Practical Church Decoration

8/2/2019 Practical Church Decoration

1/212

I

ma;^-

ARTNMt LOUIS DUTNIE.

- * V^


2/212


3/212


4/212


5/212

PRACTICALCHURCH DECORATION.


6/212


7/212

'THE DECORATOR" SERIES OF PRACTICAL BOOKS.No. 3.

Edited by ARTHUR SEYMOUR JENNINGS.

PRACTICALCHURCH DECORATIONA Guide to the Design and Execution of Decoration of

Churches, Chapels and other Ecclesiastical Structures.Illustrated by Coloured Plates and many examples

in black and white with suggestions fortheir execution in colour.

BYARTHUR LOUIS DUTHIE.

Xondon :THE TRADE PAPERS PUBLISHING CO., LTD.,

365, Birkbeck Bank Chambers, VV.C.IHew ]i>orfe :

THE PAINTERS' MAGAZINE,100, William Street.

1907.


8/212

I niform with this Volume.

PRACTICAL GILDING,BRONZING & LACQUERING.

Bv FREDK. SCOTT-MITCHELL.Lecturer OH Decoration to the City and Guilds of London Institute,and the London County Council.

1 80 pages .. .. 3/-.Press Notices.

"Lucid and comprehensive." Lloyds'." A very good, practical book." Builders' Journal." Practical and comprehensive." Journal of the Society ofArts.

PRACTICAL STENCIL WORK.A Guide to Designing and Cutting Stencils and ExecutingStencil Work for all purposes. Illustrated by many examples

of Ornamental Stencil Designs.BY FREDK. SCOTT-MITCHELL.

176 pages .. .. a/-.Press Notices." Unquestionably one of the most important books that has beenpublished in reference to stencil decoration."Wallpaper News." A veritable treasure of practical information." Master Painter." The author has treated the subject in a very practical andtherefore very useful manner." Plumber Decorator." The best that has been so far published on the subject ofmodern stencil decoration." Painters' Magazine." It covers the entire field of stencil work from the simplest

designs." Exchange and Mart." Admirable designs, the work in many cases of artists of dis-tinction are given in the book."Illustrated Carpenter &> Builder." Perfectly practical, it is also artistic." Building News.Office of "THE DECORATOR,"

365, BIRKBECK BANK CHAMBERS, HIGH HOLBORN, LONDON, w.c.New York : " The Painters' Magazine," 100, Wi.liam Street.


9/212

EDITOR'S NOTE.THERE are very few books extant which deal withthe important subject of the decoration of churches,and this little work, it is hoped, will therefore standa good chance of receiving a welcome. To treat thesubject exhaustively would require a book whichwould probably cost as many pounds as this doesshillings. But unpretentious as the present volumeis, it is based upon practical lines, and the designsare correct according to 1he periods represented.It should, therefore, prove helpful to decorators andothers whose experience in beautifying sacredstructures is limited. It is probable that a supple-mentary volume carrying the subject farther maybe issued later. The designs with very few excep-tions, are the work of the author, and althoughtheir beauty when properly executed in colours canhardly be appreciated from the black and whiteengravings, the explicit instructions which aregiven as to the colours which may be most appro-priately used for them, will enable the reader touse them very effectively.

It will be readily admitted that very many-one might almost say most of our smaller churchesand chapels are very far from presenting thatcheerful and inviting appearance which is so desir-able. And it is hoped that this little book mayassist, at least in some small measure, in bringingabout an improvement in this respect.


10/212


11/212

PREFACE.THIS little book makes no claim to being an authori-tative work on such a far-reaching subject as ChurchDecoration, and is intended primarily as a handbookto guide the average decorator who may be entrustedwith the decoration of a small church. In additionto this, however, the student wishing to gain ageneral elementary knowledge of the subject hasbeen carefully borne in mind, together with theminister who takes an active and intelligent interestin the appearance of the church within his charge.Consequently, subjects and processes not comingwithin the everyday experience of the decoratorhave been simply explained, with a view to popu-larising them, and possibly leading to their moregeneral adoption.

The designs given in the ensuing pages arefounded, for the most part, on typical examples ofEnglish Gothic ornament, but are not directly copiedfrom any, and in other respects are entirely original.In most cases they have been designed for repro-duction by means of stencil-work as affording a


12/212

8 PREFACErapid and accurate means of repetition, as well aspossessing an artistic character well in keeping withthe nature of the work. The modest size of thevolume prevents their being as fully representativeof different styles of work as might be wished, but itis hoped that as suggestions they will be sufficient.A few coloured plates have been included inorder to suggest useful and harmonious schemes ofcolour, and these have been helped out with selec-tions of numbered samples from the colour booksof the various paint manufacturers.

ARTHUR LOUIS DUTHIE." Camelot," Roundhay, Leeds.

May, 1907.


13/212

CONTENTS.CHAPTER I.INTRODUCTORY. PAC-E

Special Conditions Purpose of the Building and its Asso-ciations Precedent and Tradition Influence of CreedUse of Symbolism Conformity with ArchitectureObjects to be Attained The Commercial Element .. 13

CHAPTER II.GENERAL PRINCIPLES.

Decoration Subservient to Architecture Uses of Colourand Ornament Where they may be Used Concen-tration of Interest Scale Moderation in Use ofOrnament Use of Gold and Gilding General Effect 19

CHAPTER III.ARCHITECTURE.

Styles Mixture of Styles Distinguishing FeaturesParts of a Church . . . . . . . . ..31

CHAPTER IV.PLANNING THE SCHEME OF DECORATION.

Proportions Over-Elaboration Value of Plain SpacesReserve Awkward Spaces . . . . . . 43CHAPTER V.

TREATMENT OF WALLS.Dadoes Fillings Dado Borders Contrast in DesignBands Friezes Medallions Wall Arcades Outlines

in Relief Wall Paper 57


14/212

io CONTENTSCHAPTER VI.OTHER FEATURES. PAGE

Timbered Roofs Ceilings Spandrils Lunettes and^Tym-pani Recesses : Niches, Sedilia, Piscinae, Wall ArcadesArches Doorways and Windows Pillars . . 67

CHAPTER VII.FURNISHINGS.

Reredoses Screens Ironwork Organs Pulpits Monu-ments Seating . . . . . . . . . . . . 75

CHAPTER VIII.SYMBOLISM.

