The Art of Interior Decoration
Grace Wood
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CONTENTS :
CHAPTER I. HOW TO REARRANGE A ROOM
Method of procedure.......
--Inherited eyesores.--Line.--Colour.--Treatment of small rooms and suites.--Old ceilings.--Old floors.--To paint brass bedsteads.--Hangings.--Owning two or three antique pieces of furniture, how proceed.--Appropriateness to setting.--How to give your home a personal quality.
CHAPTER II. HOW TO CREATE A ROOM
Mere comfort.--Period rooms.--Starting a collection of antique furniture.--Reproductions.--Painted furniture.--Order of procedure in creating a room.--How to decide upon colour scheme.--Study values.--Period ballroom.--A distinguished room.--Each room a stage "set."--Background.--Flowers as decoration.--Placing ornaments.--Tapestry.--Tendency to antique tempered by vivid Bakst colours.
CHAPTER III. HOW TO DETERMINE CHARACTER OF HANGINGS AND FURNITURE-COVERING FOR A GIVEN ROOM
Silk, velvet, corduroy, rep, leather, use of antique silks, chintz.--When and how used.
CHAPTER IV. THE STORY OF TEXTILES
Materials woven by hand and machine, embroidered, or the combination of the two known as Tapestry.--Painted tapestry.--Art fostered by the Church.--Decorated walls and ceilings, 13th century, England.
CHAPTER V. CANDLESTICKS, LAMPS, FIXTURES FOR GAS AND ELECTRICITY, AND SHADES
Fixtures, as well as mantelpiece, must follow architect's scheme.--Plan wall space for furniture.--Shades for lights.--Important as to line and colour.
CHAPTER VI. WINDOW SHADES AND AWNINGS
Coloured gauze sash-curtains.--Window shades of glazed linen, with design in colours.--Striped canvas awnings.
CHAPTER VII. TREATMENT OF PICTURES AND PICTURE FRAMES
Selecting pictures.--Pictures as pure decoration.--"Staring" a picture.--Restraint necessary in hanging pictures.--Hanging miniatures.
CHAPTER VIII. TREATMENT OF PIANO CASES
Where interest centres abound piano.--Where piano is part of ensemble.
CHAPTER IX. TREATMENT OF DINING-ROOM BUFFETS AND DRESSING-TABLES
Articles placed upon them.
CHAPTER X. TREATMENT OF WORK TABLES, BIRD CAGES, DOG BASKETS, AND FISH GLOBES
Value as colour notes.
CHAPTER XI. TREATMENT OF FIREPLACES
Proportions, tiles, andirons, grates.
CHAPTER XII. TREATMENT OF BATHROOMS
A man's bathroom.--A woman's bathroom.--Bathroom fixtures.--Bathroom glassware.
CHAPTER XIII. PERIOD ROOMS
Chiselling of metals.--Ormoulu.--Chippendale.--Colonial.--Victorian.--The art of furniture making.--How to hang a mirror.--Appropriate furniture.--A home must have human quality, a personal note.--Mrs. John L. Gardner's Italian Palace in Boston.--The study of colour schemes.--Tapestries.--A narrow hall.
CHAPTER XIV. PERIODS IN FURNITURE
The story of the evolution of periods.-- Assyria.--Egypt.--Greece.--Rome.--France. --England.--America.--Epoch-making styles.
CHAPTER XV. CONTINUATION OF PERIODS IN FURNITURE
Greece.--Rome.--Byzantium.--Dark Ages.--Middle
Ages.--Gothic.--Moorish.--Spanish.--Anglo-Saxon.--Cæsar's Table.--Charlemagne's Chair.--Venice.
CHAPTER XVI. THE GOTHIC PERIOD
Interior decoration of Feudal Castle.--Tapestry.--Hallmarks of Gothic oak carving.
CHAPTER XVII. THE RENAISSANCE
Italy.--The Medici.--Great architects, painters, designers, and workers in metals.--Marvellous
pottery.--Furniture inlaying.--Hallmarks of Renaissance.--Oak carving.--Metal work.--Renaissance in Germany and Spain.
CHAPTER XVIII. FRENCH FURNITURE
Renaissance of classic period.--Francis I, Henry II, and the Louis.--Architecture, mural decoration, tapestry, furniture, wrought metals, ormoulu, silks, velvets, porcelains.
CHAPTER XIX. THE PERIODS OF THE THREE LOUIS
How to distinguish them.--Louis XIV.--Louis XV.--Louis XVI.--Outline.--Decoration.--Colouring.--Mural Decoration.--Tapestry.
