PERIODS in furniture interiors, the chairs and beds covered with woven materials in rich colors and leopard skins thrown over chairs, the carpets of a woven palm-fiber and mats of the same, which were used as seats.
Early Egyptian rooms were beautiful in line because simple; never crowded with superfluous furnishings. It is amusing to see on the very earliest bas-reliefs Egyptian belles and beaux reclining against what we know to-day as Empire rolls, seen also on beds in old French prints of the fourteenth century. Who knows, even with the Egyptians this may have been a revived style!
One talks of new notes in color scheme. The Bakst thing was being done in Assyria, 700 B.C.! Sir George Green proved it when he opened up six rooms of a king's palace and found the walls all done in horizontal stripes of red, yellow and green! Also, he states that each entrance had the same number of pilasters. Oh wise Assyrian King and truly neutral, if as is supposed, those rooms were for his six wives!
In furniture, the epoch-making styles have been those showing line, and if decorated, then only with such decorations as were subservient to line; pure Greek and purest Roman, Gothic and early Renaissance, the best of the Louis, Directoire and First Empire, Chippendale, Adam, Sheraton and Heppelwhite.
The bad styles are those where ornamentations envelop and conceal line as in late Renaissance, the Italian Rococo, the Portuguese Barrocco (baroque), the curving and contorted degenerate forms of Louis XIV and XV and the Victorian all examples of the same thing, i. e.: perfect line achieved, acclaimed, flattered, losing its head and going to the bad in extravagant exuberance of over-ornamentation.
There is a psychic connection between the outline of furniture and the inline of man.
Perfect line, chaste ornamentation, the elimination of the superfluous was the result of the Greek idea of restraint self-control in all things and in all expression. The immense authority of the lawmakers enforced simple austerity as the right and only setting for the daily life of an Athenian, worthy of the name.
There were exceptions, but as a rule all citizens, regardless of their wealth and station, had impressed upon them the civic obligation to express their taste for the beautiful, in the erecting of public buildings in their city of Athens, monuments of perfect art, by God-like artists, Phidias, Apelles, and Praxiteles.
Early Egyptian rooms were beautiful in line because simple; never crowded with superfluous furnishings. It is amusing to see on the very earliest bas-reliefs Egyptian belles and beaux reclining against what we know to-day as Empire rolls, seen also on beds in old French prints of the fourteenth century. Who knows, even with the Egyptians this may have been a revived style!
One talks of new notes in color scheme. The Bakst thing was being done in Assyria, 700 B.C.! Sir George Green proved it when he opened up six rooms of a king's palace and found the walls all done in horizontal stripes of red, yellow and green! Also, he states that each entrance had the same number of pilasters. Oh wise Assyrian King and truly neutral, if as is supposed, those rooms were for his six wives!
In furniture, the epoch-making styles have been those showing line, and if decorated, then only with such decorations as were subservient to line; pure Greek and purest Roman, Gothic and early Renaissance, the best of the Louis, Directoire and First Empire, Chippendale, Adam, Sheraton and Heppelwhite.
The bad styles are those where ornamentations envelop and conceal line as in late Renaissance, the Italian Rococo, the Portuguese Barrocco (baroque), the curving and contorted degenerate forms of Louis XIV and XV and the Victorian all examples of the same thing, i. e.: perfect line achieved, acclaimed, flattered, losing its head and going to the bad in extravagant exuberance of over-ornamentation.
There is a psychic connection between the outline of furniture and the inline of man.
Perfect line, chaste ornamentation, the elimination of the superfluous was the result of the Greek idea of restraint self-control in all things and in all expression. The immense authority of the lawmakers enforced simple austerity as the right and only setting for the daily life of an Athenian, worthy of the name.
There were exceptions, but as a rule all citizens, regardless of their wealth and station, had impressed upon them the civic obligation to express their taste for the beautiful, in the erecting of public buildings in their city of Athens, monuments of perfect art, by God-like artists, Phidias, Apelles, and Praxiteles.