Furnishing the Home of Good Taste Informative Summary

Overview:

This book delves into the history of interior design, highlighting the evolution of furniture styles from ancient Egypt and Greece to the Georgian era. The author, Lucy Abbot Throop, emphasizes the importance of understanding the fundamental principles of each period style, including its architectural features, typical materials, and ornamentation. Throop advocates for choosing furniture that is “consistently” styled and appropriate for the intended use of each room. She cautions against mixing periods haphazardly and stresses the importance of creating a unified, harmonious whole. Throughout the book, the author provides practical tips for modern homemakers, including how to choose furniture and fabrics, create attractive color schemes, and select the right lighting fixtures.

The text focuses on the evolution of interior design from medieval fortresses to the rise of comfortable, functional homes. The author points out the influence of cultural exchange and artistic trends, particularly the impact of the Italian Renaissance on France and England.

Key Findings:

The author argues for the importance of studying historical styles to develop a sense of good taste and avoid common furnishing mistakes.
The text highlights the key periods in interior design, emphasizing the importance of understanding their distinctive characteristics.
Throop advocates for selecting furniture that is “consistently” styled and appropriate for the intended use of each room.
The book emphasizes the importance of creating a unified, harmonious whole, incorporating elements like color scheme, architectural features, and furniture styles.

Learning:

Period Styles: The reader will learn about various period styles in interior design, from ancient Egypt and Greece to the Georgian era. Throop provides an overview of each period’s distinctive characteristics, including typical materials, ornamentation, and furniture designs.
- Examples:
  - Egyptian: Massive columns, lotus flower capitals, hieroglyphic wall paintings, chairs that are ancestors of Empire chairs.
  - Greek: Doric, Ionic, and Corinthian orders of architecture, emphasis on harmony of line and proportion, carved gems and coins, painted vases, terra-cotta figurines.
  - Italian Renaissance: Richly carved furniture, marble mantels, elaborate ceilings, use of grotesques and scrolls in ornament.
  - French Renaissance: Use of oak and walnut, straight chair legs, architectural cabinets, twisted columns.
  - Louis XIV: Splendor and magnificence, use of tortoise-shell, ivory, and wood inlay, ornate furniture mounts, painted walls.
  - Regency and Louis XV: Dainty boudoirs, carved metal ornaments, strong Oriental influence, “Singerie” and “Chinoiserie,” “vernis Martin” furniture.
  - Louis XVI: Classical revival, simplicity and restraint, straight tapering legs, fluted columns, pastoral designs, use of white and colored marble.
  - Empire: Inspiration from ancient Rome, massive furniture, heavy ormolu mounts, use of mahogany, rosewood, and ebony.
  - Tudor and Jacobean: Beautiful paneled walls, “linen-fold” design, elaborate carving, large beds, “great bed of Ware”.
  - Queen Anne: Walnut and mahogany furniture, cabriole legs, claw and ball feet, highboys and lowboys.
  - Georgian: Includes Chippendale, Adam, Hepplewhite, and Sheraton styles. Emphasis on mahogany furniture, delicate carving, inlay, and painted furniture.
Harmony and Proportion: The book stresses the importance of achieving a harmonious balance in furniture selection and interior design. Throop discusses how to achieve harmony in color, design, and the scale of furnishings. She emphasizes the importance of avoiding jarring contrasts and unnecessary clutter.
The Importance of Background: The text highlights the crucial role of walls in creating a successful interior design. Throop explores different wall coverings, including painted walls, wallpaper, tapestry, leather, and fresco, offering guidance on selecting appropriate materials for different styles and room functions.
- Examples:
  - Plain Walls: Provide a restful background and allow for a wider variety of decorations.
  - Paneling: Creates a sense of architectural structure and can be used to highlight certain features.
  - Tapestry: Should be used as a background, not just as a portière.
  - Leather: A durable and handsome material for halls, libraries, and dens.
  - Fresco: An elegant wall treatment for large rooms.
- Facts:
  - In the 13th Century, Henry III ordered the sheriff to oversee the painting of the king’s chamber at Winchester Castle.
  - The walls of the great periods were treated architecturally and were often richly carved and painted.
  - The “linen-fold” design was a popular feature of Tudor and Jacobean wainscoting.
Lighting: Throop emphasizes the importance of appropriate lighting, both for functionality and aesthetics. She explains the pitfalls of using ceiling fixtures and advocates for well-placed sidelights and lamps.
- Facts:
  - Artificial light should come from the sides of a room, mimicking natural light coming from windows.
  - Center lights make rooms seem smaller, cast shadows, and can be harsh on the eyes.
  - Side lights should be placed near focal points, such as mantels, doorways, or large pieces of artwork.
  - Lamp shades should be chosen to harmonize with the room’s style and should provide adequate light.

