The Project Gutenberg EBook of The Library of Work and Play: Home Decoration, by Charles Franklin Warner This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Library of Work and Play: Home Decoration Author: Charles Franklin Warner Release Date: January 25, 2014 [EBook #44750] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK WORK AND PLAY: HOME DECORATION *** Produced by Chris Curnow, Chris Jordan and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) Cover THE CHILDREN'S LIBRARY OF WORK AND PLAY. Home Decoration [1] Front Endpaper A Front Endpaper B THE LIBRARY OF WORK AND PLAY Carpentry and Woodwork By Edwin W. Foster Electricity and Its Everyday Uses By John F. Woodhull, Ph.D. Gardening and Farming By Ellen Eddy Shaw Home Decoration By Charles Franklin Warner, Sc.D. Housekeeping By Elizabeth Hale Gilman Mechanics, Indoors and Out By Fred T. Hodgson Needlecraft By Effie Archer Archer Outdoor Sports, and Games By Claude H. Miller, Ph.B. Outdoor Work By Mary Rogers Miller Working in Metals By Charles Conrad Sleffel Hanging a Picture The wall space is a part of the framing of a picture Title Page HOME DECORATION BY PROF. CHARLES F. WARNER, Sc.D. For eight years Master of the Rindge Manual Training School, Mass. Twelve years principal of the Technical High School and Director of the Evening School of Trades, Springfield, Mass. Garden City New York DOUBLEDAY, PAGE & COMPANY 1916 ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN COPYRIGHT, 1911, BY DOUBLEDAY, PAGE & COMPANY TO THE BOYS AND GIRLS OF AMERICA THIS BOOK WHICH RECORDS WHAT SOME OF THEM HAVE DONE IS HOPEFULLY DEDICATED S ome pure lovers of art discard the formula, Art for Progress, the Beautiful Useful, fearing lest the useful should deform the beautiful. They tremble to see the drudge's hand attached to the muse's arm. They are solicitous for the sublime if it descends as far as to humanity. Ah! they are in error. The useful, far from circumscribing the sublime, enlarges it.... Is Aurora less splendid, clad less in purple and emerald—suffers she any diminution of majesty and of radiant grace, because, foreseeing an insect's thirst, she carefully secretes in the flower the dewdrop needed by the bee? Victor Hugo. ACKNOWLEDGMENTS This volume is the result of an effort to bring together in close relation with fundamental principles of design a variety of practical problems which are more or less closely connected with the general problem of home decoration and suited to the constructive ability of boys and girls from twelve to eighteen years of age. While the book is mainly a record of the author's experience and observation in this department of educational work, he has received many suggestions from co- workers in the same field. It will be impossible to give credit to all who have directly or indirectly assisted in the preparation of this book: but special acknowledgments are due to Mr. Fred M. Watts, who furnished the material for the chapter on Pottery and several drawings for other parts of the book; to Miss Grace L. Bell for the illustrations and descriptions embodied in the chapter on Block Printing; to Mr. Burton A. Adams for the problems in metal work; to Mr. Edwin A. Finch and Mr. Lewis O. Richardson who contributed many of the specifications for the problems in furniture-making; to Miss Elizabeth M. Morton for specific suggestions pertaining to the subject of dress as related to the principles of decoration; and to Mrs. Ruth B. S. Flower, of Florence, Mass., who supplied several of the photographs and much of the descriptive matter for the chapter on Weaving. Springfield, Mass. C. F. W. CONTENTS CHAPTER PAGE I. Introductory—The Story of a House 3 II. Decorations and Furniture 34 III. Pictures 64 IV. The Arrangement of Flowers 81 V. Decorative Fabrics 95 VI. Dress and the Principles of Decoration 121 VII. Furniture Making 129 VIII. Finishing and Re-finishing 212 IX. Hand Weaving 244 X. Pottery 280 XI. Decorative Work in Leather, Copper, and Other Materials 321 XII. Concluding Suggestions—Country Homes 366 ILLUSTRATIONS Hanging a Picture Frontispiece FACING PAGE All the Rough Carpentry was Assigned to the Boys of the Woodworking Sections of the Vocational School 22 The Boys of the Forging Classes of the Technical High School were not Overlooked in the Distribution of the Work on the House 24 A Table Runner of Russian Crash and Pillow Cover with Geometrical Design 96 Window Draperies with Stencilled Border 108 Crocheted Panels, a Linen Work Bag with Conventional Landscape in Darning Stitch, a Crash Table Mat Embroidered in Darning and Couching Stitch 118 Finishing a Library Table 212 Weaving a Rug 244 Hand Made Rugs, Hand Made Towels 252 An Alcove with Window Draperies, Pillow Covers, Window Seat and Moss Green Rug, All Hand Woven 262 Hand Woven Window Draperies, Couch Cover, Slumber Rug, and Pillow Covers 266 Girls at Work on Pottery 280 Bowls 294 Vases and Fern Dishes 312 Tiles 