“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.”