The English fireplace was modified at the end of the seventeenth century, when coal began to replace wood. Chippendale gives many designs for beautiful basket-grates, such as were set in the large fireplaces originally intended for wood; for it was not until later that chimneys with smaller openings were specially constructed to receive the fixed grate and the hob-grate.
It was in England that the architectural treatment of the over-mantel was first abandoned. The use of a mirror framed in a panel over the fireplace had never become general in England, and toward the end of the eighteenth century the mantel-piece was frequently surmounted by a blank wall-s.p.a.ce, on which a picture or a small round mirror was hung high above the shelf (see Plate XLVII). Examples are seen in Moreland"s pictures, and in prints of simple eighteenth-century English interiors; but this treatment is seldom found in rooms of any architectural pretensions.
The early American fireplace was merely a cheap provincial copy of English models of the same period. The application of the word "Colonial" to pre-Revolutionary architecture and decoration has created a vague impression that there existed at that time an American architectural style. As a matter of fact, "Colonial" architecture is simply a modest copy of Georgian models; and "Colonial" mantel-pieces were either imported from England by those who could afford it, or were reproduced in wood from current English designs. Wooden mantels were, indeed, not unknown in England, where the use of a wooden architrave led to the practice of facing the fireplace with Dutch tiles; but wood was used, both in England and America, only from motives of cheapness, and the architrave was set back from the opening only because it was unsafe to put an inflammable material so near the fire.
After 1800 all the best American houses contained imported marble mantel-pieces. These usually consisted of an entablature resting on columns or caryatides, with a frieze in low relief representing some cla.s.sic episode, or simply ornamented with bucranes and garlands. In the general decline of taste which marked the middle of the present century, these dignified and well-designed mantel-pieces were replaced by marble arches containing a fixed grate. The hideousness of this arched opening soon produced a distaste for marble mantels in the minds of a generation unacquainted with the early designs. This distaste led to a reaction in favor of wood, resulting in the displacement of the architrave and the facing of the s.p.a.ce between architrave and opening with tiles, iron or marble.
People are beginning to see that the ugliness of the marble mantel-pieces of 1840-60 does not prove that wood is the more suitable material to employ. There is indeed something of unfitness in the use of an inflammable material surrounding a fireplace. Everything about the hearth should not only be, but _look_, fire-proof. The chief objection to wood is that its use necessitates the displacement of the architrave, thus leaving a flat intermediate s.p.a.ce to be faced with some fire-proof material. This is an architectural fault. A door of which the architrave should be set back eighteen inches or more to admit of a facing of tiles or marble would be p.r.o.nounced unarchitectural; and it is usually admitted that all cla.s.ses of openings should be subject to the same general treatment.
Where the mantel-piece is of wood, the setting back of the architrave is a necessity; but, curiously enough, the practice has become so common in England and America that even where the mantel is made of marble or stone it is set back in the same way; so that it is unusual to see a modern fireplace in which the architrave defines the opening.
In France, also, the use of an inner facing (called a _retreciss.e.m.e.nt_) has become common, probably because such a device makes it possible to use less fuel, while not disturbing the proportions of the mantel as related to the room.
The reaction from the bare stiff rooms of the first quarter of the present century--the era of mahogany and horsehair--resulted, some twenty years since, in a general craving for knick-knacks; and the latter soon spread from the tables to the mantel, especially in England and America, where the absence of the architectural over-mantel left a bare expanse of wall above the chimney-piece.
The use of the mantel as a bric-a-brac shelf led in time to the lengthening and widening of this shelf, and in consequence to the enlargement of the whole chimney-piece.
Mantels which in the eighteenth century would have been thought in scale with rooms of certain dimensions would now be considered too small and insignificant. The use of large mantel-pieces, besides throwing everything in the room out of scale, is a structural mistake, since the excessive projection of the mantel has a tendency to make the fire smoke; indeed, the proportions of the old mantels, far from being arbitrary, were based as much on practical as on artistic considerations. Moreover, the use of long, wide shelves has brought about the acc.u.mulation of superfluous knick-knacks, whereas a smaller mantel, if architecturally designed, would demand only its conventional _garniture_ of clock and candlesticks.
The device of concealing an ugly mantel-piece by folds of drapery brings an inflammable substance so close to the fire that there is a suggestion of danger even where there is no actual risk. The lines of a mantel, however bad, represent some kind of solid architrave,--a more suitable setting for an architectural opening than flimsy festoons of brocade or plush. Any one who can afford to replace an ugly chimney-piece by one of good design will find that this change does more than any other to improve the appearance of a room. Where a badly designed mantel cannot be removed, the best plan is to leave it unfurbelowed, simply placing above it a mirror or panel to connect the lines of the opening with the cornice.