316 Pottery: Designed and Made by Schoolgirls 318 Decorative Forgings 364 HOME DECORATION A model house: Designed by girls and built by boys A model house: Designed by girls and built by boys T I INTRODUCTORY THE STORY OF A HOUSE o design, plan, and build a house is a task that rarely falls to the lot of boys and girls. In fact, it is not the common experience of men and women to build houses without the aid of architects, masons, and carpenters. Such a task, however, was recently offered to certain classes in one of the public schools of a well-known New England city. It was, indeed, a school problem, and yet there was something about it that seemed to suggest larger and more interesting things than are ordinarily dealt with in the school-room. It did not seem at all like some school work. It was more like real life; for all boys and girls must some day have homes of their own, and here was a chance to learn how the house, which is an important part of every home, is planned and built. It is hardly necessary to say that this work—or play, if you like that word better—was undertaken with genuine enthusiasm. It was a task crammed full of the pleasure of interest and of accomplishment—full of the joy of doing something worth while—from the beginning to the end. The House a Work of Art.—One of the first lessons learned by these young builders—perhaps the most important one of all—was that a great many things have to be thought of in planning a house, if the thing is to be well done. It is not simply a question of deciding how many rooms one will have, arranging them in some conventional order, and building the house around them with whatever external features style or fancy may dictate. Too many houses, it is true, are planned, or at least put up, in this thoughtless fashion; and whatever goes into them in decoration or furniture is generally chosen either for necessary use or for display—not with any thought of the real comfort and satisfaction that come from artistic surroundings. People who are satisfied with such dwellings seem to show less appreciation of art, the highest product of civilization, than those uncivilized tribes who decorated their caves or huts with beautiful rugs of their own weaving and who ornamented their pottery and their utensils and implements with wonderfully conceived and elaborately wrought designs. Modern cave dwellers in apartment houses with all the conveniences of their ready-made surroundings, are in danger of missing that self-expression in their home belongings that encouraged and delighted even the savage. The most extreme example of this form of degeneracy is found in the suggestion of a certain great inventor, that the age of concrete construction, now at hand, means that we are to have concrete houses poured into a standard mould, hardened in twenty-four hours, and finished for occupancy in a day or two. The boys and girls of this story would not have accepted a machine-made, standardized house if one had been offered them, ready for use. There was a special purpose for which their house was to be planned and built, as there generally is in the case of any real house. No style A, B, or C, chosen from any series of pattern-built or moulded houses, could fulfil such a purpose; and even if it could, would they willingly give up all the fun of planning and building and furnishing? Would they forego the lessons of experience to be learned from all this work? This is always a large part of the satisfaction which comes to any one who builds his own house. In the present instance it was the chief motive, since the boys and girls who were planning this house were not expecting to make their home there. Why the House Was Built.—What, then, was the purpose for which this house was to be built; and what were the specific problems involved in realizing this purpose? It was to be a practice house for the girls of the household technology course. This meant that it should be, so far as possible, a model house; but it must of necessity be a simple one. Economy, always a safe guide, was a most important factor in determining the character of the design. A limited appropriation—about $1000—for building material was available. Economy of space as well as of expense was also important. The only available land was a triangular lot in the corner of the school yard, 665 square feet in area. This limited the dimensions of the floor plan to 24 by 35 feet. It was decided to develop the design within these dimensions, on a rectangular plan, with one story and a hip roof, because such a design would present comparatively easy problems in framing and insure a building of pleasing external proportions. THE GENERAL DESIGN AND THE PLAN In attacking the problem of design the method of approach was determined by the fact that school- girls and school- boys were to be the architects and builders. House planning, home decoration, and household management were important subjects of study on the part of the girls and various forms of drawing and constructive work were required of all the boys of this school; so they all felt that they had a right to contribute something out of their study and experience that might be of value in working out this problem. The design must therefore be a composite of the best features of many studies. A Composite Design.