-i-ki;v

].

IJ.
).

TALBivnr,

).

Skuiuni,,

Co. have exhibited

c\:

AWARDS,

have received the IIICIIllST

A.

Day, Hkwvood Siimni;k,

Walton and other Aitists,

at

W.

Hi-rcls, E.

II.

Mackmi'kdo, C. V A. X'ovslv.

all

W. Godwin,

ALHi;Kr Mooki;,

of the important

International

l^xhibitions.

and

including

COLD

')

!'.

but the I'^ntire Collection represents the various phases

through which Uecorative Art has passed in England
during the last thirty years and expresses the work of
such well-known Designers as

Siuia

L.

(jiioRGi;

\'i(,Kks,

I'.

Mi:i).\LS

J II LI R J'h'OJXJCflONS INCLC'DE:-^-

EMBOSSi:r) LI-:Arili;K

LACgUEliED OOLD

REPKODUCTIOXS

01

I'AI'I.RS from On^in.d Designs ami Rcprodii. tions of Anlic]uc Leathers

1'A1M:I^S

llAEIAN

RAISED EEOCKS

SILKS

and SICILIAN

KI:AL SILK I'[-OCKS AND I'LOCK

I'Al'L.K's

and I'A1'1;KS and CI'.lLlNc.S

\1

u SS

i:

IN

>

COMI'Ll-:'!"!'.

i'Rih:zi':s

DICCOK'ATIONS

AND

foi

Reception K'ooms and Slain

KM-

1.1

I'amlnig

['in

l-M-being hung

.alter

,isc>

is()Ri)i;i\'s

iok
DI-:C(JRATIVE WALLI'.\1M-:RS and Wallpapers in M()N( )( 11 K'o M
;.\C K(
('IllNTZ P;\I-'ICRS from Original Designs and Reprothutions from )ld ICxampIes
I

RoL N DS

IMCXl'iCNSIX'i-:

RHY

(S^

MACIllNi; I'K'INTIM)

I'Al'l-.K'S

CO/s WALLPAPERS
Decorators

and

niv

t..

be obtained

Merchants

..f

;il

Adx'ortisomont Supplement

The

111

"

Mav Tkkk"

Oak AM)

Asii

Designed by Hevvvood

Fkikze.

Walikk Ckam

"

The

"

Mallow"

Designed by A. F. X'k.eks

Sumner

JEFFREY & CO.'s Showrooms,

31

Designed by

''The Wallpaper Gallery"

MORTIMER STREET,
X.\L\.

Regent

street,

London,

W.

The

British

Home

GENTLEMEN'S UMBRELLAS.
No.

1.

No.

10 6.

No.

12 6.

2.

To-dav

James Smith & Sons

15'6.

3,

ni

'-^

--)

-'^

Manufacturers of

--^

UMBRELLAS, WALKING STICKS

WHIPS, AND HUNTING CHOPS

^^
No.

1.

GENTLEMEN'S UMBRELLAS.
Cherry or Congo Crook Handles, l^-in.

Silver

Mount on our "Avenue" Small Folding Umbrella 10/6

No. 2. Furze Cross Hook, l]-in. Chased Mount on

-.-.-.----.-

Tapered Stick
12 6
3. -Rattan Partridge Cross Hook or Crook, 1^-in.
Plain Silver Mount, Twill Silk
15/6
No, 4, Buffalo Crutch Handle on Malacca, 1-in,
Chased Silver Mount, Pure Silk
18/6
No. 5. Malacca, Cherry, or Ash Handles, with IJ-in.
Chased Silver Cap and Tip Cap
2'
No. 6. Fancy Horn Crook, 1-in. Chased Silver Mount
on Snakewood or other Handle
25,-

No.

----------------

HUNTING CROPS.
No.

2,

No.

5, 21/..

No.

12,6.

1.

10 6.

No.

4, 18,6.

if

No.

No.

4, 18,6.

No.

5, 21/-.

HUNTING CROPS.
No. L 10 6.
The

" Favourite" Crop, as advertised, with

in Plain Silver Collar.

Keeper.

5, 25/-.

Brown or White

No. 2.--12 6.
Brown or White Keeper,

Ash Crop, with

Irf-in.

Chasd

Silver Collar.

No. 3. 15
Clouded

Rattan

Dark Furze Crop.

Thong extra

6.

Engine-turned

Crop, 1-f-in.
White or Brown Keeper.

No. 4.-18,6.
Chased Silver

in.

Collar

with

Collar, Solid Beads,

4/6.

No.
Dark Whangee,

5.

21/-.

2-in. Plain Silver Collar, also

Rattan, Ash, etc..