Symbolic Plants Symbolic Devices (Miscellaneous) Mono-grams- -Emblems Symbolism and Creed Heraldry . . 91

CHAPTER IX.FIGURE WORK.Figures in Ornament Angels Cherubim Animals Sub-

ject Figures The Jesse Tree . . . . . . . . 107CHAPTER X.LETTERING.Texts as Ornament Friezes, etc. Scrolls Disposition ofWords Legibility The Ten Commandments .. 117

CHAPTER XI.FRESCO PAINTING AND OTHER PROCESSES.

True Fresco Water Glass Process Spirit Fresco WaxMethod Gesso Sgraffito Mosaics Tiles . . . . 1 27CHAPTER XII.

COLOUR SCHEMES.General Considerations Harmony of Colour Minor Con-siderations Effect of Outlines Suggested Combina-tions . . . . . . . . . . . . ..139


15/212

CONTENTSCHAPTER XIII.

7 r

MANAGEMENT OF THE WORK, COLOURINGWALLS, DISTEMPER, ETC. PAGEHanging Scaffolds Extension Ladders Platform Scaffold-

ing DistempersWashable Water Distempers, etc. . . 159Suggestions for Colour Treatment of Illustrations 152

CHAPTER XIV.Ready made Stencils . . 171

LIST OF PLATES.i.

ii.in.IV.v.VI.VII.VIII.IX.X.XI.XII.

XIII.XIV.XV.XVI.XVII.XVIII.XIX.XX.XXI.XXII.XXIII.XXIV.XXV.XXVI.XXVII.XXVIII.

Norman and Early English Detail . .Decorated and Perpendicular DetailNorman Diaper and BandsParts of a ChurchNorman BordersEarly English BordersEarly English DiaperEarly English Diaper1 4th Century Dado and BorderPerpendicular Diaper and CrestingBattlemented CrestingsBand OrnamentsWall DiapersDiapersMedallionsPerpendicular Frieze and Diaper . .Finials and CrocketsRoof PatternsPillar PatternsTreatment under GallerySuggestion to Correct Excessive HeightSpandrils and Paterae . .Temporary WallOrgan Pipes

Symbols

232735384i42444547505i5255565961656873767778808384858792


16/212

12 LIST OF PLATES


17/212

CHAPTER I.INTRODUCTORY.

SPECIAL CONDITIONS. The decoration of ecclesi-astical buildings at the present time calls for atotally different treatment from that in vogue foredifices of any other character. The sacred char-acter of the building demands dignity and austerityof design, the traditions of ages call for respect andconsideration, the development of centuries ofaichitecture have laid down binding laws ot prece-dent. Man's highest aspirations are representedand embodied in the building, and everythingconnected with it must be of a nature that will tendto support and strengthen the feelings of reverenceand devotion which gave the structure existence.Tn the Byzantine Age, in the Middle Ages and inRenaissance times the splendours of Architectureand Decoration were lavished equally upon churchand palace, upon cathedral and city hall, and therewas little, in outward appearance at least, to dis-tinguish between the sacred building and theprofane. But in modern days the dividing line issomewhat sharply drawn. Both in architectureand decoration church and chapel have a distinctivecharacter which sets them apart from all otherbuildings. This applies more particularly to build-ings of Gothic design than of Renaissance, Gothic


18/212

I4 PRACTICALarchitecture being, as it were, set apart for ecclesias-tical buildings, and seldom used for anything else.In churches of Renaissance design the distinctionis less marked, but still generally unmistakable.PURPOSE AND ASSOCIATIONS. So in decoratinga church we have to recognise special conditionswhich do not obtain elsewhere. The purpose ofthe building dedicated to the worship of theSupreme Being must be recognised, and a spirit01 reverence must be apparent throughout thework. Its associations, many and varied withthe divinity in Nature and in man with the brother-hood of man with the Christian life of self-sacrificeand mutual help with ties of home and familywith times of happiness and sadness with themost sacred events of life, baptism, confirmation,marriage, death cannot perhaps at all times beconsciously and actively remembered by the decora-tor, especially when immersed in the more practicaldetails of the work, but they must exert considerableinfluence, and it is necessary to recognise them. Itis impossible even to suggest all that is conveyedby the word " church " to an earnest Christian, andit work in connection with the church is to becarried out in all sincerity, the task becomes avery onerous one.TRADITION AND PRECEDENT. It is rendered atonce more easy and more difficult by the accumula-tion of tradition and precedent. In some cases thepractice and example of bygone days lay down lawsfrom which we cannot depart : in others theysuggest opportunities for improvement or need forreformation. At one time they show us exactly


19/212

CHURCH DECORATION 15what must be done : at another they presentproblems very difficult of solution. Frequently thesolution will be a matter of opinion of some one inauthority or of a congregation, and the decoratorwill always find it safest not to rely entirely uponhis own judgment.INFLUENCE OF CREED. The influence andlimitation of creed have to be remembered, for thereare many children of varying disposition in God'sgreat family. There are those who think that nobuilding can be too rich or too elaborately furnishedand decorated to show their devotion : there areothers who hold that only in the utmost austerityand asceticism can there be true and sincere worship.The differences of opinion between Roman andAnglican, Church of England and Nonconformistshow themselves as much in the building and itsdecorations as in creed and forms of worship, andthe decorator must follow the creed.

USE OF SYMBOLISM. The use of symbolismis one of the most striking manifestations of thequestion of creed. The employment of architectureand decoration, furnishings and ritual, pregnant inevery detail with traditional meaning, is indispens-able to the devout Roman Catholic in othercircles such usages gradually decrease in favouruntil we find circumstances in which even thealmost universal sign of the cross is looked upon as" idolatry." The prejudice against the use ofsymbolism and decoration generally is fortunatelydying out, in some quarters at least, and the barn-like chapel is becoming less popular every day.Jjet us hope that this means not Jack of sincerity,


20/212

16 PRACTICALbut a more liberal spirit and a more charitableinterpretation of the Gospel message. We mustnever lose sight of the fact that in many cases thebareness and coldness of a place of worship is duenot to any spirit of prejudice or bigotry amongstthe worshippers, but to the fact that their meanswill not allow of their enriching it in a more worthymanner.

CONFORMITY WITH ARCHITECTURE. Followingupon these higher and more general considerationsthe need for conformity with the architecture ofthe building makes itself felt. The decorator iscalled in to supplement and complete (in a welldesigned building) the work of one who has gonebefore his task is only a part of a whole, andmust be treated as such. The spirit of the com-plete design must be carried out in every detail,leading features must be recognised, accentuatedand enriched, not contradicted and stultified. Onthe other hand, when a building has no architec-tural distinction it may be necessary to endeavourto add to it by means of decoration something ofthe interest and dignity which is lacking.