The effect of a fireplace depends much upon the good taste and appropriateness of its accessories. Little attention is paid at present to the design and workmanship of these and like necessary appliances; yet if good of their kind they add more to the adornment of a room than a multiplicity of useless knick-knacks.
Andirons should be of wrought-iron, bronze or ormolu. Substances which require constant polishing, such as steel or bra.s.s, are unfitted to a fireplace. It is no longer easy to buy the old bronze andirons of French or Italian design, with pedestals surmounted by statuettes of nymph or faun, to which time has given the iridescence that modern bronze-workers vainly try to reproduce with varnish. These bronzes, and the old ormolu andirons, are now almost _introuvables_; but the French artisan still copies the old models with fair success (see Plates V and x.x.xVI). Andirons should not only harmonize with the design of the mantel but also be in scale with its dimensions. In the fireplace of a large drawing-room, boudoir andirons would look insignificant; while the monumental Renaissance fire-dogs would dwarf a small mantel and make its ornamentation trivial.
If andirons are gilt, they should be of ormolu. The cheaper kinds of gilding are neither durable nor good in tone, and plain iron is preferable to anything but bronze or fire-gilding. The design of shovel and tongs should accord with that of the andirons: in France such details are never disregarded. The shovel and tongs should be placed upright against the mantel-piece, or rest upon hooks inserted in the architrave: the bra.s.s or gilt stands now in use are seldom well designed. Fenders, being merely meant to protect the floor from sparks, should be as light and easy to handle as possible: the folding fender of wire-netting is for this reason preferable to any other, since it may be shut and put away when not in use. The low guards of solid bra.s.s in favor in England and America not only fail to protect the floor, but form a permanent barrier between the fire and those who wish to approach it; and the latter objection applies also to the ma.s.sive folding fender that is too heavy to be removed.
Coal-scuttles, like andirons, should be made of bronze, ormolu or iron. The unnecessary use of substances which require constant polishing is one of the mysteries of English and American housekeeping: it is difficult to see why a housemaid should spend hours in polishing bra.s.s or steel fenders, andirons, coal-scuttles and door-k.n.o.bs, when all these articles might be made of some substance that does not need daily cleaning.
Where wood is burned, no better wood-box can be found than an old carved chest, either one of the Italian _ca.s.soni_, with their painted panels and gilded volutes, or a plain box of oak or walnut with well-designed panels and old iron hasps. The best subst.i.tute for such a chest is a plain wicker basket, without ornamentation, enamel paint or gilding. If an article of this kind is not really beautiful, it had better be as obviously utilitarian as possible in design and construction.
A separate chapter might be devoted to the fire-screen, with its carved frame and its panel of tapestry, needlework, or painted arabesques. Of all the furniture of the hearth, it is that upon which most taste and variety of invention have been spent; and any of the numerous French works on furniture and house-decoration will supply designs which the modern decorator might successfully reproduce (see Plate XXII). So large is the field from which he may select his models, that it is perhaps more to the purpose to touch upon the styles of fire-screens to be avoided: such as the colossal bra.s.s or ormolu fan, the stained-gla.s.s screen, the embroidered or painted banner suspended on a gilt rod, or the stuffed bird spread out in a broiled att.i.tude against a plush background.
[Ill.u.s.tration: _PLATE XXII._
FRENCH FIRE-SCREEN, LOUIS XIV PERIOD.
FROM THE CHaTEAU OF ANET.]
In connection with the movable fire-screen, a word may be said of the fire-boards which, until thirty or forty years ago, were used to close the opening of the fireplace in summer. These fire-boards are now a.s.sociated with old-fashioned boarding-house parlors, where they are still sometimes seen, covered with a paper like that on the walls, and looking ugly enough to justify their disuse. The old fire-boards were very different: in rooms of any importance they were beautifully decorated, and in Italian interiors, where the dado was often painted, the same decoration was continued on the fire-boards. Sometimes the latter were papered; but the paper used was designed expressly for the purpose, with a decorative composition of flowers, landscapes, or the ever-amusing _chinoiseries_ on which the eighteenth-century designer played such endless variations.
Whether the fireplace in summer should be closed by a board, or left open, with the logs laid on the irons, is a question for individual taste; but it is certain that if the painted fire-board were revived, it might form a very pleasing feature in the decoration of modern rooms. The only possible objection to its use is that it interferes with ventilation by closing the chimney-opening; but as fire-boards are used only at a season when all the windows are open, this drawback is hardly worth considering.
