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House & Garden 
Brighten Up 
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Hewitt 
Painting on glass is not confined to doors. Here an 
ornamental screen is used to good effect in a living room 
with painted canvas walls. Karl Freund, decorator 
The Painted Glass Door 
(Continued from page 94) 
mountainous coiffures and increasingly 
radiating garments brought the high and 
the double door into existence. 
Madame de Rambouillet, the capti¬ 
vating feminist, bent upon promoting 
newly discovered charms of her hither¬ 
to but primitively appreciated sex, is 
said to be the godmother of the door 
as we know it today. No woman who 
had been taught to emulate the upright 
grace of Pallas Athena could be ex¬ 
pected to follow, hunched and com¬ 
pressed, the announcement of her well¬ 
sounding name. 
Thus, under Louis Trcize and Anne 
d’Autriche the interiors of palaces were 
remodeled “for the enlargement of 
doors”, and by their dimensions as well 
as their dominating positions these doors 
were responsible for a new court eti¬ 
quette which may explain the lavishness 
of door enrichments unknown here¬ 
tofore. The question of whether both 
or just one leaf should be opened by 
the usher announcing a royal or a 
serene highness, an “ambassador at 
audience,” or one at unofficial call, the 
anomaly of admitting a princess royal 
through doors thrown wide open while 
her consort, a mere duke, has one wing 
shut before his eyes, or the refusal by 
the Duchess de Berry to grant two 
leaves (les deux battants) to her own 
mother, the Duchess d’Orleans, naturally 
fastened the eyes of all present on these 
doors and their silent symbolisms. 
The great master designers, carvers 
and painters of the 17th and 18th Cen¬ 
turies had to perform miracles of enter¬ 
tainment on these hinged wooden panels. 
The doors at Versailles by Caffieri and 
Temporiti after the cartoons of Lebrun 
and Marot, the doors by Mansart and 
Cotte at the Hotel de Toulouse (now 
the Banque de France), the doors of 
Rousseau de la Rottiere at Fontaine¬ 
bleau and those of Percier at the Pal¬ 
ais Royal, are brilliant memoirs of their 
importance in court life. 
But a pair of door panels in the 
Pompeian style painted by Rousseau de 
la Rottiere in 1787 for Hostein, an 
American gentleman of Paris, and the 
impressive quantity of highly decorative 
painted Italian doors, demonstrate that, 
towards the end of the 18th Century, 
the bourgeoise had followed the fash¬ 
ionable example. 
Contemporary with decorated doors 
and as a costly extravagance, are glazed 
and mullioned doors, which in most in¬ 
stances were mirrored. They were gen¬ 
erally placed to balance and reflect 
windows, and curtained in the same 
fashion as one can perceive in the 
“Grand Gallerie” of Versailles. Mir¬ 
rored doors with divisions of wood, 
lead, or iron were quite commonly in¬ 
stalled in the second half of the 18th 
Century though the value of “Bohemian 
crystal” may be learned from the 
coachman, who, according to the 
“Mercure Gallant” of July, 1764, each 
evening replaced the glass panes of the 
carosse in his care by wicker panels— 
“in fear of cats”. 
Transparent glass doors were rarely 
employed in former days unless to pass 
a “jour de souffrance” from a well- 
lighted place into a closet or alcove 
without light. Such doors found great 
favor in England and her colonies and 
were conceived in the most delicately 
mullioned patterns by the brothers 
Adam. 
Today the transparent door has in¬ 
vaded nearly every modern interior 
where one room has to borrow light 
from the other. Economy of space has 
taken the daylight from foyers and 
halls and the average dining room 
draws its share of diverted sunshine 
from the adjoining living room. 
The blessing of the glass door, though, 
is mitigated by the blatant exposure of 
what goes on behind both sides of its 
leaves and the problem of screening 
the panes without injuring the force of 
light has become the source of many 
more or less successful experiments. To 
create “privacy” for ourselves and our 
servants one resorts to net, gauze, taffe¬ 
ta, or when more pretentious, to fi'et 
or lace panels, mostly gathered and 
stretched down the whole or part of 
the length of the glazed sections. These 
beheaded curtains would recall aprons 
hung up to dry. 
And these little curtains screening the 
(Continued on page 108) 
