1842 



THE CIVIL ENGINEER AND ARCHITECTS JOURNAL. 



ON COLOUR AS APPLIED TO DECORATION. 



By Hyde Clarkx:i F.L.S. 



CConlimitdfrom Vol. IV. page 409 J 



In the last volume I g-ave an analysis of the principal colours, and 

 pointed out their several properties, reserving for the present occasion 

 those observations which refer to the practical application of this 

 knowledge in decoration, for which purpose I shall avail myself of the 

 labours of Chevreul and Hay. The former writer has, indeed, treated 

 the subject extensively and minutely ; Mr. Hay, attaching himself to the 

 elementary portion, which has been seriously neglected here, has only 

 discursive notices scattered through his pages. A complete work on 

 this subject is, in fact, one which yet remains to be written in English, 

 although very much wanted, particularly at the present period, when 

 attention is so much directed to decoration. 



It has been before observed in the Journal, that there are two modes 

 of composition, one in which boldness of efl'ect is sought, and the con- 

 trasting or harmonizing properties of colours are made use of, and 

 the other in which softness being the object, the architect or decorator 

 avails himself of their melodizing properties. The next consideration 

 after this in a regular composition, is tlie choice of a key colour, that 

 is of the colour which is intended to preponderate in the arrangement, 

 and to which all the others are to be adapted. Of course, in practice 

 such a regular method can seldom be followed, and it is then that the 

 ability of the artist is called into requisition to make the most of his 

 materials. Limited as I am by the nature of the plan I have laid 

 down, I cannot enter into this subject at any length, but it may be 

 some guide to the student if I call his attention to some of the most 

 glaring errors, which too often beset our artists, and \ipon which Mr. 

 Hay so strongly dwells in his Laws of Harmonious Colouring. On the 

 side of contrast these are the preponderance of some striking colour, 

 nr the deficiency of strength of the balancing colours; with regard to 

 compositions in melody, we too often have to witness absolute mono- 

 tony, or else the want of media to unite the leading colours employed. 

 Another fault is confusion arising from inattention to the key colour. 