In spite of the fancied advancement in refinement and luxury of living, the development of the modern heating apparatus seems likely, especially in America, to do away with the open fire. The temperature maintained in most American houses by means of hot-air or hot-water pipes is so high that even the slight additional warmth of a wood fire would be unendurable. Still there are a few exceptions to this rule, and in some houses the healthy glow of open fires is preferred to the parching atmosphere of steam. Indeed, it might almost be said that the good taste and _savoir-vivre_ of the inmates of a house may be guessed from the means used for heating it. Old pictures, old furniture and fine bindings cannot live in a furnace-baked atmosphere; and those who possess such treasures and know their value have an additional motive for keeping their houses cool and well ventilated.
No house can be properly aired in winter without the draughts produced by open fires. Fortunately, doctors are beginning to call attention to this neglected detail of sanitation; and as dry artificial heat is the main source of throat and lung diseases, it is to be hoped that the growing taste for open-air life and out-door sports will bring about a desire for better ventilation, and a dislike for air-tight stoves, gas-fires and steam-heat.
Aside from the question of health and personal comfort, nothing can be more cheerless and depressing than a room without fire on a winter day. The more torrid the room, the more abnormal is the contrast between the cold hearth and the incandescent temperature. Without a fire, the best-appointed drawing-room is as comfortless as the shut-up "best parlor" of a New England farm-house. The empty fireplace shows that the room is not really lived in and that its appearance of luxury and comfort is but a costly sham prepared for the edification of visitors.
FOOTNOTES:
[20] In Italy, where the walls were frescoed, the architectural composition over the mantel was also frequently painted. Examples of this are to be seen at the Villa Vertemati, near Chiavenna, and at the Villa Giacomelli, at Maser, near Treviso. This practice accounts for the fact that in many old architectural drawings of Italian interiors a blank wall-s.p.a.ce is seen over the mantel.
[21] It is to be hoped that the recently published English translation of M. emile Bourgeois"s book on Louis XIV will do much to remove this prejudice.
[22] It is curious that those who criticize the ornateness of the Louis XIV style are often the warmest admirers of the French Renaissance, the style of all others most remarkable for its excessive use of ornament, exquisite in itself, but quite unrelated to structure and independent of general design.
[23] It is said to have been put at this height in order that the porcelain vases should be out of reach. See Daviler, "Cours d"Architecture."
[24] Examples are to be seen in several rooms of the hunting-lodge of the kings of Savoy, at Stupinigi, near Turin.
VII
CEILINGS AND FLOORS
To attempt even an outline of the history of ceilings in domestic architecture would exceed the scope of this book; nor would it serve any practical purpose to trace the early forms of vaulting and timbering which preceded the general adoption of the modern plastered ceiling. To understand the development of the modern ceiling, however, one must trace the two very different influences by which it has been shaped: that of the timber roof of the North and that of the brick or stone vault of the Latin builders. This twofold tradition has curiously affected the details of the modern ceiling. During the Renaissance, flat plaster ceilings were not infrequently coffered with stucco panels exactly reproducing the lines of timber framing; and in the Villa Vertemati, near Chiavenna, there is a curious and interesting ceiling of carved wood made in imitation of stucco (see Plate XXIII); while one of the rooms in the Palais de Justice at Rennes contains an elaborate vaulted ceiling constructed entirely of wood, with mouldings nailed on (see Plate XXIV).
In northern countries, where the ceiling was simply the under side of the wooden floor,[25] it was natural that its decoration should follow the rectangular subdivisions formed by open timber-framing. In the South, however, where the floors were generally of stone, resting on stone vaults, the structural conditions were so different that although the use of caissons based on the divisions of timber-framing was popular both in the Roman and Renaissance periods, the architect always felt himself free to treat the ceiling as a flat, undivided surface prepared for the application of ornament.
The idea that there is anything unarchitectural in this method comes from an imperfect understanding of the construction of Roman ceilings.
The vault was the typical Roman ceiling, and the vault presents a smooth surface, without any structural projections to modify the ornament applied to it. The panelling of a vaulted or flat ceiling was as likely to be agreeable to the eye as a similar treatment of the walls; but the Roman coffered ceiling and its Renaissance successors were the result of a strong sense of decorative fitness rather than of any desire to adhere to structural limitations.
Examples of the timbered ceiling are, indeed, to be found in Italy as well as in France and England; and in Venice the flat wooden ceiling, panelled upon structural lines, persisted throughout the Renaissance period; but in Rome, where the cla.s.sic influences were always much stronger, and where the discovery of the stucco ceilings of ancient baths and palaces produced such lasting effects upon the architecture of the early Renaissance, the decorative treatment of the stone vault was transferred to the flat or coved Renaissance ceiling without a thought of its being inapplicable or "insincere." The fear of insincerity, in the sense of concealing the anatomy of any part of a building, troubled the Renaissance architect no more than it did his Gothic predecessor, who had never hesitated to stretch a "ciel" of cloth or tapestry over the naked timbers of the mediaeval ceiling. The duty of exposing structural forms--an obligation that weighs so heavily upon the conscience of the modern architect--is of very recent origin. Mediaeval as well as Renaissance architects thought first of adapting their buildings to the uses for which they were intended and then of decorating them in such a way as to give pleasure to the eye; and the maintenance of that relation which the eye exacts between main structural lines and their ornamentation was the only form of sincerity which they knew or cared about.
