56 
HOUSE & GARDEN 
Residence of C. C. Bow, Canton, Ohio. 
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Furniture and Its Architectural Background 
(Continued from page 54) 
and proportion in decorative detail, 
and (3) in point of contrasting or 
analogous harmony of color, let us 
note several sorts of furniture, that 
may be appropriately used, other 
than the furniture of a type that 
was created for the surroundings. 
Line and Color 
To begin with, there are many in¬ 
teresting pieces of Louis Quatorze 
furniture that are quite as rectilinear 
as anything ever designed by Shera¬ 
ton in his most severe mood. The 
proportions are slender and refined 
so that the first point of correspond¬ 
ence eligibility is covered. Such a 
piece, for instance, might be an ar- 
moire or a tall falling front secre¬ 
tary. Although the decorative de¬ 
sign applied to the embellishment of 
the surface of such a piece of fur¬ 
niture would, in all likelihood, dif¬ 
fer widely from the representative 
Adam types, nevertheless, the pro¬ 
portion of the parts of the decora¬ 
tion to the extent of surface covered 
and the distribution of the motifs 
would sufficiently fill the require¬ 
ments of correspondence to produce 
an agreeable result. As to the require¬ 
ments on the score of color suita¬ 
bility, the harmonious blending of 
tones on a piece of cabinet work of 
this description would render it 
pleasant in almost any environment. 
One thing, however, should always 
be kept in mind in dealing with 
color in an Adam interior or in any 
room whose architecture is mani¬ 
festly of Adam inspiration, no mat¬ 
ter how much modified. Delicacy of 
contour and delicacy of pattern in 
decorative design are two distin¬ 
guishing characteristics of the archi¬ 
tectural work of the Adam period, 
and these two qualities ill assort 
with strong, insistent, heavy, blatant 
patches of strong color. To the re¬ 
finement and delicacy of the decora¬ 
tive design of Adam architecture 
and Adam furniture ‘‘may, in great 
measure, be attributed the fashion 
for paler, less insistent colors than 
had previously been in use. It was 
not because Englishmen had lost 
their color sense or their love of 
color. It was merely because it was 
so obvious that strong, vigorous hues 
would have been incongruous with 
the extremely delicate patterns em¬ 
ployed. Not only would they have 
been incongruous, but the effect of 
the design would have been wholly 
blotted out. The light arabesques 
of Adam-designed fabrics, for ex¬ 
ample, would have been killed by an 
intense Empire green background. 
It was all a question of the relation 
between color and design in the same 
piece. Attenuated design required 
mild color.” 
Many another piece of Louis Qua¬ 
torze furniture besides such an ar- 
moire as has been mentioned might 
well find a suitable place in a room 
with an Adamesque architectural 
background. Even in closer corre¬ 
spondence with late Georgian archi¬ 
tectural principles would be some of 
the furniture produced in France 
during the reign of Louis Seize. A 
great deal of the Louis Seize furni¬ 
ture, indeed, shows points of close 
correspondence with late Georgian 
ideals in all the particulars of con¬ 
tour, decorative detail and color. 
Enter the Classic Revival 
The period of the so-called Classic 
Revival in architecture followed the 
period that was dominated by the 
ideals and principles for whose prac¬ 
tical and tangible expression we 
must thank the Brothers Adam. 
The style was interpreted in Amer¬ 
ica by such men as Charles Bulfinch, 
Latrobe, McComb, Thomas Jeffer¬ 
son and others of comparable ability 
who gave us the dignified and im¬ 
pressive buildings erected in the last 
few years of the 18th Century and 
during the first two or three decades 
of the 19th. Classic motifs of deco¬ 
ration, as in the Adam style, were 
freely used, but there was this notice¬ 
able difference: As the period pro¬ 
gressed, the proportions of archi¬ 
tectural members in the Classic Re¬ 
vival style became more and more 
robust and the proportions of the 
decorative detail employed were 
made correspondingly heavier until 
all Adam attenuation had vanished. 
No better example of this could 
be adduced than a comparison be¬ 
tween the Adam and the Classic Re¬ 
vival treatments of the anthemion 
or honeysuckle motif. With the note 
of heaviness in architecture, it was 
not surprising that the design of the 
contemporary Empire furniture 
showed the same tendency to heavi¬ 
ness. With heavy proportions in 
furniture it was possible to use heav¬ 
ier colors, and consequently we find 
the strong Empire reds and greens 
for upholstery and hangings which 
served as a foil for elaborate gold 
embellishment. The only really 
graceful and slender furniture made 
during this period, the only furni¬ 
ture that perpetuated the old tradi¬ 
tion of refinement and grace, was de¬ 
signed by Duncan Phyfe, of New 
York, who has been styled the Amer¬ 
ican Sheraton, or by cabinet makers 
who took their cue from him. 
Italian Correspondence 
Looking farther afield, one might 
readily find not a few pieces of Ital¬ 
ian furniture of 18th Century make 
that would sufficiently comply with 
the required points of correspond¬ 
ence to render them acceptable ele¬ 
ments of a mixed composition with 
a late Georgian architectural back¬ 
ground. Of course, the more florid 
pieces would naturally be avoided, 
and it would also be consistent to 
show some leaning towards the less 
aggressively painted pieces. Even 
Spain, although we are apt to asso¬ 
ciate Spanish furniture with designs 
more or less baroque in character, 
can contribute pieces that would be 
suitable in a late Georgian interior. 
There are some exquisite 17th and 
18th Century field desks and cabinets 
in which there is either a minimum 
of baroque influence traceable or else 
none at all. These could be used 
with perfect propriety and would, in 
most respects, meet the necessary 
points of correspondence. 
While the late Georgian architec¬ 
tural backgrounds demanded some 
refinement of line and a general 
rectilinear quality in the furniture, 
Classic Revival backgrounds were 
much less exacting. Since much of 
the furniture was designed in imita¬ 
tion of Greek and Roman architec¬ 
tural fronts, or even after the lines 
of Egyptian buildings, it was massive 
and heavy. Curved lines, too, had 
been finding their way back into the 
contour of many pieces, and circu¬ 
lar objects such as girandoles were 
of frequent occurrence. Further¬ 
more, baroque scrolls as supports for 
consoles, pedestal tables and the 
like were gaining popularity. Through 
this composite element in architec¬ 
ture and the contemporary furniture 
especially germane to it an oppor¬ 
tunity is opened for using, with a 
Classic Revival background, the 
early 18th Century mahogany and 
walnut pieces or almost any of the 
18th Century Continental productions 
save, perhaps, the Louis Quinze and 
Louis Seize modes. 