—The rooms required for a house of this character were thought to be a hall, a living room, a dining-room, a kitchen, a pantry, a bedroom with a closet, a bath room, and a linen closet. Nothing short of this outfit of rooms would satisfy the demands of a house to be used to give practical training in all the essentials of plain housekeeping and in the entertainment of guests. With these requirements in mind and with full knowledge of all the limitations of the problem, the girls of the junior and senior classes, who were taking the course in household technology, entered into a lively but friendly competition with each other to produce the most acceptable design and draw the best plan. So many excellent plans resulted from this competition that it was difficult to select the best. It was therefore decided to combine in a new and final plan the best features of several studies that seemed to meet the conditions of the problem with equal success. Two of these were selected as having the greatest number of good points. From these the final floor plan was developed and the necessary modifications made in the original drawings to make [3] [4] [5] [6] [7] [8] the general design of the building fit the plan. Floor plan of the model house Floor plan of the model house The Hall.—It may be of interest to note how some of the details of the problem of design were worked out for the final plan. Beginning with the hall, it was easily seen that economy of space required that the room should have small dimensions. In fact, it did not need to be a separate room at all. It could easily be a space between the living room and the dining-room, separated from both by means of portières and joined upon occasion with either room or with both, thus making possible a reception room or a dining-room of good size, or one large room. Of course, the central idea of a hall must not be lost sight of in providing for a desirable extension of other rooms. It should suggest a warm welcome to the guest; and here is where the fireplace may fulfil the double function of giving the cheer of the hearth-stone at all times and the comfort of fire when warmth is needed. The absence of a stairway, since none was needed, was a favourable circumstance. Appropriate decoration and furnishing in due time were to add a few distinguishing marks so that the house could retain, without any appreciable sacrifice of space, the dignity of an entrance hall. The Living Room and the Dining-room.—The relative positions of the living room and the dining-room, as already stated, were determined by the location of the hall. The purpose of each was distinct and self-evident, and determined the features of design that lent themselves most readily to appropriate decoration. In the living room the floor, the wall spaces, and the ceiling needed consideration with regard to their final treatment, to give pleasing proportions and harmonious colouring. The same was true of the dining-room, though its different purpose suggested a different design. An abundance of light was important for both rooms, hence the large, multiple windows. Such windows would also offer a good chance for pleasing drapery effects. The Kitchen and Its Appointments.—No room demanded so much study as the kitchen. In the first place it was necessary to make provision for a relatively larger kitchen than would ordinarily be needed in a house of this size, because in this case it was designed to be used as a practice kitchen and must therefore be large enough to accommodate a considerable number of girls—at least eight—at one time. This point assumed so much importance in the minds of the young designers that they were constantly tempted to rob other rooms of the space that was due them in order to get a "nice, big kitchen." But by clever adjustments and combinations the necessary floor dimensions were secured without unduly cramping other features of the plan. The range, laundry tubs, and sink were conveniently located near each other with the tubs at such a height that when not in use the cover was flush with the top of the range, forming a shelf on which kettles and other kitchen utensils could be easily placed as they were moved back and forth from the range. It was thought that it would be very desirable, if not necessary, to have this shelf covered with zinc or some kind of sheet metal. It will be noted as a possible fault in the plan that the range is very near the door into the passageway leading to the bedroom, the living room, and the hall. This point received due consideration; but in view of the compensating advantages the arrangement was thought allowable, inasmuch as the door into the passageway would be used only occasionally. There seemed to be no more convenient location for the passageway, which was designed to give privacy to bedroom and bath room and, in cases of sickness or any emergency requiring it, easy communication between the kitchen and the bedroom. Special Features.