[Ill.u.s.tration: _PLATE XXIII._
CARVED WOODEN CEILING, VILLA VERTEMATI.
XVI CENTURY.
(SHOWING INFLUENCE OF STUCCO DECORATION.)]
If a flat ceiling rested on a well-designed cornice, or if a vaulted or coved ceiling sprang obviously from walls capable of supporting it, the Italian architect did not allow himself to be hampered by any pedantic conformity to structural details. The eye once satisfied that the ceiling had adequate support, the fit proportioning of its decoration was considered far more important than mere technical fidelity to the outline of floor-beams and joists. If the Italian decorator wished to adorn a ceiling with carved or painted panels he used the lines of the timbering to frame his panels, because they naturally accorded with his decorative scheme; while, were a large central painting to be employed, or the ceiling to be covered with reliefs in stucco, he felt no more hesitation in deviating from the lines of the timbering than he would have felt in planning the pattern of a mosaic or a marble floor without reference to the floor-beams beneath it.
In France and England it was natural that timber-construction should long continue to regulate the design of the ceiling. The Roman vault lined with stone caissons, or with a delicate tracery of stucco-work, was not an ever-present precedent in northern Europe. Tradition pointed to the open-timbered roof; and as Italy furnished numerous and brilliant examples of decorative treatment adapted to this form of ceiling, it was to be expected that both in France and England the national form should be preserved long after Italian influences had established themselves in both countries. In fact, it is interesting to note that in France, where the artistic feeling was much finer, and the sense of fitness and power of adaptation were more fully developed, than in England, the lines of the timbered ceiling persisted throughout the Renaissance and Louis XIII periods; whereas in England the Elizabethan architects, lost in the mazes of Italian detail, without a guiding perception of its proper application, abandoned the timbered ceiling, with its eminently architectural subdivisions, for a flat plaster surface over which geometrical flowers in stucco meandered in endless sinuosities, unbroken by a single moulding, and repeating themselves with the maddening persistency of wall-paper pattern. This style of ornamentation was done away with by Inigo Jones and his successors, who restored the architectural character of the ceiling, whether flat or vaulted; and thereafter panelling persisted in England until the French Revolution brought about the general downfall of taste.[26]
In France, at the beginning of the eighteenth century, the liking for _pet.i.ts appartements_ led to greater lightness in all kinds of decorative treatment; and the ceilings of the Louis XV period, while pleasing in detail, are open to the criticism of being somewhat weak in form. Still, they are always _compositions_, and their light traceries, though perhaps too dainty and fragile in themselves, are so disposed as to form a clearly marked design, instead of being allowed to wander in a monotonous network over the whole surface of the ceiling, like the ubiquitous Tudor rose. Isaac Ware, trained in the principles of form which the teachings of Inigo Jones had so deeply impressed upon English architects, ridicules the "petty wildnesses" of the French style; but if the Louis XV ceiling lost for a time its architectural character, this was soon to be restored by Gabriel and his followers, while at the same period in England the forcible mouldings of Inigo Jones"s school were fading into the ineffectual grace of Adam"s laurel-wreaths and velaria.
[Ill.u.s.tration: _PLATE XXIV._
CEILING IN THE PALAIS DE JUSTICE, RENNES.
LOUIS XIV PERIOD.
(WOODEN CEILING IMITATING MASONRY VAULTING AND STUCCO ORNAMENTATION.)]
In the general effect of the room, the form of the ceiling is of more importance than its decoration. In rooms of a certain size and height, a flat surface overhead looks monotonous, and the ceiling should be vaulted or coved.[27] Endless modifications of this form of treatment are to be found in the architectural treatises of the seventeenth and eighteenth centuries, as well as in the buildings of that period.
A coved ceiling greatly increases the apparent height of a low-studded room; but rooms of this kind should not be treated with an order, since the projection of the cornice below the springing of the cove will lower the walls so much as to defeat the purpose for which the cove has been used. In such rooms the cove should rise directly from the walls; and this treatment suggests the important rule that where the cove is not supported by a cornice the ceiling decoration should be of very light character. A heavy panelled ceiling should not rest on the walls without the intervention of a strongly profiled cornice.
The French Louis XV decoration, with its fanciful embroidery of stucco ornament, is well suited to coved ceilings springing directly from the walls in a room of low stud; while a ceiling divided into panels with heavy architectural mouldings, whether it be flat or vaulted, looks best when the walls are treated with a complete order.