CHAPTER XX. CHARTS SHOWING HISTORICAL EVOLUTION OF FURNITURE
French and English.
CHAPTER XXI. THE MAHOGANY PERIOD
Chippendale.--Heppelwhite.--Sheraton.--The Adam Brothers.--Characteristics of these and the preceding English periods; Gothic, Elizabethan, Jacobean, William and Mary, Queen Anne.--William Morris.--Pre-Raphaelites.
CHAPTER XXII. THE COLONIAL PERIOD
Furniture.--Landscape paper.--The story of the evolution of wall decoration.
CHAPTER XXIII. THE REVIVAL OF DIRECTOIRE AND EMPIRE FURNITURE
Shown in modern painted furniture.
CHAPTER XXIV. THE VICTORIAN PERIOD
Architecture and interior decoration become unrelated.--Machine-made furniture.--Victorian cross-stitch,
beadwork, wax and linen flowers.--Bristol glass.--Value to-day as notes of variety.
CHAPTER XXV. PAINTED FURNITURE
Including "mission" furniture.--Treatment of an unplastered cottage.--Furniture, colour-scheme.
CHAPTER XXVI. TREATMENT OF AN INEXPENSIVE BEDROOM
Factory furniture.--Chintz.--The cheapest mirrors.--Floors.--Walls.--Pictures.--Treatment of old floors.
CHAPTER XXVII. TREATMENT OF A GUEST ROOM
Where economy is not a matter of importance.--Panelled walls.--Louis XV painted furniture.--Taffeta curtains
and bed-cover.--Chintz chair-covers.--Cream net sash-curtains.--Figured linen window-shades.
CHAPTER XXVIII. A MODERN HOUSE IN WHICH GENUINE JACOBEAN FURNITURE Is APPROPRIATELY SET
Traditional colour-scheme of crimson and gold.
CHAPTER XXIX. UNCONVENTIONAL BREAKFAST-ROOMS AND SPORTS BALCONIES
Porch-rooms.--Appropriate furnishings.--Colour schemes.
CHAPTER XXX. SUN-ROOMS
Colour schemes according to climate and season.--A small, cheap, summer house converted into one of some
pretentions by altering vital details.
CHAPTER XXXI. TREATMENT OF A WOMAN'S DRESSING-ROOM
Solving problems of the toilet.--Shoe cabinets.--Jewel cabinets.--Dressing tables.
CHAPTER XXXII. THE TREATMENT OF CLOSETS
Variety of closets.--Colour scheme.--Chintz covered boxes.
CHAPTER XXXIII. TREATMENT OF A NARROW HALL
Furniture.--Device for breaking length of hall.
CHAPTER XXXIV. TREATMENT OF A VERY SHADED LIVING-ROOM
In a warm climate.--In a cool climate.--Warm and cold colours.
CHAPTER XXXV. SERVANTS' ROOMS
Practical and suitable attractiveness.
CHAPTER XXXVI. TABLE DECORATION
Appropriateness the keynote.--Tableware.--Linen, lace, and flowers.--Japanese simplicity.--Background.
CHAPTER XXXVII. WHAT TO AVOID IN INTERIOR DECORATION: RULES FOR BEGINNERS
Appropriateness.--Intelligent elimination.--Furnishings.--Colour scheme.--Small
suites.--Background.--Placing rugs and hangings.--Treatment of long wall-space.--Men's rooms.--Table
decoration.--Tea table.--How to train the taste, eye, and judgment.
CHAPTER XXXVIII. FADS IN COLLECTING
A panier fleuri collection.--A typical experience in collecting.--A "find" in an obscure American
junk-shop.--Getting on the track of some Italian pottery.--Collections used as decoration.--A "find" in Spain.
CHAPTER XXXIX. WEDGWOOD POTTERY, OLD AND MODERN
The history of Wedgwood.--Josiah Wedgwood, the founder.
CHAPTER XL. ITALIAN POTTERY
Statuettes.
CHAPTER XLI. VENETIAN GLASS, OLD AND MODERN
Murano Museum collection.--Table-gardens in Venetian glass.
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SAMPLE CONTENT :
"The Art of Interior Decoration" Book Scanning
"Pictorial Composition And the Critical Judgment of Pictures: A Handbook for Students and Lowers of Art" Book Scanning
A Christmas Carol
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The principal forces that shaped A Christmas Carol were the profoundly humiliating experiences of the author's childhood, his sympathy during the decades of the 1830s and 1840s with the poor, especially children, and Washington Irving's stories of the traditional old English Christmas. While there are other authors before Dickens who celebrated the season, it was Dickens who imposed his secular vision of the holiday upon the public.