Having dismissed these preliminary remarks, it will be our duty to 

 consider the subject first as it regards decoration generally, and then 

 as it concerns the several apartments, or as it influences the choice 

 and arrangement of furniture. In the first instance we shall have to 

 consider what is the aspect and the kind of light to be employed : for 

 if we have the warm tones of the summer sun from the south and 

 west thrown into an apartment, coolness must be preserved ; but if we 

 have a wintry aspect or morning light, recourse roust be had to warmth 

 of colouring. Where artificial light is used on a large scale, deep 

 colours must be proscribed, and pure yellow, purple, green, and orange 

 used with great moderation, all the former from being deterioratedi 

 and the latter one because it becomes too glaring. Where rooms are 

 lighted so that the direct rays of light are thrown entirely upon the 

 floor, and the walls left comparatively in shade, a bright scarlet has 

 been known to produce a good effect, the want of direct light prevent- 

 ing it from obtruding u|)on the eye (Hay, p. 51). In such cases, deep 

 toned colours must predominate on the carpet, and gilding may be ad- 

 vantageously resorted to. If the artist has to consult the ladies in his 

 arrangements, he finds that the tints of red, orange, and p\irple arc all 

 disadvantageous to the complexion, and that yellow, light green, or 

 light blue, are among the more favourable, and then whitish and gray- 

 ish tints. White may be advantageously used in decoration as a pre- 

 vailing coluur, when lowered in tone, and light marbles, gilding, sky 

 blue silk, and satin wood furniture, used with it. Yellow, when pure, 

 cannot be used in a large mass, but when lowered in hue is agree- 

 able ; when yellow is the prevailing colour, the tone of the accessaries 

 must be heightened, it docs not agree very well with gilding. Red 

 requires that the general tone should be warm, and cannot be used 

 in large masses, although It is a good key colour. Bright green 

 should not be used with it, but green, approaching more to an olive 



tone, also russet aud brown. Into such arrangements gilding may be 

 introduced with happy elfect. Blue, requiring coolness of character 

 to be preserved, is a very advantageous colour, particularly when 

 light; it agrees well with gilding and mahogany, but must not be used 

 with pink. Orange is a good key colour, and although not a favourite, 

 may be advantageously used ; masses, however, must be avoided. It 

 requires a warm tone. When used, blue roust be kept subordinate to 

 it, and this subordination in intensity ought to be in shade rather than 

 in tint, or by neutralizing the blue by an admixture of a small portion 

 of orange. In this arrangement black and white must be left out, 

 russet, citron and brown should predominate, being occasionally re- 

 lieved bv the deepest shades of indigo (Hay, p. 17). A bright yel- 

 lowish green agrees very well with mahogany and gilding, and with 

 light tints of lilac or pink, and with it orange may be employed in 

 small masses. Mr. Hay recommends with bright green, for any light, 

 an arrangement of cream colour, French white, gilding on the cornice, 

 ceiling and wood work, with damask hangings of giraffe and gold, 

 and a suitable carpet. Where this arrangement is inverted, he says, 

 when the hangings and chair seats are green, and the walls of a warm 

 colour, the effect is equally beautiful in day light, but in artificial light 

 it is injured. Bluish green requires a cool tone, as does gray. Crim- 

 son requires a warm arrangement, and on account of its good effect 

 with gilding, is much used. Lilac and pink are considered to require 

 coolness, and brown, warmth. 



Directing our attention lo the mode in which the uses of the seve- 

 ral apartments guides the artist in his treatment, we should observe, 

 that the drawing room being the scene of gaiety, vivacity and bril- 

 liancy should prevail, and that there the artist has his greatest scope. 

 This vivacity, says Mr. Hay, is produced by the introduction of light 

 tints of brilliant colours, with a considerable degree of contrast with 

 gilding ; but the brightest colours and strongest contrasts he recom- 

 mends should be upon the furniture, the walls being kept in due sub- 

 ordination, but at the same time partaking of the general liveliness 

 (p. 30). The dining room should be warm aud rich, the furniture 

 solid, and gilding not too prominently introduced. If coolness is 

 wanted, as in a summer residence, blue may be made the key colour. 

 A bed room should be light and cleanly, to produce which white and 

 yellow may be used, and on account of the bed and window curtains 

 forming a suflicient mass to balance tints of equal intensity on the 

 walls, brighter and gayer colours may be introduced on the carpet, 

 and a greater degree of contrast on the walls (Hay, p. 3"!. A library 

 should have an air of repose, and yet a solidity of character; grandeur 

 being produced by that amount of richness of colouring which is suffi- 

 cient to banish monotony. With picture galleries, ornament and 

 gilding should be sparingly applied as they tend to injure the effect 

 of the pictures ; fur the walls, crimson, buff, and salmon are the tints 

 that are preferred. In galleries of sculpture a pearl gray brings out 

 the marble or plaster figures, although, if they are of a reddish tinge, 

 the walls may be painted chamois or orange gray. Some sculptors 

 like to produce a bright light on their figures, and then a grayish blue 

 must be applied. Green has not a disagreeable effect, the statues 

 taking a pinkish hue. For halls, vestibules, staircases, ami lobbies, 

 where breadth and extent are desired, coolness of tone mu'*! tw pre- 

 served. 



It will now be requisite to trouble ourselves with some few of the 

 many details, in accordance with which the decorator has to combine 

 his designs, or remler them subordinate. For clearness I shall dis- 

 tribute the short remarks I have to make upon these subjects in dis- 

 tinct paragraphs, regretting that it is not in my power to enhirge upon 

 them to a greater extent. 



Stained glass can only be used with the medieval stylc<, and must 

 not be mixed with plain glass ; neither should the designs upon it be 

 complicated. Engraved or embossed glass, when used on a large 

 scale, has rather a dull effect. 



Ciilding cannot be used in every situation, nor combined with every 

 colour, as yellow, but has a good effect with blue, light green, or 

 crimson. 

 With regard to paper, ;u that forms the groundwork of the design, 



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