Page:An Encyclopædia of Cottage, Farm, and Villa Architecture and Furniture.djvu/966

 942 COTTAGE, FARM, AND VILLA ARCHITECTURE. at pleasure, of arched heads and tracery to the different compartments, <ind the enrich- ment of the strinjT-board, if requisite, in a correspondent style. Fig. 1644 shows the same principle adapted to the form of the cut string, or that which leaves exposed the ends of the steps. In this, therefore, it is necessary to give to the mullion baluster a kind of base, to prevent its receiving an abrupt termination upon the step ; and this we have sketched as attainable in several ways, of which the uppermost form will be perceived to be reduced to its simplest principles. The compartments produced under this mode of arrangement are, of course, susceptible of additional decoration by the same means with those of the former figure ; and, on the other hand, the ornamental string- board which we have here introduced wUl admit of simpiiiication if necessary. 1 904. External Colouriny. Not to pursue our notice of detailed features to an extent which might perplex the reader with irdnutije, we shall conclude by offering one or two remarks upon some matters which have a close collateral reference to the subject in general. Of such matters, primary and evident importance attaches to the circumstance of colour. This, though it docs not, strictly speaking, come under the cognizance of Architecture, has a very powerful influence upon its productions. Hence, viewing the subject with a reference to external effects, a building newly erected is, notwithstanding the entireness of its finishings, far less pleasing to the judicious eye than that which has had its tints softened by the wear of years. The attention of the Architect should therefore be directed to a consideration of the effect -which the lapse of time will have upon the materials of his works. He will accordingly see the propriety, in matters of external woodwork, doors, verge-boards, &c. &c., of employing, where practicable, a sound wood, like oak, in jjreference to an imitation in painted deal, of which the tone of colour can never be improved by time. In instances where a partial restoration of old remains causes a spotted and unharmonious appearance in the general aspect, he will do wisely to subdue the glare of new materials ; as may be done, in stonework, by the application of boiled oil, coloured water, &c. In cases where the fiery tone of red brick requires to be lowered, or where blank spaces may demand relief, his object may be effectually answered by the training of ivy, or any of the varieties of American creeper, against his walls ; a mode of natural embellishment which imparts even to simple objects an air of shadowy richness ; subdues, in rural scenery, the violence of the transition from objects of nature to those of art; and even bestows upon the architectural subject of recent date somewhat of the charm belonging to the venerable. He will, at all times, shun the use of lime-white for external objects ; and, if imitating, at any time, the old style of erections in timber and plastering, he will act judiciously in modifying the anti(jue character of colouring, by substituting, for the favourite red and white, a brown and a deep and softened stone tint. 1 905. The Application of Colours for internal Purposes may be made productive of great effect. The old style of painting upon minute architectural subjects often exhil)its the richness of appearance resulting from the deep colouring of hollows, striping of heads, and gilding of fillets and foliage ; and, at other times, displays the effect of painted foliage in trelliswork ; of figures, with bands and inscriptions of mottoes, " posies," and proverbs ; thence advancing, even to the fidl extent of the skill of the times, in paintings of a historical character. Beyond this, the effects of colour were occasionally heightened by the use of painted glass ; the principal subjects for domestic application being those of armorial bearings, badges, mottoes, and foliage. 1906. Fittings-vp and Furniture, in the Poiiited Style. We might here particularise the old decorations of hangings and tapestry ; from which we might pass to a detailed investi- gation of the peculiarities of ancient furniture, as another collateral matter affecting unity of character and feeling. We should, however, be unable to do justice to this latter subject, without multiplying our sketches and remarks so as to exceed our proposed limits ; and can only, in this place, express our regret that the execution of furniture, as a])propriate to works in the pointed style, should ever be confided to tradesmen, who cannot, in reason, be supposed to have studied this class of Architecture with that patient attention which is necessary to a comprehensive acquaintance with its sj^irit ; not to say that, of all the regular subjects of the style, scarcely any require the display of such feeling and judgment as do these collateral objects of fittings-up and furniture. 1907. Conclusion. We shall not extend our observations to matters of a more minute description, or a less intimate connection with our subject ; and shall only beg to observe, in conclusion, that we have not offered the foregoing sketches and remarks with any such view as that of qualifying the reader to become at once a composer in Pointed Archi- tecture ; an attainment for which the study of years will not be more than sufficient. Our object is, rather to lead the student to seek a more intimate acquaintance with the characteristics of this unrivalled style of art ; and to suggest to him and to the amateur a few ideas which may place them on their guard against the pretensions of false taste, and the innovations of ignorant and soulless imitators. Tliis caution will be the more