Thong extra
No.

6.

with Malacca,

4/6.

25

-.

Malacca Cane, 2-in. Chased Silver Collar, deep bevel with

White or Brown Keeper.

No.

3, 15/6.

No.

6, 2b/-

AJwrtiscinciU SupplLMiKiit
WALKING

Hazelwood House,
1^7-^c).

NEW OXFORD

No.

No

9.

No.

I.

STICKS.
No.

6.

No,

8.

;i

STKHHT,

LONDON,
WALKING
No.
No.

.Congo Crook

2.-

STICKS.

Stick, \\ in. Silver

Mount

5/6

Whanghee Cane, Horn Crook Handle,

Chased Silver Collar

No.

3.

Knotted

Partridge Cross Hook,

Silver

Ij in.

Mount

8 6

No. 4. Knotted Partridge Crook Handle,

Mount
No.

IJ in. Silver
10/6

........

Knotted Partridge Crook,

5.

in.

7/6

2 in. jointed Silver

Mount
13/6
No. 6. Ebony Cruteh, Two Mounts, and IJ in. Silver
Band
15 6
No. 7.- Silver Cruteh Handle on Ebony
21/0
No. 8. Plain Silver Crook Handle on Snakewood 25/0
No. 9. -Tortoise-shell Crutch, Chased Silver Mounts
30/0
on Ebony
-

.-----.-

SHOOTING SEATS.
No.

No.

1.

3.

No.

No.

2.

5.

No.

No.

4.

7.

SHOOTING SEATS.
No.
Shooting Seat,

1.

Bamboo Stem, Cane Top

No.

as No. 2

No.
shown closed

3.

No.

4.

The "Cunliffe" Lady's Umbrella

Fittings, Best Silk
Ditto.,

2nd Quality

No.

4.

No.

2.

No.

5.

XXX i.

15/6

23/0

23/0

Seat, Silver-plated
-

42/0
35/0

----

No. 5.
The "Cunliffe" Lady's Walking Stick
Fittings

2.

Shooting Seat, with supports shown open

Same

Seat, Silver-plated
21/0

The

Home

British

To-day

of

This picture, as it appears in The Practical Photographer, is pnat>:d

a special tint in order to show the
The Practical Photographer
exact colour of a Bromidi; Print toned by the Iodine and Soda^Sulphide process.
contains

many

such illustrations

month by month.

PHOTOGRAPHY AS A HOBBY
The rapid adxance

of rhotogra])liy has

no doulil

by the discovery

hir^cly inlliieiiccd

1)L'l-ii

of its artistic possihiUlies

Few

jx'ople can lay chiini to an artist's title.

>-et

most are possessed

of

an

arti-^tic

tempera-

ment, often handicapped, undeveloped, but rarely absent altogether.

This

never

make

or

the secret

is

re]:)lace

of

amateur photogra])hy.

the artist,

btit

it

It

not.

is

the hij^hesi art,

of course,

it

can

boundless sco])e lo the exercise of an artistic sense

nives

struggling for freedom :imidst the manifold duties of a strenuous

life.

hobby such as this is surely deser\-ing of a magazine which .sets itself to portray in an
adequate manner the work, experience, and discoveries of the foremost ex]ierts in the country at the
present time. The illustration, given on this page, is a black reproduction from one of the man\splendid tinted ])ictures regularly prinle<l in Tlir I'raiiical Photographer, a monthly magazine, edited
.\

by the Rev

I'.

C.

Lambert, M.A., and

b'.ach

number

of our leaders in Pictorial

of

])ul)lished

on the

lirsl

of the

The Pructical Phoiogrnphi'r contains

l'hologra])liy, to.nellu'r

with

:i

month, price

Is. luM.

work

a critical notice of the

collection of practical

ol

some one

and exhaustive

articles

written by the best-known writers of the day on some lechuical subject specially selected for the inunber.
This magazine de luxe is splendidly illusl rated throui^hout in various tints and colours, and

should certainly he in the hands of every amateur

advance

The Prdctkiil
direct

who wishes

to learn something of the ])ossibilities

and

of Hritisli Plioto^ra])hy.
Photot;rtipher

from the jiublishers, Hodder

scnfl a sjjecitnen

copy

of the current

&

may

be obtained of newsaj;ents and (jhotographic dealers, or

Stoughton. 27, I'aleniosler Row. London,

number,

]iosl-free,

on

xxxii.

ricei]>t ol

one

who

will

shilling.

_^

be pleased to

UNIA-ERSITY OF CALIFORNIA LIBRARY

Los Angeles

This book

MAR

1 -

is

DUE on the last date stamped below.

1966

DECEIVED

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