OBJECTS TO BE ATTAINED. The objects to beattained by the decorator are several, both utili-tarian and ornamental. At one time the protec-tive nature of paint is required for wood-work oriron at another time for the purpose of cleaningand restoring surfaces blackened by time, dust andsmoke. Colour is called for to add warmth orbrightness to a. cold or dismal building. Ornamentis required for enrichment, for interest, to assistthe purpose of the building with the suggestive


21/212

CHURCH DECORATION 17power of symbolism. Other processes than that ofpainting are called in for different purposes toassist in the enrichment of the building, but ineverj< case with the one end in view that of makingthe building more precious, more noble, moielovable.THE COMMERCIAL ELEMENT. Last, but stillimportant, comes the question of cost. The timehas all but gone by when it was possible to buildand equip churches and monasteries regardless cfcost, and when buildings grew slowly, little bylittle, from year to year, and from century tocentury, until they reached the wonderful perfectionwe so frequently see. Modern requirements demandthat buildings should be completed in a time thatmediaeval artificers would have regarded as impos-sible, and at a cost, even having regard to the alteredpurchasing power of money, that they would havecalled inadequate. We may object to the condi-tions, but we cannot alter them and must do thebest we can under the circumstances. There arestill occasions when no marbles are too costly, nomosaics too elaborate to be used in the enrichmentof the house of prayer, but the majority of churchesnowadays are the churches of the people, builtand supported, not by rich lands and endowments,but by the people themselves, and only too oftenis it necessary to be content with the simplest andhumblest of buildings, even where every wish existsfor the attainment of something better. So, toooften, the decorator has to curb his ideas ot whathe would like to do, to relinquish his visions of thepossibilities suggested by the handiwork of the

B


22/212

18 PRACTICALarchitect arid endeavour by careful design andpurposeful concentration to make much of little,by a simple scheme and well studied detail tosuggest the lofty ideals which the occasion demands.The economy which forbids the use of marbles andmosaics of course makes the opportunity for thedecorator, but he too is sometimes restricted toan extent that admits of only the very simplestwork. Then the choice of inexpensive materialsand methods becomes imperative the selectionof colour schemes which will look rich and satis-factory without the addition of ornament butstill it will be possible to obtain a really artisticresult which shall be appropriate to the buildingand enhance its appearance in a very satisfactorydegree.


23/212

CHURCH DECORATION 19

CHAPTER II.GENERAL PRINCIPLES. ',,

DECORATION SUBSERVIENT TO ARCHITECTURE.We have noted the necessity of keeping Decorationsubservient to Architecture. No decorative arrange-ment should be allowed to interfere with or contra-dict the constructional features of the building.Anything which would appear to interfere withthe proportions of the structure, . unless these areadmittedly bad, or which would overshadow ordetract from the importance of any of its parts,must be avoided. The decorator must aim ataccentuating and embellishing what already exists.USES OF COLOUR AND ORNAMENT. There aremany ways in which this rule applies in regulatingthe distribution of colour and ornament, both ofwhich must be recognised as having utilitarian aswell as {esthetic values. The colour of the wallsin a dark building with small windows wouldnaturally require to be as light as possible in orderto make up by reflection for the want of directlighting.

In Norman times, for instance, windowswere made small and placed high, partly to keepout robbers, partly because they were frequentlyleft unglazed, and buildings of that period are fre-quently rather dark. On the other hand a plainwall on which a flood of sunlight falls in such a


24/212

20 PRACTICALway as to dazzle the eyes of worshippers requirestreatment with a colour which would absorb lightinstead of reflecting it, such as Olive Green,Dark Terra Cotta, Purple Brown, PompeianRed, etc. Again, an important reasonfjr the use of dadoes is the wish to concealthe dirt deposited by the recurring iriction ofclothes, hands, etc., brought into contact with thewalls. This is especially the case in porches,passages, etc. Consequently dadoes are generallymade rather dark in colour. Ornament is appliedto dadoes in the form of diapers for the same reason,the diapered surface showing less clearly the dents,smudges and scratches of wear and tear than a plainsurface would. Colour may be desirable in a big,cold looking building to make it appear warmerand more pleasant to the eye. It will even, withthe judicious addition of ornament, impart some-what of a furnished air to a place otherwise emptylooking. On the other hand, in a small buildinglarge masses oi strong colour ought to be avoidedas tending to detract from the apparent size.WHERE THEY MAY BE USED. Naturally, themost important part of the building will receivefirst consideration the chancel of a church oughtto be made richest in decoration in order to empha-sise the fact that it is the most sacred part thenave would receive more attention than the aisles(though this is frequently reversed for the simplereason that the nave, having practically no wallspace, offers so little opportunity tor display)in a dissenting place of worship the interest wouldcentre around the pulpit, not because it is more


25/212

CHURCH DECORATION 21sacred, but because the eyes of the congregation aredrawn towards it during the greater part of theservice. The porch might well receive a littlemore attention than it sometimes does, if onlybecause of the admitted value of first impressions.A stranger, entering a comtortable looking porch,adorned with appropriate texts or symbols, wouldfeel a welcome which is wholly lacking in some ofthe forbidding and chilling entrances in existence.Where the font is set apart in a corner of the build-ing, as is frequently the case, giving that particularplace something of the air of bapistry or chapel,the fact might well be noted and emphasised in thesurrounding decoration, which might not only becorrespondingly enriched, but also rendered signi-ficant by means of appropriate symbols. In smallbuildings, where the organ is a conspicuous feature,and in other places where special prominence isgiven to the musical part of the service, the interestof colour and ornament might very appropriatelybe concentrated around it. Where there is spacefor it the wall above the chancel arch or apse givesan opportunity for a striking piece ot decorationwhich will be in full view of the congregation andadd considerably to the dignity ot the whole build-ing.

Roofs and ceilings vary so much in characterthat it is difficult to treat of them generally. Opentimbered roofs were frequently painted in theMiddle Ages with elaborate patterns nowadaysthey are generally left plain and varnished. Ceilings,whether wood-lined or plastered, give many varyingopportunities for characteristic decoration.


