Delphi Complete Works of Oscar Wilde (Illustrated) (226 page)

But to return to our room. If there is much, or heavy furniture, the design on the walls should be rich; if the furniture is limited, or light, the design should be light and simple. The walls cannot often in this country be hung with tapestry; therefore, they should be papered. However, do not use white and gold paper; divide the wall into two uneven parts, either with a dado and paper from it to the cornice, or with a frieze and paper from it downwards; I do not advise the use of both unless the walls are very high. You will want a joyous paper on the wall, full of flowers and pleasing designs, but the dado should not be of paper, but either of woods or some of the beautiful Japanese mattings which come to this country, so as to carry out the principles of utility, that is, to protect the lower and more exposed part of the wall from being scratched or marred by the furniture coming in contact with it. Nor should the frieze be of paper; it should be painted, and the remainder of the wall papered.

About the ceiling: the ceiling is a great problem always – what to do with that great expanse of white plaster. Don’t paper it; that gives one the sensation of living in a paper box, which is not pleasant. The ceiling should be broken up in texture, so that the light may constantly play upon it, and not lie in a dead way. If you are having a house built, contract with the builder to leave the main rafters of the ceiling exposed in outline; this conveys a sense of solidity and support, and there may be worked out the most delightful effects in finishing between the rafters, as is done in panel work or plaster decorations. For ceiling decoration, the old style of plaster may be used, but not the modern plaster – it dries almost immediately and is a glaring glossy white; the beautiful old plaster of the Queen Anne period, often so beautifully designed, was of a finer, more plastic texture, it took a long time to dry, and one had time to mould it. If you cannot use plaster, the ceiling might be panelled in wood, with paintings or stamped leather in the centres. If you cannot have the cross-beams or woodwork, then have it painted in a colour which predominates in the room, but do not in any event paper it; on papered ceilings the light falls dull and lifeless and sodden.

Have no great flaring gas-chandelier in the middle of the room; if you have, it does not make much difference how you adorn and beautify the room, or whether it is done at all, for in six months’ time the gas will discolour and ruin all you do. Also, no light should shine directly in one’s eyes; the room shall be lit by reflection of the light rather than by direct light. If you must have gas, let the room be lighted from side-brackets on the wall, and each jet of flame should be covered with delicate shades or hidden by screens so that the light may be reflected from the walls and ceiling. Lamps and wax candles are still better as they give a softer light, are best to read by, do not destroy any other decoration, and are very much prettier and healthier than gas.

As regards the floor: don’t carpet it all over, as nothing is more unhealthy or inartistic than modern carpets; carpets absorb the dust, and it is impossible to keep them as perfectly clean as anything about us should be. In this, as in all things, art and sanitary regulations go hand in hand. It is better to use a parquetry flooring around the sides and rugs in the centre; if inlaid or stained floors are not practical, have them laid with pretty matting and strewn with those very handsome and economical rugs from China, Persia, and Japan.

As regards windows: builders do not realise that there is a difference between light and glare; most modern windows are much too large and glaring, and are made as if you only wanted them to look out of; they annihilate light and let in a glare that is destructive to all sense of repose, and by which one cannot write or work or enjoy any comfort; you are obliged to pull down the shutters whenever you enter a room. The small, old windows just let in light enough. If you have big windows in your house, let a portion of them be filled with stained glass – of course, I do not mean such stained glass representations as are seen in churches and cathedrals – I advise merely the use of toned green or grey glass with little bright spots of pure colour which give a more subdued light, a pleasing blending of colours, and a sense of quiet and repose.