—The pantry was located between the kitchen and the dining-room for obvious reasons—to give easy communication in serving and to confine kitchen odours to their proper place. In place of a kitchen closet a cabinet was provided for as being on the whole the more serviceable of the two. It is always desirable to have an entry or lobby, with a convenient part of it reserved for the refrigerator; but the need of providing as much room as possible in the kitchen itself seemed to justify the omission of the lobby. Another unusual feature—this time not an omission—is to be found in the window of the bedroom closet. Such a window, although not common, was thought to be very desirable on sanitary grounds and as a possible protection against moths. Early Plans for Decorating and Furnishing.—These were by no means all the features of design that had to be considered. As already suggested, there was much study given to the question of interior decoration and furnishing, even at this early stage. This was simply necessary forethought; for much of the attractiveness, restfulness, and homelike atmosphere of any house is created by the architect, who, in his arrangement of rooms, door-ways, and windows, disposes his wall areas so that they may be divided symmetrically and lend themselves naturally to colour toning, offering tempting spaces for a few choice pictures and opening up beautiful vistas. Such house-planning, begun with clear vision and followed with taste and delicacy in every detail, may often lead to a harmony of effects as pleasing to people of artistic temperament as a symphony is to those who enjoy a fine musical composition. In fact, the parallel between sympathetic gradations of form and colour and harmony of musical tones is a very close one, and the appreciation of it is by no means rare. Any intelligent person, on seeing a suite of rooms designed and arranged by a real artist, though he may not understand why, will be impressed by the rhythm of space divisions, the harmony of colours, the lack of any jarring or discordant notes in the decoration, the simplicity, fitness, and real beauty, not of any particular part, perhaps, but of the whole combination. We often find ourselves using the same language whether we are describing the work of an artist-architect or the work of a musical composer. FUNDAMENTAL PRINCIPLES OF DESIGN Adaptation to Purpose.—Our young architects discovered that there are certain fundamental principles or laws that [9] [10] [Pg 11] [12] [13] [14] must be observed at the very beginning, if a really good and true design is to be made. The first of these laws is the law of adaptation to purpose. The application of this law was illustrated in the location of the various rooms in the plan of the house, in the dimensions agreed upon for each, and in the details of arrangement, especially in the kitchen and other rooms connecting with it. But this law is universal in its application. It determines not only the broad features of the plan but the details as well. It does not permit anything useless or superfluous to exist, for that would mean weakness. It aims at efficiency and strength. It dictates the details of construction all along the line, from the framing of the building to its finish and its decoration. It even determines the character of the furniture and the amount of it. Adaptation to purpose is a ruling principle. Simplicity.—Another great principle that revealed itself as the plans of the house developed may be called the law of simplicity. This is one of the elementary laws of nature transferred to the realm of craftsmanship. It is an axiom of geometry that the straight line is the shortest distance between two points. Not less evident is the fact that when Nature undertakes to do anything she goes about it in the simplest and most direct way. The natural tendency of all motion is along a straight line—so reads the first law of motion. Analyze the most complex forms and processes of nature and we shall find them due to the harmonious combination of the simplest elementary lines and movements. But the same law of simplicity which invariably marks the works of nature gives strength and beauty also to the works of man. Thus, in discussing the various problems that developed as the designing of the house progressed, it was found—as of course it should have been—that the solution which met the test of simplicity, while satisfying the law of adaptation to purpose, was the true one. Correlation.