Interior Decorating
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IN the rudest attempts to provide homes we find evidence of a desire to decorate
them.
In early examples ornament usually springs out of constructive methods;
others are merely surface additions, but either
 symbolical
or purely decorative (as in the curved forms and interlacings).
However,
practically in every style of ornament that we can study we find in the early
types some reminiscences of constructural details.
Thus the Egyptian column
(like that of Chaldea) is a tree trunk, or a bundle of reeds, ornamented
with flowers; their dado, though carved in stone or painted on stucco, is
the representation of a reed mat, of wattle looped together with flowering
water plants.
In Greek marble buildings we discover the ends of the
long-discarded timber joists peeping out below the beautifully proportioned,
carefully carved
entablature; consoles
and brackets belong to the log era.
Heavy Brahminical stone buildings, even
the cave temples, retain features that are peculiar to timber practice.
In
the same way most of the early surface ornamentation is symbolical, though
springing from familiar objects turned to decorative ends.
Egyptian architecture
and ornament may be classed as entirely symbolical, for there was a meaning
in the pylons and obelisks, the hybrid animal forms, the lotus, papyrus,
palm, and other botanical motifs.
Greek ornament, though in its primitive
types symbolical, was not so in the main; nor was it in the Roman, though
embracing many symbols.
Early Christian art was essentially symbolical. Churches
were cruciform or circular. Ornament, when not cruciform, was a little more
recondite - circular, triangular, trilobed or represented fish, ships, lambs,
peacocks, doves and pelicans, eagles, winged bulls and lions, and many other
things.
Even colour has its devotional and ritual significance.
Although this side of the problem is not fundamentally important to good
design, it is imperative that ornament should be appropriate to that
which  it is to embellish
and all its surroundings.
So that selection, both as to quality and quantity,
the latter involving questions of balance and general design, is necessary.
We shall easily understand this if we consider the objects we have in view.
We will let one who was not unsuccessful in his profession speak.
Sir William
Chambers says: “Ornaments are to be chosen or rejected according to
the associations which exist between their adoption and the effects which
they are calculated to produce on the mind.
When we aim at an effect of grandeur
and stability, but few ornaments are admissible, because many subdivisions
of the detail, which is the case where decoration is unsparingly used, destroy
the ideas of strength, as, in fact, they weaken, or appear to weaken, the
parts whereon they are employed.
Hence, according to its destination, ornament
and variety therein must be more or less introduced into the work, always
bearing in mind that excess and overloading, when ornament is profuse, distract
and fatigue the eye and tend to destroy the effect of the best-arranged
design.”
Thus we see that, quite apart from the question of symbolism,
tradition cannot be ignored.
As Sir Frank Warner well said: “The question
of styles is an all- important one, and will probably remain so as long as
the world lasts.
Archaeology is, therefore, of vital necessity to all who
are engaged in the trades of building, decoration, and furniture,” and,
he might have added, to all those who wish to appreciate past efforts and
enjoy intelligently the works of the present.
Of course this is not to condemn those who strive after new things, who endeavour
to express their individuality and the spirit of the age in novel combinations,
or, breaking away from beaten tracks, try their best to evolve something
that will stand alone, as a creation, a revolution.
But that is a different
matter.
In practice we are apt to find that the very latest manifestation
of art is very old.
In fact, to break away from tradition is an almost impossible
feat. It is better to familiarize ourselves with what has gone before and
then let our personality, acted upon by our surroundings, express itself
as freely as it is able.
In the end we have to revert to a study of the”
Styles.”
Pitfalls are encountered, however, when it comes to applying
the results of such studies.
Without being a purist or formalist in the matter
of styles, it is easy to recognise the dangers of an indiscriminate desire
to adapt the best, wherever found, to the art of decoration.
Anachronisms
as to dates and associations may be small enough matters, merely disturbing
the over-critical learner, and then to no great extent if the effect be beautiful
or even pleasing, but there is just the difficulty.
Ill-digested mixtures
so seldom are either beautiful or satisfying, owing to their complete oddity.
Interior decorating usually encompasses all aspects of design.
It also is
extremely flexible and often personal.
It can be thematic or historical depending
on the room or building.
Starting from scratch in a new building is
the ideal way as changing paint colors, wallcoverings, fabrics, fixtures
and furniture is sometimes more expensive than being able to choose everything
before you begin.
Adapting to what already exists is a challenge which most interior decorators
relish.
The plethora of house/home make-over programs on television shows
how exciting and engrossing it can be.
In the menu on the left, faux includes Grisaille, Stained glass, Gilding,
Graining, Marbling, Verdigris, Leather, Stone and Metal effects.
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