Page:Alexis de Chateauneuf - The Country House.djvu/73

 The sum of enjoyment to be derived from one or two large paintings is not to be compared to that which the contributions of various schools can afford, even assuming the highest merit. It is true, frescos like those of the Villa Madama near Rome, from the school of Raphael, may be beautifully executed in a small size, but they still seem fitter for open galleries than for rooms. (I have only ventured to except the dining room.) The impossibility of change in such situations is an unpleasant feeling; in a public building, on the contrary, it is satisfactory, and a staircase approaches this character. I may here observe, that a staircase covered with ancient family portraits is seldom agreeable to the eye; indeed if it were a desirable kind of decoration, centuries must often elapse before the materials would be ready. The first impression on seeing a quantity of portraits in a staircase is, that it is an accidental if not a troublesome accumulation, and that there is no room for the pictures in better situations. Far be it from me to speak with any disrespect of the taste for family portraits so peculiar to the English. The domestic "charities," it has been often observed, are pleasingly fostered by them; but I hold it not always necessary to place the portraits of the household in prominent situations. The interest such works inspire is in most cases strictly domestic and private. The portrait has, in short, no pretension to be conspicuous to all eyes till the individual is celebrated, or till the work of art is canonized. These conditions, I admit, may often exist from the first; but then, à fortiori, a staircase is not the place for such a production. The Romans appropriated one of the most public rooms of the house (the ) to genealogies, records, and inscriptions relating to the family history, and covered the remaining space—often the atrium as well—with the portraits and busts of their ancestors. This does not appear to have been the custom with the Athenians.

We have decided against frescos in what are called sitting rooms: your oil pictures are, however, to be selected. I shall consider the library as distinct from the drawing rooms; but it is quite possible to blend their character. The library in the ducal palace at Urbino, had a room or study adjoining it, decorated with portraits (in this case, by the way, they appear to have been frescos) of learned men of all ages. In a library, literally to be used as such, pictures of extensive interest seem to be inappropriate. They may be said to divert the attention from the business or amusement of the place. But the