In 1824, Dickens's father John Dickens was arrested for debt and imprisoned in the Marshalsea. The family moved into the prison but twelve-year-old Charles was forced to take lodgings nearby, pawn his collection of books, leave school, and accept employment in a blacking factory. The boy had a deep sense of class and intellectual superiority and was entirely uncomfortable in the presence of the other factory workers who referred to him as "the young gentleman". He developed nervous fits. When his father was released at the end of a three month stint, young Dickens was forced to continue working in the factory which only grieved and humiliated him further. He despaired of ever recovering his former happy life. The devastating impact of the period wounded him psychologically, coloured his work, and haunted his entire life with disturbing memories. It was during this period Dickens observed the lives of the men, women, and children in the most impoverished areas of London and witnessed the social injustices they suffered.
In early 1843, Dickens toured the Cornish tin mines where he saw children working in the most appalling conditions. The suffering he witnessed there was reinforced by a visit to the Field Lane Ragged School, one of several London schools set up for the education of the capital's half-starved, illiterate street children. Dickens read the Second Report of the Children's Employment Commission dated February 1843, a parliamentary report that exposed the horrifying effects the Industrial Revolution inflicted upon the lives of poor children. In a speech at the Manchester Athenaeum, he urged workers and employers to join together to combat ignorance with education. In May 1843, he planned to publish an inexpensive political pamphlet tentatively titled, "An Appeal to the People of England, on behalf of the Poor Man's Child" but changed his mind, deferring the pamphlet's production until the end of the year. He wrote Dr. Southwood Smith, one of four commissioners responsible for the Second Report, about his change in plans: "[Y]ou will certainly feel that a Sledge hammer has come down with twenty times the force – twenty thousand times the force – I could exert by following out my first idea." The pamphlet would become A Christmas Carol.
The descriptions of long-abandoned English Christmas customs and traditions in Washington Irving's Bracebridge Hall attracted Dickens,[2] and the two authors shared the belief that the staging of a nostalgic English Christmas might restore a social harmony and well-being lost in the modern world. In "A Christmas Dinner" from Sketches by Boz (1833), Dickens had approached the holiday in a manner similar to Irving, and, in the Pickwick Papers (1837), he offered an idealized vision of an 18th century Christmas at Dingley Dell. In the Pickwick episode, Mr. Wardle relates the tale of Gabriel Grub, a lonely and mean-spirited sexton, who undergoes a Christmas conversion and transformation after being visited by goblins who show him the past and future – the prototype of A Christmas Carol.
Other likely influences were a visit made by Dickens to the Western Pentitentiary in Pittsburgh, Pennsylvania in April 1842;[11][note 1] the decade-long fascination on both sides of the Atlantic with spiritualism;[3] fairy tales and nursery stories (which Dickens regarded as stories of conversion and transformation);[12] contemporary religious tracts about conversion;[12] and the works of Douglas Jerrold in general, but especially "The Beauties of the Police" (1843), a satirical and melodramatic essay about a father and his child forcibly separated in a workhouse,[11] and another satirical essay by Jerrold which may have had a direct influence on Dickens's conception of Scrooge called "How Mr. Chokepear keeps a merry Christmas" (Punch, 1841).[1]
The Chancery Lane offices, formerly Smithson's solicitors in the town of Malton, North Yorkshire were the model for Scrooge’s counting house in Carol, and that the church bells which feature so prominently in the novel were those of St. Leonard’s on Church Hill, Malton. Dickens befriended Smithson whilst he was in London completing his legal training. A lifelong friendship ensued which involved Dickens visiting Malton many times and featuring many of the people and places he met through Smithson in his writings.
A Christmas Carol
Charles Dickens
A Christmas Carol (originally, A Christmas Carol in Prose, Being a Ghost Story of Christmas) is a novella by English author Charles Dickens about a miserly curmudgeon and his secular conversion and redemption after being visited by four ghosts on Christmas Eve. The book was first published on 19 December 1843 with illustrations by John Leech, and quickly met with commercial success and critical acclaim. The tale has been viewed as an indictment of nineteenth century industrial capitalism and has been credited with returning the holiday to one of merriment and festivity in Britain and America after a period of sobriety and sombreness. A Christmas Carol remains popular, has never been out of print,[1] and has been adapted to film, opera, and other media.