—A third great fundamental principle that found expression in these studies of the house plans was the principle of correlation. Not only must each part of the design be adapted to its use in the simplest possible manner, but it must support all other parts and receive support in return. It is like cooperation or team-work in play or in the practical affairs of life. Every room in a house bears some natural relation to every other room, and even the objects in the same room or in adjoining rooms must assist each other, whether their purpose be utility or decoration or a combination of both. Only by due attention to the mutual relations of the various elements that must enter into the composition, can the designer produce those pleasing space effects, those blendings of colour tones, those manifest relations between the various objects, useful or decorative, that give order, unity, and sympathetic feeling to a complete design. THE COLOUR SCHEME The Floor the Foundation.—Almost unconsciously our young architects found themselves under the guidance of these three great fundamental principles of design. When they came to the problem of specifying the finish for the floors and other wood work of the hall, living room, and dining-room, they found that this problem was intimately associated with the larger question of the colour scheme as a whole. The mutual dependence of all the elements concerned could not be overlooked. It was evident that the floor, which is the foundation of the room, should be darker than the walls and ceiling and the general tone of the furnishings, in order to give the suggestion of sufficient weight and firmness for the support of the entire room and all it might contain. The effect of solidity could be produced by staining the floor boards or by providing a liberal supply of dark, rich-toned rugs, large ones as well as small ones. There was no question of carpets. These, of course, are not allowable in a model house. A few rugs were already available, and others could be procured by buying them or by making them. A properly toned floor, however, is desirable, even with a most generous covering of rugs. It was therefore decided to give the floor a coat of stain when it was ready to be finished. Importance of Colour Schemes.—But what was the colour to be? The designers were thus brought face to face with that difficult but important problem which all who plan houses have to solve before they can hope to bring their work into harmonious adjustment with the various natural and human conditions that must be satisfied in the final product, if it be made a good example of the designer's art. The problem of the colour scheme is fundamental. Upon this depends not only the tone of the floors, the walls, and the ceilings, but also, to a certain extent, as has already been suggested, the kind of woods to be used in the interior finishing, and whether they are to be painted, stained, or left in their natural colours. It will determine the material and the colours of the portières, curtains, cushions, lamp shades, picture frames, vases; in fact, it will largely settle the decorative character of every article placed in the rooms. The consideration of movable objects, however, may be deferred till the more substantial and fixed elements are decided upon. Southern Exposures and Cool Colours.—In settling the all-important question of the colour scheme the first point to be considered was the location of the rooms with reference to light and to external surroundings. Rooms that have a southern exposure and nothing to interfere with their being flooded with sunlight need to be protected against the glare of too much light. For such rooms dull tones of colour are the best—dull browns, soft gray-greens, certain blue tones, and the medium grays—light, cool colours that counteract the overbrilliancy of direct sunlight and give a positively tempered feeling to the atmosphere of a room. Incidentally, too, perhaps because they are the tints associated with distant views, the cool colours make a room seem larger than it really is. Northern Exposures and Warm Colours.—Northern rooms, on the other hand, do not generally suffer from excess of sunlight and heat. Warm colours are needed in such rooms. Deep reds, rich yellows, and golden browns will seem to bring sunlight into a sunless room. Our designers noted the fact that many of the rooms in the house they were planning must be comparatively dark. The house was to face the high brick walls of the neighbouring school building, not more than twenty-five feet distant, and its principal rooms had a northern exposure. A warm colour treatment, therefore, was unquestionably needed. Should red, brown, or yellow be the prevailing tone? The deciding point was the location of the hall and its relations to the other rooms. It was, first of all, the hall, the place of welcome for the guest; but it was dark. [14] [15] [16] [17] [18] [19]