As regards style of furniture: avoid the ‘early English’ or Gothic furniture; the Gothic, now so much thought of in this country, though honestly made and better than modern styles, is really so heavy and massive that it is out of place when surrounded with the pretty things which we of this age love to gather around us; it is very well for those who lived in castles and who needed occasionally to use it as a means of defence or as a weapon of war. A lighter and more graceful style of furniture is more suitable for our peaceful times. Eastlake furniture is more rational than much that is modern: it is economical, substantial, and enduring, and carried out Mr Eastlake’s idea of showing the work of the craftsman. However, it is a little bare and cold, has no delicate lines, and does not look like refined work for refined people; Eastlake furniture is Gothic without the joyous colour of the Gothic, and pretty ornaments of glass are out of place in a Gothic room for they would be an anachronism. The furniture of the Italian Renaissance is too costly, and French furniture, gilt and gaudy, is very vulgar, monstrous, and unserviceable.

The style most liked in England, and the one which is the most suitable in every way for you, is that known as Queen Anne furniture. Why it goes by the name of Queen Anne I do not know; it was designed and used one hundred years before the reign of that monarch, but there is no reason why we should not use that name as well as any other, so long as we are not deceived as to its meaning. This furniture is beautiful without being gaudy, so delicate in appearance and yet so strong. It is good furniture made by refined people for refined people, and is so well adapted to our styles of crockery, to our light decorations, and our system of ornamentation, and it is as beautiful as any that can be found in Italy. It is a furniture which will last a very long time; pieces of very old furniture of this kind are to be seen in a great many houses in England and which are still as sound as they ever were. It is most comfortable too: what seem to be stiff and straight lines are really very delicately curved lines, exquisite in their symmetry, and while the cushion of the modern chair is a monster of iron springs, that of the Queen Anne period slopes back and is made to fit the figure, which gives great ease and thereby combines comfort and beauty. It is most beautiful, too, in colour: the rich colour of the mahogany and the bright brass catches all the warm lights, and is the most cheerful of all designs. Modern furniture should be better than the old, with all our improved machinery and our great variety of woods to choose from, but it is not.

When I advise you to have Queen Anne furniture, I do not want you to send to Chippendale in England for it; it could be made here, and to that end a good school of design should be established. In your school of design let the pupils, instead of painting pictures, work at decoration and designs, and their work will soon be in all your houses. Young designers should begin by painting on furniture, which they could really learn to do well in six months and soon be able to give delight by their work. In Bavaria the furniture is beautiful because of the colour alone. The people of Switzerland adorn their own houses, and there is no reason why as great excellence in making all these things should not be reached by the people of this country as by any other part of the world. But pottery takes more knowledge to secure good results; you have to know a great deal about the potters’ wheel: you have to understand practically the results of burning, of overglazing and underglazing, and other processes.

An invaluable school of art would be a museum, which, instead of showing stuffed giraffes and other horrible objects which scientific men wish to see gathered together, would contain all kinds of simple decorative work, different styles of furniture, dress, etc., made in different periods, and especially in the periods when English artists made beautiful things, and where local artisans and handicraftsmen could go and study the styles and patterns of the noble designers and artisans who worked before them. Such efforts at cultivation would be appreciated by the working people, as witnessed by the scene in the South Kensington museum in London on Saturday night, where artisans are to be seen, notebook in hand, gathering ideas to be used in their next week’s work. A good museum would teach your artisans more in one year than they would learn by means of books or lectures in ten years.

You are probably provided with a mantelpiece, about which you were not consulted; it is probably dreary, and cold white marble with machine-made ornamentation that is always so coarse and heavy. In that case there is nothing for it but to hide it as you best can: you might do it with matting, or you might cover it with carved wood and build your mantel up to the ceiling with little shelves on which you may place your rare china or ornaments; at the back of the shelves Spanish leather may be placed, or panels which you can paint yourself; in the centre of the shelves a space might be left for a little circular mirror. The great gilt mirrors of today are not only costly, but destroy all attempts at decoration; mirrors were meant to concentrate light in a room, which is the beauty of the little circular mirrors.

Your fireplace should not be of highly polished steel, nor should there ever be a cast-iron grate which, as a rule, is heavy and coarse. The porcelain stoves used in Holland are beautiful, and I am glad always to see the healthy, old-English open fireplace; but you should have red tiles, an iron basket, and bright brass tongs and shovel. The amount of colour which one can get into a fireplace is simply incalculable: the fire, the red tiles, the brass work – everything is full of colour.