26/212

22 PRACTICALIt should be noted that in the Middle Ages

colour and ornament, in the shape of painteddecoration, were much more freely used than isnow the case. Much early work, in fresco, distemperand oil paint, has perished under the ruthless handof Time, giving an appearance of austerity to oldbuildings which they did not originally possess.In later times, too, whether under the influence ofthe Puritan spirit of the Commonwealth period, or,as some say, at the behest of the Renaissancefashion, much fine old decoration was deliberatelyhidden behind coats of whitewash. Nowadays weare so beset with plaster and imitation materialsthat genuine stone and oak have acquired an almostexaggerated value in our estimation because theyare genuine and solid and durable, and consequentlyit is usual in modern work to leave stone-workundecorated, but the Mediaeval decorator usedcolour and ornament wherever he felt it would beuseful, caring nothing as to the material which hecovered. The idea seems barbaric and almostPhilistine to our modern minds, but there is nodoubt that the cold grey walls of some of thesefine old churches would gain by the judiciousaddition of colour to relieve their monotony.

In small, simply arranged buildings wheredecoration frequently has to be very economicallydone, utilitarian features, such as the dado, mustfirst be looked to. The wall generally will have tobe plain, but a frieze will give an opportunity ofadding interest and carrying up the feeling of warmthand comfort given by the dado. Beyond this thereis little that can be suggested in a general way.


27/212

CHURCH DECORATION

PLATE I.


28/212

24 PRACTICALChancel walls might have a simple spot diaper ofan emblematic character. Texts are always useful,and frequently can be utilised to break up barewall spaces when nothing else of so simple a char-acter would be acceptable.CONCENTRATION OF INTEREST. Apart from theconsiderations which have already been glanced at,there are other reasons for concentration of interest.To scatter ornament and colour equally over abuilding is sure to be productive of a monotonousand uninteresting effect, and sometimes defeatsitself by making the scheme look less rich than itreally is. A comparatively simple scheme withthe interest centred around one or two importantfeatures will always appear more satisfactory inevery way than one in which an attempt has beenmade to get interest into every corner. Just as ina picture, we look upon the painting of the face asmore interesting and important than the paintingof the hands, so in a scheme of decoration thereought to be some point to which all others lead up.

SCALE. Scale must never be lost sight of.Ornament which would be appropriate in a largebuilding would be absurdly out of place in a smallerone, and generally speaking, any ornament alreadyexisting in the way of carved stone or wood-workmust set the scale for painted work. As a rule,small ornament is safer in a large building thanlarge ornament in a small building, but the distancefrom which it is to be viewed must always be care-fully considered. The ornament in a frieze or ona ceiling, though it must be in keeping with, oreven show the same features as, a dado border,


29/212

CHURCH DECORATION 25must be larger and broader in detail to allow forthe diminishing effect of perspective. This effectof perspective will be found to be astonishinglydeceptive, even to experienced decorators, andornaments designed in the studio frequently haveto be enlarged or re-modelled in order to renderthem suitable lor lofty positions.

In order to ensure correctness in this respectit is advisable to rough out the design on a sheetof paper and pin it up in the desired position beforeproceeding to cut a stencil or pencil the ornamentupon the wall.An elaborate scheme of decoration, eminentlysuitable for a large building with transepts, aisles,etc., would be completely out of place in a smallone. In a large building, so cut up by arcades,screens, galleries, etc., that only part can be seenat one time, many important centres of interestare desirable and even necessary, each forming thekeynote, as it were, of its own particular vista.The reason why many old town churches are soelaborate in detail externally, and yet compara-tively insignificant in general design, is that theywere so closely built round with houses that itwas only possible to see a small portion at a time.In a small building, where all can be seen at a glance,many important points would produce an appear-ance of want of repose, and by breaking up thespace make the place appear smaller still.MODERATION IN USE OF ORNAMENT. Thisleads us directly to the next point moderation inthe use of ornament. The desire to produce aneffect of richness and grandeur may very easily


30/212

26 PRACTICALlead the decorator into covering every availablespace with ornament and thereby cause him tostumble upon many pitfalls. A wall entirelycovered with one diaper may have a tendency tomonotony, but to break it up into dado, filling andfrieze or arcading with figure or ornamentalpanels and diapers above may lead to confusion.One ornament will clash with another it is difficultto give one part prominence and keep anothersufficiently subordinate.An example of this is shown in Plate XL.,which is inserted here as a warning and not as a copy.Though the items of which it is made up are suffi-ciently good in themselves, the use of so manytogether produces a confused and undesirableeffect which ought to be avoided.The difficulty increases as different colours areadded, until the whole becomes a jumble of conflict-ing items, over which the eye wanders wearily withno sense of satisfaction or repose. That is oneargument in favour of the colourless condition ofour stone cathedrals the feeling of aspiring peace-fulness instilled by their lofty, springing lines andquiet greyness would be to some extent lessenedby the addition of more ornament and colour. Soit is evident that no sort of rule can be laid down.Certain dangers must be recognised and guardedagainst the desire for the benefits to be gained bythe use of colour and ornament must always berestrained by the risk of over-elaboration. Thevalue of plain spaces as a foil to the richness ofornament must be kept constantly in view, forby their use an elaborate scheme can frequently


31/212


PLATE II.


32/212

28 PRACTICALbe saved from confusion. Allowances must bemade for divergence of individual taste, but wemust always remember that it is possible to havetoo much of a good thing.

Colour in small details and in special pointsof interest may be much brighter and more of aprimary character than when used on large surfaces.Colour can be used stronger and brighter in build-ings of an early period of architecture than in laterwork. The stained glass of the correspondingperiod may be taken as a fairly safe guide wherethere happens to be any in the building I2th and13th century glass being very strong in colour andcarpet-like in effect, while later work is lighter andmore picturesque.USE OF GOLD. The use of Gold and Gildingin conjunction with colour is a practice whichpresents many difficulties. Its object, apart fromits mere intrinsic value, is to add richness andsparkle to the general effect by means of the lightreflected from its surface, but very frequently itis placed in such a position that it is impossibleto get any reflection from it. Broadly speaking, itshould not be used on flat .surfaces. So stronglyis this recognised b^ mosaic workers, both ancientand modern, that when using gold, whether forbackground or ornament, they make no attemptto make the tesserae conform to a flat surface, butpurposely set them at every conceivable angle, sothat from whatever point the work is viewed someof the tesserae will pick up stray rays of light andreflect them to the eye. Illuminators, too, workingon vellum, after burnishing their gilding with the


33/212


34/212

3o PRACTICALornament on a gold background looks poor andweak, while a small amount of gold on a colouredbackground or in conjunction with other ornamentlooks rich and satisfactory. To make gold look richand precious use it sparingly and carefully as if itwere precious.GENERAL EFFECT. In all cases the generaleffect must receive first consideration, all detail beingsubordinated to it. So it may happen that detail notstrictly correct in itself may pass muster if it has beencarefully considered in relation to the whole.Colours, patterns, details of drawing which do notkeep their places must be modified parts that appearweak brought up to strength always rememberingthat a certain amount of contrast is necessary tosuccess, and too much striving after harmony mayresult in flatness.

