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Furniture And The Room








The art of furnishing runs on two wheels--the room and the furniture. As
in the bicycle, the inordinate development of one wheel at the expense
of its colleague has been not without some great feats, yet too often
has provoked catastrophe; so furnishing makes safest progression when,
with a juster proportion, its two wheels are kept to moderate and
uniform diameters. The room should be for the furniture just as much as
the furniture for the room.

Of late it has not been so; we have been indulging in the
"disproportionately wheeled" type, and the result has been to crowd our
rooms, and reduce them to insignificance. Even locomotion in them is
often embarrassing, especially when the upholsterer has been allowed
carte blanche. But, apart from this, there is a sense of repletion in
these masses of chattel--miscellanies brought together with no
subordination to each other, or to the effect of the room as a whole.
Taken in the single piece, our furniture is sometimes not without its
merit, but it is rarely exempt from self-assertion, or, to use a slang
term, "fussiness." And an aggregation of "fussinesses" becomes
fatiguing. One is betrayed into uncivilised longings for the workhouse,
or even the convict's cell, the simplicity of bare boards and tables!

But we must not use our dictum for aggressive purposes merely, faulty
as modern systems may be. In the distinction of the two sides of the
problem of furnishing--the room for the furniture, and the furniture for
the room--there is some historical significance. Under these titles
might be written respectively the first and last chapters in the history
of this art--its rise and its decadence.

Furniture in the embryonic state of chests, which held the possessions
of early times, and served, as they moved from place to place, for
tables, chairs, and wardrobes, may have been in existence while the
tents and sheds which accommodated them were of less value. But
furnishing began with settled architecture, when the room grew first
into importance, and overshadowed its contents. The art of the builder
had soared far beyond the ambitions of the furnisher.

Later, the two constituents of our art came to be produced
simultaneously, and under one impulse of design. The room, whether
church or hall, had now its specific furniture. In the former this was
adapted for ritual, in the latter for feasting; but in both the contents
formed in idea an integral part of the interior in which they stood. And
while these conditions endured, the art was in its palmy state.

Later, furniture came to be considered apart from its position. It grew
fanciful and fortuitous. The problem of fitting it to the room was no
problem at all while both sprang from a common conception: it became so
when its independent design, at first a foible of luxury, grew to be a
necessity of production. As long, however, as architecture remained
dominant, and painting and sculpture were its acknowledged vassals,
furniture retained its legitimate position and shared in their triumphs.
But when these the elder sisters shook off their allegiance, furniture
followed suit. It developed the self-assertion of which we have spoken,
and, in the belief that it could stand alone, divorced itself from that
support which was the final cause of its existence. There have been
doubtless many slackenings and tightenings of the chain which links the
arts of design together; but it is to be noted how with each slackening
furniture grew gorgeous and artificial, failed to sympathise with common
needs, and sank slowly but surely into feebleness and insipidity.

We had passed through some such cycle by the middle of this century.
With the dissolution of old ties the majority of the decorative arts had
perished. Painting remained to us, arrogating to herself the role which
hitherto the whole company had combined to make successful. In her
struggle to fill the giant's robe, she has run unresistingly in the ruts
of the age. She has crowded her portable canvases, side by side, into
exhibitions and galleries, and claimed the title of art for literary
rather than aesthetic suggestions. The minor coquetries of craftsmanship,
from which once was nourished the burly strength of art, have felt out
of place in such illustrious company. So we have the forced art of
public display, but it has ceased to be the habit in which our common
rooms and homely walls could be dressed.

The attendant symptom has been the loss from our houses of all that
architectural amalgam, which in former times blended the structure with
its contents, the screens and panellings, which, half room, half
furniture, cemented the one to the other. The eighteenth century carried
on the tradition to a great extent with plinth and dado, cornice and
encrusted ceiling; but by the middle of the nineteenth we had our
interiors handed over to us by the architect almost completely void of
architectural feature. We are asked to take as a substitute, what is
naively called "decoration," two coats of paint, and a veneer of
machine-printed wall-papers.

