The use of the dado of a darker colour and of wainscot is, no doubt, due to considerations of wear and tear, and so, like the origin of much ornamental art, may be traced to actual use and constructive necessity. When the wood-work of a room—the doors and window frames—is of the same colour and character as the dado, a certain agreeable unity is preserved, and it forms a useful plain framing to set off the patterned parts of the wall. This wainscot or dado framing with the wood-work should be as to colour arranged to suit the general scheme adopted. Where paint is used, white for the wood-work usually has the best effect.
Field of the Wall
The largest space of wall occurs above the chair-rail, or dado, and, according to modern habits and usage, portable property in the shape of framed pictures, etc., is usually placed here along the eye-line, so that any decoration on this—the main field of the wall—is regarded as subsidiary to what is placed upon it; but, of course, pictures can be used as the central points of a decorative scheme. On the upper part of a wall, below the plaster cornice, the mural designer has the chance of putting a frieze, and a frieze usually gives the effect of additional height to a room, besides enriching the wall.
An effective treatment of a large room, and one which is more reposeful than cutting up the wall into these portions, as in dado, field, and frieze, is to carry up wood panelling to the frieze, and let this (the frieze) be the important decorative feature.
Supposing the room was twelve feet high, one could afford to have eight feet of panelling, and then a frieze of four feet deep. In this case one would look for an interesting painted frieze of figures—some legend or story to run along the four sides of the room, and in such a case it might be marked with considerable pictorial freedom.
More formal figure design or ornamental work in coloured plaster-work, stucco, and gesso could also be appropriately used in such a position, as also on the ceiling.
Now as regards choice of line and form in their relation to the decoration of such mural spaces. Taking the lower wall, dado, or panelling, one reason why panelling has so agreeable an effect is, I think, that the series of vertical and horizontal lines seem to express the proportions, while they emphasize the flatness and repose of the wall, and when used beneath a painted frieze they lead the eye upwards, forming a quiet framing of rectangular lines below to the ornate and varied design of the frieze. Where we are limited to decorating a wall by means of plain painting, stencils, or wall-paper, this idea of reposeful constructive lines and forms on the lower wall should still dominate upon the field. Subject to our repeating plan we may be freer both in line and form, using free scrolls, branch-work, fruit, and flower masses at pleasure, because the space is more extended, and we shall feel the necessity in a repeating pattern of spreading adequately over it; but such designs, however fine in detail, should be constructed upon a more or less geometric base or plan. We are, as regards the main field of the wall, still unavoidably, though not disadvantageously, influenced by the tradition of the textile hanging or arras tapestry, no doubt; and certainly there is no more rich and comfortable lining for living rooms than tapestry, or, at the same time, more reposeful and decoratively satisfying. But, of course, where we can afford arras tapestry (such as the superb work of William Morris and his weavers), we ought not to allow anything to compete with it upon the same wall. It is sufficient in itself.