Historical Context:

The book was written in 1920, at a time when there was a growing interest in reviving historical styles in interior design. This was a reaction against the excesses of the Victorian era and a desire for more classic and refined aesthetics.
The text reflects the social changes of the early 20th century, including the increasing importance of comfort and functionality in home design.
The author’s discussion of the influence of the French Revolution on the production of furniture and the rise of the Empire style reflects the turbulent political climate of the time.

Facts:

Louis XIV, known as the “Sun King”, reigned for 72 years and established the Gobelin works, making France a leading center for the arts.
The “Manufacture des Meubles de la Couronne”, also known as the “Manufacture des Gobelins”, was a royal workshop where artists created tapestries, furniture, jewelry, and other objects of luxury.
The great cabinet-makers Chippendale, Adam, Hepplewhite, and Sheraton made significant contributions to English furniture during the 18th century.
The discovery of Pompeii had a significant impact on the classical revival in interior design, influencing styles like Louis XVI and Adam.
Mahogany became a popular wood for furniture in the 18th century, thanks to its lightness and ease of working.
Inigo Jones, a renowned English architect, helped to introduce the Palladian style to England.
Grinling Gibbons was a renowned wood carver who worked during the Jacobean period and used pear and lime woods to create elaborate decorative work.
The “great bed of Ware”, which is 12 feet square, is one of the most famous examples of Tudor beds.
The “vernis Martin” technique, a French method for creating lacquer, became very popular during the Regency and Louis XV periods.
“Love seats” were small settees that were too large for one person but too small for two.
The “drunkard’s chair” was a large armchair that reflected the social manners of the early 18th century.
The “lit d’anglaise”, a type of bed with a back, headboard, and footboard, could be used as a sofa.
The “lit a Romaine” was a type of bed with a canopy and four festooned curtains.
Robert Adam’s furniture designs were often carried out by Chippendale.
The “Cabinet Maker and Upholsterer’s Guide” was published in 1788, two years after Hepplewhite’s death.
Thomas Sheraton was a journeyman cabinet-maker who was also a writer of religious tracts and sermons.
The “Drawing Book” was the best of Thomas Sheraton’s published works.
The “Encyclopedia” that Sheraton was working on at the time of his death included subjects beyond furniture and cabinet-making.
The “Chamber of Horrors” was a room where one sensible woman stored her ugly furniture.
The rise of the bungalow style in America was a reaction against the smaller, elaborate houses of the past.
The use of plain linoleum floors is recommended for day nurseries because it is easy to clean.
The “bonne femme”, a thin net or lace curtain, is often used for privacy in urban settings.

Statistics:

