ARCHITECTURAL FURNITURE, 



must all be admitted. Pictures 

 were considered to be articles 

 possessing rrrl ain wall-covering 

 properties ; sculpture consisted 

 of lay figures, invested with 

 I acial resemblance to leading 

 statesmen, who being defunct 

 were unable to protest against 

 tli . 1 proceedings; and architec 

 ture -well, an architect was 

 some sort of person who had 

 lo do witli buildings, but what 

 lie really was no one knew. 

 Foundation-stones were laid, 

 and the buildings were duly 

 opened, and the recognition 

 accorded to ceremony and 

 building exactly followed the 

 illustriousness of the opener. 

 As to furniture, there was a 

 total lack of recognition that 

 artistic work is only possible 

 (geniuses excepted) when it 

 retlects the desires and ideals 



25. CHINA CUPBOARD BY MR. LUTYENS. 



24. RKCIiSS MADK IN A ROOM TO FIT AN OLD SIDK HOARD. 



of a period when Beauty is recognised. It cannot 

 be ignored that each century has produced exactly 

 the type of work which accords with all its other 

 attributes. The houses built in the time of the Armada 

 all seem worthy of having been inhabited by &quot; English 

 seamen of the sixteenth century,&quot; and still may be 

 instanced as more truly English in type and plan and 

 regard tor convenience than any that have been pro 

 duced since. The more rococo style of the seventeenth 

 century is quite fittingly Caroline in character, and in 

 the same way the eighteenth century architecture ot 

 Hath is the only possible background for the &quot; School 

 tor Scandal.&quot; If this is so, it is only by recognising that 

 artistic work is an outcome of the spirit of the times 

 that we can reach sate ground. If the conditions are 

 favourable, we may hope once again to do good work. 

 If it is to appeal to us as a beautiful thing, it must 

 have some human quality about it. It need not 

 necessarily be made wholly by hand ; there may be 

 some concession to cost of production, and there are 

 many ways in which machinery helps in this direction ; 

 but to feed wood in at one end of an insatiate monster 

 and expect chefs d a iivrc at the other is but to court 

 disillusionment. 



The morning-room at Heathcote, llkley, was de 

 signed by -Mr. Lutyens (Fig. 19). The room is conceived 

 in a robust type of eighteenth century work ; it is in no 

 sense a reproduction, but rather an acceptance of such 

 a dignified base as a foothold for steps forward. Never 

 was there such a misnomer as L Art Noiivcaii : always 

 must there be tradition for a start, and without such 

 basis results only eccentricity. 



A bedroom fireplace in the same home is illus 

 trated (Fig. 20). The two broad pilasters at the sides 

 stop the panelled dado to the room, and carry the 

 moulded capping of the china shelf. The ceiling of the 