In designing patterns for flat surfaces, a judi-cious combination of straight and curved lines willbe found most effective a lavish use of ogee andfreer lines is apt to be dangerous. On curvedsurfaces straight lines running as much as possibleacross the curve will be best.


35/212


CHAPTER III.ARCHITECTURE.

HAVING regard to the desirability of har-monising the decoration with the style of architecturein which the building has been designed, it may bewell at this point to include a chapter on archi-tecture. No attempt can be made to treat thesubject exhaustively, nor is such an attemptdesirable, as the subject is one of much too great ascope to be treated effectively in a small volume,and a comparatively superficial knowledge willanswer our present purpose. All that will berequired will be a sketch of the leading features ofsuccessive styles such as will enable the decoratorto recognise the " period " of the building undertreatment and design his ornament accordingly.A short sketch of a typical church is added toenable those who are not conversant with the namesof the different parts to understand the variousallusions in the text.

STYLES. The development of ecclesiastical]architecture in England from the Norman Conquestto the present time, has endowed us with a heritageof buildings, numerous and varied, the majority ofwhich are not only eminently suited to their purposebut are veritable monuments of art masterly,both in construction and decoration. The gradual


36/212

32 PRACTICALevolution of one " style " from another has producedendless variety of design, though the generalarrangement of parts has been practically identical.In the larger buildings we have the cruciform plan,showing nave, chancel, and transepts, with some-times the addition of aisles, chapels, chapterhouses,etc. ; in the smaller, nave and chancel, withoccasional aisles. This arrangement holds good,of course, whether the architecture be Gothic orRenaissance. The " style " of the building showsitself in the design of the various component partsand the details of sculpture, etc., with which theyare enriched.

MIXTURE OF STYLES. Frequently we find inold buildings additions of later date in which noattempt has been made to follow strictly thecharacter of the original work. So long as thedivergence is not too marked, there is, perhaps,no great objection to this. The extreme extent towhich such mixtures have been earned is to beseen in Westminster Abbey, whose chapels arecrowded with monuments, etc., of Classic andRenaissance design, utterly at variance with theGothic building. In lesser degree the introduc-tion of Perpendicular design into a Norman buildingis still incongruous, but Decorated work in an EarlyEnglish church would only appear out of place tothe eye of an expert. It is always desirable, then,to harmonise all detail carefully with the surround-ing work.DISTINGUISHING FEATURES. The main dis-tinguishing features are to be looked for in arches,columns, windows, doorways and carved ornaments.


37/212

DESIGN FOR PORTION OF A CHURCHDECORATED IN HALL'S SANITARY DISTEMPER,MANUFACTURED BY MESSRS SISSONS BROTHERS & Co.OF HULL AND LONDON.


38/212


39/212


40/212

34 PRACTICALExamples of both Norman and Early English

details will be found on Plate I.The TRANSITION from Early English toDecorated is more gradual and less marked than in

the previous ca.se, arches and columns become less loftywindows become larger and begin to show tracery.In DECORATED work the equilateral arch ismost frequently used, and mouldings are sometimes

continued down the pier without the interventionof a capital ; windows larger, divided by mullions,showing tracery at the head at first geometrical,afterwards more flowing in character. Foliagecarving on capitals, crockets, etc., less conventionaland distinctly recognisable as ivy, oak, vine, etc.Examples on Plate II.

The PERPENDICULAR style takes its name fromthe vertical direction of the window tracery and ofthe main lines in other ornament. Arches becomegradually flattened from the Decorative type untilthey become very obtuse and are struck from fourcentres. Windows are very large, frequently dividedinto storeys by transoms, heads of lights richlycusped, tracery vertical in character ; doorwaysfrequently have a square label over the arch, thusforming spandrils which are filled with ornament.Examples on Plate II.The ELIZABETHAN and JACOBEAN styles showthe transition from the Gothic to the Renaissance.Examples of them in ecclesiastical buildings arecomparatively rare, the most notable instancesbeing collegiate buildings and private dwellings.In the RENAISSANCE style the distinctivecharacter of ecclesiastical architecture largely


41/212


42/212


43/212

CHURCH DECORATION 37rough and ready rule with many people to judgeof a building by the windows only, but this expedientis by no means infallible. In many Norman build-ings especially,' the smaller windows were replacedin Decorated or Perpendicular times with somethingvery much up-to-date. Alterations such as theseand extensions such as the addition of aisles,transepts, chapels, etc., produced the mixture ofstyles which make many old churches so interestingand so puzzling. When a decorator is called in toa church showing a nave arcade of I2th centuryNorman, a wall arcade of I3th century EarlyEnglish, and over that windows of I5th centuryPerpendicular, and asked to add painted ornamentsuitable to the whole, he may well feel somewhatlost. Generally speaking, such complicationsseldom occur in small buildings, and in large build-ings, with stone faced interiors, wall painting isseldom called for. But a typical country parishchurch may have a Norman nave, with Perpendicularwindows, and plastered walls which the decoratoris asked to beautify. The solution to such a problemwould be to keep the painting in keeping with thefeatures with which it came in contact. The wallsbelow and around the Perpendicular windowsmight be diapered with a pattern of I5th centurycharacter. The spandrils of the nave arcade mightbe filled in with ornament of I3th century character,surrounding symbolic centres of interest.By studying the summary of styles given inthe foregoing pages and the accompanying illustra-tions, the decorator will be able to form someopinion as to the date of the building, and the


44/212

PRACTICAL

PLATE IV.


45/212

CHURCH DECORATION 39ornament most appropriate to it. In the case of anew building the superintendence of the decorationis generally undertaken by the architect, butfrequently the first painting is purely of a temporarycharacter to allow full time for the drying of thebuilding, and after a year or two the decorator maybe called in by the governing body of the churchwithout reference to the architect, and once more itbecomes necessary for the decorator to have someknowledge of architecture in order to put forward aharmonious scheme.