The pictures hung up in most of the houses I have visited in America were dull, commonplace and tawdry. Poor pictures are worse than none. If there are good pictures in the house make the decoration subordinate; if you have not good pictures confine yourself entirely to decorative art for wall ornaments. For instance, sconces of beaten brass light up the wall. It is foolish to hang small plates on the wall, for small plates should be on a shelf and not stuck about. Large pieces of china, or large, noble Japanese dishes could be suspended on the wall and arranged with an idea of taste, and their beauty should be enhanced at night by the light of candles instead of gas.

Embroidery you will have, of course, but don’t, I pray you, have everything covered with embroidery as if it were washing day. Don’t do little things with embroidery, but cover large surfaces with delicate designs; good embroidery must be done on a larger scale than you do it: cushions, curtains, covers, and every large surface should be covered with delicate embroidery patterns, but don’t use silk — it is too iridescent.

One must have a piano I suppose, but it is a melancholy thing, and more like a dreadful, funereal packing-case in form than anything else. Some people cover it up with embroidery, which is well enough if the piano is out of tune, or one plays badly, or if one does not love music: the cloth cover entirely spoils the tone, and no one who really loves music would think of using one. Some people put china and books on it, as if it were a table, but this is clearly wrong. The best form for pianos, the upright grand, gives grand opportunities for inlaying or for painting; the first school of decorative art in America which decorates pianos successfully will create an era in decorative art. It should not be made of rosewood, nor be highly polished, nor should manufacturers put any machine-made ornaments upon them, but should give us them perfectly plain, and then we could beautify them with colour. It must not be supposed that I am so impractical as to object to machinery, but none of us want to hear even the choicest lines ground out by a music box, and it is the same with other arts; machinery’s mission is to lighten men’s labour. The revolving stool should be sent to the museum of horrors, and a seat large enough for two players be substituted.

Flowers you will have, of course, about your room, but don’t have all kinds of flowers vaguely arranged or crowded together in great bouquets. Some flowers, such as roses or violets whose greatest beauty is their colour, are made to be seen in masses, but flowers which are perfect in form, like the narcissus, daffodil, or lily, should be placed singly in a small Venetian glass so that they can hang naturally as they are seen upon their stem.

Speaking of glass: never have cut glass; it is too common for use, and is so hard and sharp, and without grace in its lines. Have delicate blown glass. I dislike very much the American dinner service: plain white china is too cold, and modern designs in silver are of vulgar design. People of taste cannot help expressing their indignation, upon going into the modern jewellery establishment, at the sight of the great amount of costly material that is ruined in the manufacture of centre-pieces. The beauty of the table depends upon the quality and appearance of the china and glass; for a good permanent dinner set have Japanese or blue and white china, and have old silverware until your artisans learn to make it. There should be flowers on the table too.

Those of you who have old china use it I hope. There is nothing so absurd as having good china stuck up in a cabinet merely for show while the family drink from delft; if you can’t use good old china without breaking it, then you don’t deserve to have it. Whatever you have that is beautiful if for use, then you should use it, or part with it to someone who will. The handling of coarse things begets coarse handling: in a restaurant in San Francisco I saw a Chinese navvy drinking his tea out of a most beautiful cup as delicate as the petal of a flower, while I had to drink, at one of the first-class hotels in which thousands were spent on gaudy colours and gilding, out of a cup which was an inch-and-a-half thick; these navvies do not break these delicate cups, because they are accustomed to handling them. You have to use delicate things to accustom your servants to handle them securely; it will be a martyrdom for a long time at first, but you may be content to suffer in so good a cause. I bought Venetian glass when I was at college, and for the first term my servant broke one glass every day, and a decanter on Sunday, but I persevered in buying them, and during the succeeding terms of my whole stay at college he did not break a single piece.