The Turkish Bath, Its Design and Construction

by Robert Owen Allsop

One portion of the tepidarium, and other bath rooms, admits of being rendered very attractive; and that is the flooring. Mosaic work is always pleasing, if it be designed with taste and executed artistically. Marble and tile mosaics are both good, the former admitting of a richness of effect quite its own, and the latter of brilliant colouring. In designing marble-mosaic floors, however, one may well fight shy of including that senseless, purposeless description which is nowadays so often employed as a filling-in between borders. I refer to the heterogeneous jumble of every colour mixed without regard to one another, and giving at a distance a dirty grey tone, and near at hand an effect like a gravel walk covered with faded cherry-blossom—to be flattering. Despite the fact that this method of design is of antique origin, and has a real classical designation, I cannot but think that it is to be avoided, and that fillings-in should be made with tesseræ of one tint, or that mosaic should be abandoned altogether.

Given the means, it is easy to render a set of bath rooms elaborate, with faïence and modelled glazed ware, marbles and painted encaustic tiles, and many other suitable but expensive materials; but for my own part I prefer to see comparative simplicity in a sudatory chamber, though by this I do not mean monastic severity of style.

The general air of the frigidarium requires some consideration. It should have an effect of its own, quite distinct from anything else. It should have something of the conservatory in it. It should be richly carpeted, have much woodwork about it, and be pleasant with plants and laden with the murmur of falling waters. It should be light, certainly; cheerful, cool, and airy looking; and as lofty as possible within reason and common sense. The ceiling should be of a light tone. A lantern-light where the light may come in, rather than be seen, and where the vitiated air may go out, is a pleasant and useful addition.

Points for emphasising with a view to ultimate effect are the stairs to hot rooms—if a staircase be needed—the divans or screens for couches, and an ornamental fountain as above described. The staircase may be rendered attractive with bowl newels, and perhaps white marble treads to the stairs. The divans may be rendered things of beauty by designing ornamental, open-work wood partitions, in either an Oriental style or otherwise. It is not easy to make small dwarf partitions, enclosing a couple of couches, look handsome. As a rule, they are of a flimsy and gimcrack order of architecture. They should be made as solid as possible. For effect there is nothing better than prettily-designed divans.

As regards style, I do not see why one method of design should be more suited than another for the bath. Having become popularly known as the "Turkish" bath, an Eastern or Saracenic style has been often adopted in the past. And, inasmuch as such style is essentially an interior style of architecture, there is something to be said on this score. It is, moreover, a style in which surface decoration pertains rather than modelled work, or, at least, the modelling is in very low relief. There is yet ample scope for the display of skill in the design of a bath in an Oriental style, as hitherto such attempts have only been made in a half-hearted manner; and in many smaller commercial baths the unskilful use of the style has vulgarised it to no small extent.[3]

Considering that the old Romans brought the bath to a great pitch of excellence—far, very far, I should be inclined to say, in advance of our present knowledge of the subject—their style of architecture would seem fitted to its design at this day; and for large public baths, larger than any yet erected in this country, one can imagine that a very interesting design could be made in the Roman style, founded on a study of the old baths, and, for the sake of the interest attaching to them, reproducing many of the original mosaics, pictures, details, &c., of the public baths of the time of the Empire. In a like manner in the Moorish style one could obtain a very elegant effect by a careful study of old baths in Eastern countries,[4] drawing, perhaps, some inspiration from the courts of the palaces of the Moors, with their pleasant retired air, for the frigidarium. I have often thought, when looking at the late Owen Jones' splendid model at the Crystal Palace, what an admirable frigidarium the Court of the Lions would make, with its spacious central area, and retired nooks suitable for couches, and its pretty sparkling fountain and green plants, its brilliant colouring, and general cheerfulness of effect. Similarly, in a Roman style, a Pompeian court seems suggestive of the arrangement of a fine frigidarium, with its cubicula for couches, and its central area and fountain.

The above are but theoretical suggestions as to what might be done should the bath make such progress in this country as may necessitate the provision of handsome public baths for the people. In everyday practice there is not a great field for elaborate designing in baths. Although only the Roman and Eastern styles have been mentioned, there can be no manner of reason why an architect should not design his bath in whatsoever style he may please.

I have spoken of the plunge bath as a feature capable of being rendered a thing of beauty. This is in reference as much to its plan as to the materials of the sides and floor, &c. There is no reason why a plunge should always be a plain oblong on plan. It may be of any of the shapes indicated at Fig. 19. Many bathers, especially in warm weather, like to stay some minutes in the plunge, and not go straight through; they may like to swim up and down the bath, and thus require room to turn, and a keyhole plan, such as at A, is suitable, and especially useful where the bather has to return to the end of bath he entered. Another shape is shown at B. In ladies' baths still more margin for novel planning is allowable, as here the true dive seldom pertains. A delicate semi-oval plan, such as that at D, which is much after the pattern of the Roman bath recently discovered at Box, could be employed; or a plain, circular bath with steps around, such as that of the Pompeian Balneum, shown at C; or, again, such a plan as that at E, after the classic one at Bognor in Sussex. For inspirations as to the plans of plunge baths, we cannot do better than refer direct to the old Roman remains, either in Italy itself, or in Great Britain and other provinces and colonial dependencies of the old Empire. The Romans were fully alive to the possibilities of the plunge bath as a subject for artistic design, and often produced baths of great beauty.

Fig. 19.
Plans of Plunge Baths.