Decoration: Ornament
Ornament is the last thing to think of about a library. Noticeable exterior ornament is not needed for dignity, and conflicts with simplicity, two appropriate library qualities. “Outside ornament is often vulgar,” says Champneys.[99] Even statuary is not in keeping unless the building has memorial purposes, for which additional funds have been provided. Inside attempts at ornament are often grotesque. Marble columns are out of place, marble walls and staircases showy rather than sensible, wall or ceiling frescoes distracting, floor inlays disconcerting. If funds allow, such features and portraits in vestibules, passage-ways and conversation rooms do not interfere with reading or service. Portraits of donors or deceased trustees or librarians may do in delivery-rooms or light-reading rooms in which exigencies of use require high enough walls and few enough windows to leave available wall space. But in rooms for serious reading, there should be no features of any kind to interfere with reading or attract non-readers. Burgoyne comments,[100] “In Boston, the decorative art makes the public rooms art galleries instead of places for study. The two objects are quite incompatible. The crowds who gather to inspect the decorations are a nuisance to the student who comes to study.” See also the Report of the Examiners of the Boston Public Library in 1895.
“In the reading rooms, ornament which attracts the eye and creates interest, is a hindrance to the usefulness of the rooms.”—Beresford Pite.[101]
“Interior decoration should be subordinated to the use of the building.”—Champneys.[102]
Isadore, Bishop of Seville[103] (A.D. 600) says that “The best architects object to gilded ceilings in libraries, and to any other marble than cipollino for the floor, because the glitter of gold is hurtful to the eyes, while the green of cipollino is restful to them.”
From this it appears that the architects of that age were more considerate of readers than some in our own generation.
Coloring. I would draw a distinction between ornament and decorous decoration. If as much attention be given to the æsthetic influence as to the irradiating and ophthalmic effects of shades of color on wall and ceiling, the resulting beauty would at the same time charm, soothe and satisfy all visitors. Sufficient study is rarely ever given to this element of “Venustas.” In one of my own early problems, I employed a young artist who had a reputation as a colorist, to select tints for different rooms, with a result which fully justified the small fee he charged.
See four tints suggested at page 15 of the Boston report, mentioned under “Light, Artificial.”[104] From that report,[105] I quote:—
“For bright, sunny rooms a very light green is probably the best shade.”
“For darker rooms, a light buff.”
“The ceiling should be white, or slightly tinted.”
“The woodwork should be of a light color such as that of natural woods. Under no circumstances are dark walls and woodwork permissible.”
(This applies to schoolrooms, but what applies to scholars equally applies to readers in libraries, and these precepts apply to furniture as well as to the other woodwork.)
Miss Marvin[106] suggests that,—
“Green, yellow, terra-cotta, light brown, and tan are good.”
“No decoration is necessary except tinting.” [Excellent.]
“Corticene or burlap is good background for pictures.”
“Only one color is desirable for the interior of a small library.”
Reflection of light. Not only is color of walls and ceiling a prime element in decoration, but it also plays a large part in the cheerfulness and effectiveness of diffused light, both natural and artificial; especially in systems of indirect lighting. To select colors bright enough to reflect, and soft enough not to dazzle, is one of the nice problems of planning.