In this progress of obliteration an important factor has been the
increasing brevity of our tenures. Three or four times in twenty years
the outgoing tenant will make good his dilapidations, and the
house-agent will put the premises into tenantable repair--as these
things are settled for us by lawyers and surveyors. After a series of
such processes, what can remain of internal architecture? Can there be
left even a room worth furnishing, in the true sense of the term? The
first step to render it so must usually be the obliteration of as much
as possible of the maimed and distorted construction, which our
leasehold house offers.

What wonder, then, if furniture, beginning again to account herself an
art, should have transgressed her limits and invaded the room? Ceilings,
walls and floors, chimneypieces, grates, doors and windows, all nowadays
come into the hands of the artistic furnisher, and are at the mercy of
upholsterers and cabinetmakers to begin with, and of the
antiquity-collector to follow. Then we bring in our gardens, and finish
off our drawing-room as a mixture of a conservatory and a bric-a-brac
shop.

The fashion for archaeological mimicry has been another pitfall. The
attempt to bring back art by complete reproductions of old-day
furnishings has been much the vogue abroad. The Parisians distinguish
many styles and affect to carry them out in every detail. The Americans
have copied Paris, and we have done a little ourselves. But the weak
element in all this is, that the occupier of these mediaeval or classic
apartments remains still the nineteenth-century embodiment, which we
meet in railway carriage and omnibus. We cannot be cultured Epicureans
in a drawing-room of the Roman Empire, and by the opening of a door walk
as Flemish Burgomasters into our libraries. The heart of the age will
mould its productions irrespective of fashion or archaeology, and such
miserable shams fail to reach it.

If we, who live in this century, can at all ourselves appraise the
position, its most essential characteristic in its bearing upon art has
been the commercial tendency. Thereby an indelible stamp is set upon our
furniture. The making of it under the supreme condition of profitable
sale has affected it in both its functions. On the side of utility our
furniture has been shaped to the uses of the million, not of the
individual. Hence its monotonously average character, its failure to
become part of ourselves, its lack of personal and local charm. How
should a "stock" article possess either?

But the blight has fallen more cruelly on that other function, which is
a necessity of human craftsmanship--the effort to express itself and
please the eye by the expression. Art being the monopoly of "painting,"
and having nothing to do with such vulgar matters as furniture,
commercialism has been able to advance a standard of beauty of its own,
with one canon, that of speedy profits. Furniture has become a mere ware
in the market of fashion. Bought to-day as the rage, it is discarded
to-morrow, and some new fancy purchased. The tradesman has a new margin
of profit, but the customer is just where he was. It may be granted that
a genuine necessity of sale is the stimulus to which all serious effort
in the arts must look for progress, and without which they would become
faddism and conceit. But it is a different thing altogether when this
passes from stimulus into motive--the exclusive motive of profit to the
producer. The worth of the article is impaired as much as the well-being
of the craftsman, and furniture is degraded to the position of a pawn in
the game of the sweater.

We must, I fear, be content at present to put up with exhibitions and
unarchitectural rooms. But while making the best of these conditions, we
need not acquiesce in them or maintain their permanence. At any rate we
may fight a good fight with commercialism. The evils of heartless and
unloving production, under the grind of an unnecessary greed, are patent
enough to lead us to reflect that we have after all in these matters a
choice. We need not spend our money on that which is not bread. We can
go for our furniture to the individual craftsman and not the commercial
firm. The penalty for so doing is no longer prohibitive.

In closing our remarks we cannot do better than repeat our initial
axiom--the art of furnishing lies with the room as much as with the
furniture. The old ways are still the only ways. When we care for art
sufficiently to summon her from her state prison-house of exhibitions
and galleries, to live again a free life among us in our homes, she will
appear as a controlling force, using not only painting and sculpture,
but all the decorative arts to shape room and furniture under one
purpose of design. Whether we shall then give her the time-honoured
title of architecture, or call her by another name, is of no moment.

EDWARD S. PRIOR.





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