PARTS OF A CHURCH. In the majority ofchurches the main axis or greatest length of thebuilding lies east and west, with the altar at theeast end, the original idea of this arrangementbeing that the congregation should look towardsJerusalem and the Holy Sepulchre. The mainbody of the building for the use of worshippers isknown as the nave. Beyond this at the east endin early Norman times when buildings were smalland simple, there was only a semi-circular a-pseaccommodating the altar. Later this apse waslengthened until it became a chancel. The chancelis occasionally also known as the choir, but notalways so. The choir proper is that part of thebuilding in which the services are celebrated. InWestminster Abbey, the choir occupies part of thenave. When the cruciform or cross-shaped planis used the arms of the cross receive the name oftransepts. Aisles (derived from the Latin word,ala, meaning wing) are the sub-divisions to be foundon either side of the nave and sometimes of the naveand transepts. When the chancel aisles in a Norman


46/212

40 PRACTICALbuilding were continued round the semi-circularapse, the semi-circular portion received the name ofambulatory, though this name was also sometimesapplied to the cloisters outside the church. Inmany churches there is a chapel to the eastward ofthe chancel beyond the altar, concealed by thereredos and approached by the aisles andambulatory, which is known most frequently asthe lady chapel, but has other names in some places.Other chapels occasionally open out of the chancelaisles or the eastern wall of the transept. Lessfrequently they may be found in the nave aisles.The baptistry, when it exists as a separate chapelis frequently, if not generally, at the west end ofthe building.

An aisle is separated from nave, chancel ortransept by an arcade, or series of arches, whichsupports the upper part of the building, or clear-story. The triforium is a third storey comingbetwee the nave arcade and the clear-story, andin many churches supplies a thoroughfare rightround the building. Arcades are supported bypiers, which may be a mass of wall, a column, or agroup of columns clustered together. Capitalsand bases are respectively the heads and feet ofcolumns. Corbels are projecting brackets of stoneor timber supporting vaulting ribs, or the principalsof a timbered root. A string course is a projectinghorizontal line of mouldings, frequently placed underwindows, or between a nave arcade and the clear-story. Spandrils occur above arches and may bedescribed as half or whole spandrils according tocircumstances. Examples on Plate IV.


47/212

CHURCH DECORATION

PLATE V.


48/212

PRACTICAL

*

PLATE VI.


49/212


CHAPTER IV.PLANNING THE SCHEME OF

DECORATION.To offer in general terms any practical hints onplanning or sketching out a scheme is rather a

difficult matter, seeing that circumstances andconditions vary so greatly. In Chapter II. somesuggestions have already been made as to whereinterest should be centred. To these must be addedsomething of a more detailed nature.

PROPORTIONS. The proportions of the buildingmust be carefully studied in the first place, in orderthat the sizes of dadoes, friezes, and other featuresmay not tend to dwarf the height of walls, or toshorten the appearance of length. The old rulemust be borne in mind that vertical lines tend toincrease the appearance of height and decreasewidth, while horizontal lines have an opposite effect,reducing height and increasing length. In breakingup the height of a wall the relative proportions ofdado, filling and frieze must be considered. Themost useful height of dado, for instance, is one aboutfive feet, reaching to about the shoulder of a tallman, but under a low roof such a dado would appearexcessively high. Under a high roof a much higherdador can safely be used and even added to by alolty| cresting, but there is still a danger of itsbecoming too high. It must be noted that the


50/212

44 PRACTICAL

PLATE VII.


51/212


| Eoqjy EnglishPLATE VIII.


52/212

46 PRACTICALproportion of dado to filling commonly adopted inthe living-room of a dwelling house cannot be takenas a guide in the case of church work, where verydifferent requirements have to be met.

Painted arcades are a form of wall decorationwhich might be more frequently used, as in stencilwork they are no more expensive to execute thanordinary diaper work and are much more interest-ing. They fill in well under high silled windows oron blank walls. In some cases the height would beregulated by the height of the window splays inthe case of a blank wall by a suitable proportion tothe total height. The number of arches will beregulated by the available space and by the relationof the width of each arch to its height above thefloor. Proportion is very important in this case,and it would be better to dispense with an arcadethan to have one either squat or lanky. Anexample of good proportion will be found on PlateXLV., which shows an arcade rising from the. floorlevel, but in the case of an arcade placed above sucha fixture as the back of a pew, a somewhat squatproportion of arcade is allowable rising little or nohigher above the floor level with the same width ofarch. Friezes can sometimes be regulated inheight by the position of corbels or window heads.Such constructional features should be utilisedwherever possible as the starting places of decorativefeatures. Bands of ornament connecting corbelsor in a similar position are frequently useful tobreak up high walls tying together, for instance,the tall lancet windows in an Early English buildingas suggested in the sketch diagram on Plate XXI.


53/212


CentlWIo & Border.PLATE IX.


54/212

48 PRACTICALWhen this feature is used in addition to a friezecare must be taken to preserve a distinct contrast indepth between the two, and generally speaking thefrieze should be the deeper. See Coloured PlateI. A deep corbel band would have the appear-ance of making the roof begin there instead ofabove the frieze.

Chancels are frequently surrounded by a veryhigh dado of rich diaper work. There is a danger ofthis becoming too high and thereby dwarfing thesize of the chancel. It is occasionally regulated bythe height of a doorway, and carried on one levelright round the chancel. Such a straight line isseldom satisfactory, and it would be much better tobreak it in some way. The dado might be keptbelow the door heads, or where there is a step inthe middle of the chancel, the dado might be steppedat the same point, and even once or twice again asit approaches the east end, thus emphasising thefact of ascending to the altar.