Louis XIV reigned for 72 years.
The “Courtney bedstead” is 103.5 inches high, 94 inches long, and 68 inches wide.
The wife of a baronet could have two shelves on a court cupboard, a countess three, a princess four, and a queen five.
The famous “great bed of Ware” was twelve feet square.
Mahogany was not used to any extent before 1720.
The bed in the room at Knole House, furnished for James I, is said to have cost £8,000.
The Duchess of Portsmouth’s rooms were full of “Japan cabinets and screens, pendule clocks, greate vases of wrought plate, tables, stands, chimney furniture, sconces, branches, baseras, etc., all of massive silver.”
The “Director” by Chippendale includes no plates that show his most beautiful work.
Robert Adam published his book in parallel columns of French and English, which suggests it was in demand in France.
In 1770, Marie Antoinette, then 15 years old, arrived in France as a bride.
Marie Antoinette’s boudoir at Fontainebleau is a perfect example of Louis XVI style.
The Marquise de Sérilly’s boudoir, furnished about 1780-82, is a charming example of the adaptation of Pompeian style.
The style of Louis XVI was established during the reign of Louis XVI (1774-1793).
The “Salon des Singes” at the Chateau de Chantilly is a good example of “Singerie” style.
The “Games of Children”, a Gobelin tapestry, is a highlight of the beautifully proportioned room in the photo.
Watteau’s decorations show the “Arcadian affectations” of the Regency period.
In the time of Louis XV, the most common form of salon was rectangular, with proportions of 4 to 3, or 2 to 1.
The “chambre en niche” is a room with a bed space that is smaller than an alcove.
A “lit d’anglaise” had a back, headboard, and footboard, and could be used as a sofa.
The “lit a Romaine” had a canopy and four festooned curtains.
The “Director” by Chippendale includes no plates that show his most beautiful work.
The first real serpentine sideboard was made by Shearer in 1780.
The Sheraton school of cabinet making lasted from about 1790 to 1806.
The “Drawing Book” by Sheraton was the best of his published works.
Thomas Sheraton died in 1806.
A wainscot, or dado, should be about 36 inches high.
There are looms in New York making wonderful hand-woven tapestries with the true decorative feeling of the best days of the past.
A rug with a general blue tone must not be placed next to other rugs with an overpowering amount of red.
A rug placed cat-a-cornered breaks up the structural plan of the room and makes it seem smaller.
A rug with a general blue tone must not be placed next to other rugs with an overpowering amount of red.

Terms:

Bahut: A chest, especially in medieval times.
Huchiers: A Corporation of Carpenters.
Dressé: Arranged, especially for a meal.
Arras: A type of tapestry.
Ciel: A ceiling.
Lit-de-repos: A chaise longue.
Ebeniste: A cabinetmaker.
Ormolu: Gilt bronze.
Petite-cheminée: A small fireplace.
Rocaille: A type of elaborate, asymmetrical, and highly ornamented decorative style popular in the 18th century.
Singerie: A decorative style that features monkeys.
Chinoiserie: A style that incorporates Chinese motifs.
Toile de Jouy: A type of printed cotton fabric featuring a woven design.

Examples:

The Riccardi Palace in Florence and the Palazzo della Cancelleria in Rome are examples of early Renaissance palaces.
The Library of St. Mark’s at Venice is an example of the second phase of Renaissance architecture, dominated by Bramante.
The Chateau de Gaillon is a transitional chateau that features both Gothic and Renaissance decoration.
Blois and Chambord are well-known Renaissance chateaux.
The Chateau de Chantilly has a “Salon des Singes” that showcases the “Singerie” style.
The Villa Lante is an Italian villa with four terraces, each featuring a beautiful fountain.
Azay le Rideau, Chenonceaux, and Chaumont are examples of French chateaux built in the 16th century.
The “Songs of Childhood” is an example of a suitable picture for a nursery.
The “Games of Children”, a Gobelin tapestry, is a beautiful example of a tapestry to be used as a background.
The Hancock desk is a design favored in America in the 18th century.
The “great bed of Ware” is a twelve-foot-square Tudor bed.
The “Courtney bedstead” is an example of a Tudor bed with elaborate carving.
Dorothy Quincy’s bedroom features a fine old mahogany field bed, appropriately covered with flowered chintz.
The room at Knole House furnished for James I features a bed said to have cost £8,000.
The “Chamber of Horrors” was a room where one sensible woman stored her ugly furniture.
The old farmhouse on Long Island is a good example of a country house with a charming and consistent furnishing style.

Conclusion:

“Furnishing the Home of Good Taste” provides a comprehensive guide to understanding the historical evolution of interior design, emphasizing the importance of choosing furniture and décor that reflects a unified, harmonious aesthetic. The book emphasizes the importance of studying period styles to develop a sense of good taste and avoid common furnishing mistakes. Throop encourages readers to create spaces that are not only beautiful but also functional, comfortable, and reflect the individual personality of the homeowner. The text highlights the importance of considering the architectural features, color schemes, lighting, and even the smallest details, like hardware, to create interiors that are convincingly right. By understanding the fundamental principles of different periods and applying them with a discerning eye, readers can create homes that are both stylish and timeless.

Learn more