The essence and life of design lies in finding that form for anything which will, with the maximum of convenience and beauty, fit it for the particular functions it has to perform, and adapt it to the special circumstances in which it must be placed. Perhaps the most fruitful source whence charm of design arises in anything, is the grace with which it serves its purpose and conforms to its surroundings. How many of the beautiful features of the work of past ages, which we now arbitrarily reproduce and copy, arose out of the skilful and graceful way in which some old artist-craftsman, or chief mason, got over a difficulty! If, instead of copying these features when and where the cause for them does not exist, we would rather emulate the spirit in which they were produced, there would be more hope of again seeing life and vigour in our architecture and design.
When the architect leaves the house, the subservience to convention is not over. After him follow the decorator and the furnisher, who try to overcome the lifelessness and vapidity by covering all surfaces with fugitive decorations and incongruous patterns, and filling the rooms with flimsy stereotyped furniture and nick-nacks. To these the mistress of the house will be incessantly adding, from an instinctive feeling of the incompleteness and unsatisfactoriness of the whole. Incidentally we see here one reason why the influence of the architect should not stop at the completion of the four walls, but should extend to the last detail of the furnished house. When his responsibility ceases with the erection of the shell, it is natural that he should look very little beyond this. There is no inducement for him to work out any definite scheme for a finished room, for he knows that if he had any aim the decorator and furnisher would certainly miss it and would fail to complete his creation. If, when designing a house, the architect were bearing in mind the effect each room would have when finished and furnished, his conceptions would be influenced from the very beginning, and his attitude towards the work would tend to undergo an entire change. At present he but too readily accepts the popular idea of art as a thing quite apart from life, a sort of trimming to be added if funds allow.
It is this prevalent conception of beauty as a sweetmeat, something rather nice which may be taken or left according to inclination after the solid meal has been secured, which largely causes the lack of comeliness we find in our houses. Before this idea can be dispelled & we can appreciate either the place which art should hold in our lives or the importance of rightly educating the appreciation of it, we must realise that beauty is part of the necessary food of any life worth the name; that art, which is the expression of beauty as conceived and created by man, is primarily concerned with the making of the useful garments of life beautiful, not with the trimming of them; and that, moreover, in its higher branches art is the medium through which the most subtle ideas are conveyed from man to man.
Understanding something of the true meaning of art, we may set about realising it, at least in the homes which are so much within our control. Let us have in our houses, rooms where there shall be space to carry on the business of life freely and with pleasure, with furniture made for use; rooms where a drop of water spilled is not fatal; where the life of a child is not made a burden to it by unnecessary restraint; plain, simple, and ungarnished if necessary, but honest. Let us have such ornament as we do have really beautiful and wrought by hand, carving, wrought metal, embroidery, painting, something which it has given pleasure to the producer to create, and which shows this in every line—the only possible work of art. Let us call in the artist, bid him leave his easel pictures, and paint on our walls and over the chimney corner landscapes and scenes which shall bring light and life into the room; which shall speak of nature, purity, and truth; shall become part of the room, of the walls on which they are painted, and of the lives of us who live beside them; paintings which our children shall grow up to love, and always connect with scenes of home with that vividness of a memory from childhood which no time can efface. Then, if necessary, let the rest of the walls go untouched in all the rich variety of colour and tone, of light and shade, of the naked brickwork. Let the floor go uncarpeted, and the wood unpainted, that we may have time to think, and money with which to educate our children to think also. Let us have rooms which once decorated are always decorated, rooms fit to be homes in the fullest poetry of the name; in which no artificiality need momentarily force us to feel shame for things of which we know there is nothing to be ashamed: rooms which can form backgrounds, fitting and dignified, at the time and in our memories, for all those little scenes, those acts of kindness and small duties, as well as the scenes of deep emotion and trial, which make up the drama of our lives at home.
B. P.
R. U.
THE SMALLER MIDDLE CLASS HOUSE.
A lecture delivered before an audience of architects in 1895.
In the class of house with which we are to deal to-night, there are so many directions in which improvement is needed, that it will only be possible for me, in the space of one lecture, to refer to a few of them, and to those specially which will illustrate most suggestively the main principles for which I contend: suggestively, in the hope that some present will do me the honour of giving further thought to what I shall touch upon, than is possible to them during the length of time assigned to me this evening.