OVER-ELABORATION. The mistake of over-elaboration more frequently occurs in the chancelthan elsewhere, through the effort to enhance itsinterest and grandeur, and ought to be carefullyguarded against. Over-elaboration is, however,occasionally a matter of quality as much as quantity.It is conceivable that a chancel might look over-elaborated and confused with a diapered dado anddiapered filling, and be restored to repose, balanceand grandeur by substituting figure panels lor thediaper in the filling, which might be equally elabor-ate, and yet, by contributing a note of contrast and


55/212

dominating the whole, correct the " all-over "feeling of confusion.VALUE OF PLAIN SPACES. Concentration ofinterest has already been mentioned and is hintedat in the foregoing paragraph. Hand in hand withit goes another important consideration the valueof plain spaces. Plain spaces have occasionally tobe left for economical reasons, but they also haveaesthetic reasons for existence. One of the mostuseful preventives of too " busy " an effect is a wellbalanced amount of plain surface, which not onlyforms a resting place for the eye, but also enhances,by contrast, the value of the ornament. Not onlycan a " cheap job " be made to look effective, andeven rich by careful balancing of plain surface andornament, but an elaborate, ambitious scheme willgain by having spaces left undecorated.RESERVE. At all times it is advisable to workwith a certain amount of reserve do not let itappear as if you had put out all you know, butkeep something in reserve. Use simple ornamentin preference to elaborate quiet colours in pre-ference to gaudy and so when the time comes tomake a special effort, when you are looking roundthe almost completed work and deciding finallywhat form the crowning interest is to take youare ready for it.AWKWARD SPACES. Occasionally in planningthe decorator is faced with the difficulty of impart-ing interest to a large awkward space a blank wall,perhaps, unbroken by a window a temporary wallbuilt to close in a half-built nave with a view toextension a closed chancel arch in an old, half-


56/212


57/212

CHURCH DECORATION

0H BB

iff!l A I* wan IBO

|o \ a \ o | o \ . T_ fo | a

LBntef( Cresting.PLATE XI.


58/212

PRACTICAL

^^^^^^"B


59/212

CHURCH DECORATION 53ruined building. A suggestion has already beenmade for dealing with the lower part of a blankwall by means of an arcade. The upper part israther more awkward. Where the building hasaisles, a band of ornament can be carried acrossthe wall on a level with the capitals of the navearcade. Where there are no aisles, the band canrange with the corbels carrying the roof principals,or with the frieze. This band, again, can be brokenby means of a painted niche with canopy andbase, enclosing a figure, or a ribbon with text andemblems.

Such a niche might be used also for breakingup an unusually wide space between two windows.An alternative expedient might be found in pilasterlike vertical bands of ornament, which would divideup long low walls into bays of good proportion andgive an appearance of height.On Plates XX. and XXI., are given two" awkward bits," sketched in approximate propor-tions from existing buildings, but not accuratelymeasured, with suggestions for their treatment. Thefirst of these is a low, blank wall under a gallerybroken only by the doorway and the pews, and thesketch shows the upright bands and shallow friezewhich seem to be the treatment best calculated togive an appearance of height and interest. Thesecond Plate, very high and narrow, with long lancetwindows, is to some extent corrected by the exist-ence of stepped seats and dado, but the deep friezeand arcading indicated in the sketch together withthe ornament on the gable above would be anundoubted improvement.


60/212

54 PRACTICALPlate XXIII. shows a temporary wall closing ina half-built nave in an imaginary building. The

suggestion in this case is to carry round a dado ofa height which would be suitable for the aisles, toplace above that a frieze ranging with the arcadecapitals, to break the line of the frieze with a coupleof canopied niches resting upon the dado, and con-taining figures, emble'ms or texts, and to break upthe gable with a large geometrical medallion, sug-gestive of a rose window. As an alternativearrangement the two niches and the medallionmight be omitted, and the upper space broken witha niche carried by the frieze in the manner suggestedon Plate XXXIV.

As a general rule, strong constructional featuressuch as pillars, arches, roof timbers and vaultingribs, should be left fairly plain, and quiet in colour,as any excess of ornamentation on them wouldhave the appearance of weakening them. Thismatter will be more fully dealt with later on.


61/212


PLATE XIII.


62/212

PRACTICAL

XIV.


63/212


CHAPTER V.TREATMENT OF WALLS.

DADOES AND FILLINGS. There is a well estab-lished and generally accepted rule that the dado,being at the lower part of the wall, should have theappearance of supporting the weight of the upperpart. Consequently it is generally made ratherdark in colour, and ornament applied to it oughtto be strong in character and vertical in feeling.Brick or masonry patterns, though mainly hori-zontal in line, are also very useful, though they areperhaps more suitable for fillings, where theirlighter treatment leaves more of the ground colouruncovered. The steady rigidity of their linesmakes them very reposeful m charactei, and con-trasts well with the more florid details in bordersand Jriezes. Diapers on fillings are better to bekept simpler and more open than on dadoes, andfrom this point of view the " brick " patterns arespecially good. " Diamond " patterns are alsouseful for fillings, but the diamond must not bemade too narrow for its height. It is better to bequite rectangular than to appear as if it had been"closed up

"horizontally like an expanding trellis." Powdered " patterns are specially suitable for

fillings because of their light and graceful character,and can be made up of emblematic, or of merelyornamental features.


64/212

58 PRACTICAL" Counterchange " patterns, unless worked in

light colours, when they sometimes present a verypretty " damask " appearance, are more appropriatefor dadoes than fillings. They generally look bestwhen worked in strongly contrasting colours, whichseem best adapted to bring out the peculiar charac-teristics of this class of design.

In applying " all-over " patterns by means ofstencilling it will be found necessary to use, inaddition to the usual " repeat key " in the stencil,a number of vertical and horizontal lines struckwith a chalk line at regular intervals, in orderto secure accuracy of repeat. Without this safe-guard the most accurately cut stencil will occasion-ally be found to work out badly on a large surfaceand occasion a great deal of trouble. Diapersshould always be so arranged as to finish neatlyat top and bottom, avoiding as much as possibleany " chopped-off " appearance, -and so makingthem appear as if they had really been designedfor the position they occupy. The scale of thepattern must also be considered so that it maynot be too large or too small in detail.DADO BORDERS. Where both dado and fillingare diapered, the dado should be finished with aborder or band having firm lines both above andbelow in order the more effectively to separate thetwo, while with a plain filling a cresting . makes amore satisfactory finish to the dado, carrying upthe interest into the plain surface, and giving afreer effect. In the same way the frieze would befinished on its lower edge with a pendant or " fringe "motive to repeat the idea of the cresting. An


65/212


PLATE XV.


66/212

60 PRACTICALinstance ot this is given on Plate XVI., which illus-trates the use of such a feature with a powderedfilling. A cresting can also be used on the dadowhere the filling is decorated with a very plainmasonry pattern, such as the first on Plate XLIV,,care being taken that the repeats in both correspondwith one another.

CONTRAST IN DESIGN. Where ornament isapplied to both dado and filling a decided contrastin design between the two patterns is necessary.With a " masonry " pattern in the filling it wouldbe wrong to use a dado pattern also founded onrectangular lines, such as that on Plate IX., an" all-over " or " powdered " pattern giving a betterfeeling of contrast. Over a dado of vertical feelingsuch as Plate VII. or Plate X., a brocade patternsuch as are shown on Plate XIII., would be suitable.

BANDS. Ornamental bands or borders dividingfilling from dado where both are diapered ought tobe of a strong horizontal character in order toemphasise this feeling of contrast and division.Bands can be designed to serve equally well eitherin a horizontal or vertical position (see exampleson pages 30 and 138) and such patterns are speciallyuseful when a border has to be carried up therake of a gallery, but in most cases it will be foundbest to design each for its particular place verticalor horizontal.

It should be noted that in Gothic architecturebands of ornaments are more particularlyhorizontal features. The vertical lines are suppliedby columns in most cases. One of the most frequentmistakes made in painted decoration is the too


67/212


PLATE XVI.


68/212

62 PRACTICALfrequent use of the band or border, especially insuch a way as carrying it up the sides of windowopenings. Something that will convey the ideaof a slender column with capital and base is muchmore suitable for such a position. On a long flatwall the band may be more legitimately used forthe purpose of breaking up the space.

Horizontal bands showing vertical featurescan be adapted to the obliquity of a gallery, em-phasising the angle and giving a very good feelingof variety. See example on page 66.

FRIEZES. Friezes lend themselves to a consider-able variety of treatment as to depth, position, anddesign. They may be placed immediately underthe cornice or string course, or, where the wall israther high, a little lower down. When the wallis low the frieze will be shallow with a high wallit will be deep. The vertical feeling in design, souseful in the dado, is not absolutely necessary here,though it may have a useful steadying effect abovean " all-over " filling, and would also tend to givean appearance of height beneath a low roof. Oneof the most effective lines of construction in friezedesign is the rolling wave-like scroll. This, how-ever, is rather difficult to carry out on a large scalein Gothic ornament. Two examples of it on asmaller scale are given on Plate VI., along withanother, suitable for a small frieze, showing bothvertical and scroll features. Therefore it mightbe found necessary where a deep frieze is requiredto build it up of successive bands. Battlementswill be found useful in such a combination and aresuggested on Plates XI. and XVI. The feeling of


69/212

CHURCH DECORATION 63contrast between filling and dado already mentionedis

equally necessarybetween filling and frieze.Ornamental features in the frieze, as already stated,must be rather larger in scale than in the dado,on account ol the height at which they are placed.MEDALLIONS. Medallions are useful to give

interest to large bare spaces, or to break a long line.of frieze or band, and vary greatly in size. Theymay be purely ornamental or may consist of orna-mental surrounds filled in with emblems or texts.Geometrical in general outline, they may be treatedas circles, trefoils, quatrefoils, etc., and enrichedwith foliated or other ornament, according to thenature of their surroundings. Circumstances willdetermine whether they should be treated in strictharmony with the wall or in slight contrast, butthe most generally useful arrangement will be tokeep the ornamental outer part very like the wall ,in colour and treatment, and confine the colour andinterest to the emblem or other feature containedwithin the frame. Where they are used to break along band of ornament, such as a dado border, theymay be made somewhat larger in diameter than thewidth of the band in order the more effectuallyto break the straight line when there is a risk ofits becoming monotonous.WALL ARCADES. Painted wall arcades havebeen mentioned in the chapter on

"Planning,"and an example in Early English character is givenon Plate XLV. Where comparative simplicity isaimed at, it will be sufficient to let the ground

colour of the wall appear throughout, putting theornament on in quiet colours, as indicated in the


70/212

64 PRACTICALPlate ; where solid black Venetian Red, verticallines Light Chocolate, and horizontal lines OliveGreen, the wall colour being a pale buff. When aricher effect is required, the niches might be put inwith a light terra-cot ta, and the body of the canopywork with a buff a shade darker than the wallcolour. If it is felt that the plain niches look tooempty and it is not desirable to fill them withfigures or symbolic features they may be filled upwith a diaper suggesting a textile fabric hangingfrom a curtain rod run across behind the capitals.The curtain idea can also be used as a dado withoutany arcading when a little departure from theusual practice is desirable.

OUTLINES IN RELIEF. Outlining dadoes, friezes,medallions, etc., with a sort of bead by means ofAlabastine Opalia is a " dodge;" which might beemployed occasionally with good effect, and thelittle bit of relief would give a very welcome con-trast on a large flat surface. It would hardly do,however, to use this in connection with such afeature as a painted arcading, which is suggestedby relief work, and ought therefore to be properlyexecuted in relief or kept entirely flat.WALL PAPERS. Where economical considera-tions forbid the employment of stencilled ornamenton walls the use of wall papers may afford a wayout of the difficulty. The idea of using wall paperin a church may seem incongruous and out of place,but there is no very valid reason to urge againstsuch a course. Paper is not more liable to gatherdirt than most flat paints, whether oil or water, andit lends itself to a certain amount ot cleaning.


71/212

DESIGN FOR DECORATION OF A CHURCHEXECUTED IN WILKINSON. HEYWOOD * CLARK'SNON-POISONOUS COLOURS AND ' PHASANTITE."


72/212


73/212

CHURCH DECORATION

li!l

PLATE XVII.


74/212

66 PRACTICALWhen well hung its appearance is equal to that ofpainted work, and except where the walls are un-usually damp it can claim equal permanence.A number of designs which would be quitesuitable for use in church work are now upon themarket, many of which have been specially preparedwith that end in view. The ornament in these isgenerally of a very high class, and it would certainlybe very much better from an artistic point of viewto use a good wall paper than a second rate stencildesign.

SUGGESTION FOR A GALLERY DADO.


75/212


CHAPTER VI.OTHER FEATURES.

TIMBERED ROOFS. The majority ol timberroofs are left undecorated largely owing to motivesof economy, though the principals and rafters arefrequently varnished. The colour effect is conse-quently needlessly heavy and would be greatlyimproved by the addition of paint. In formertimes roofs were much more frequently paintedthan is now the case, and sometimes it was veryelaborately done, beams, rafters, and roof-boardingall coming in for their share of ornament. Whenthis is so, however, the general effect is rathertoo " busy," and it is much better to leave eitherthe framing or the boarding plain. Perhaps thebest plan is to ornament the boarding, leaving therafters, etc., plain. The appearance of strengthin the framing will thus be left unimpaired and willenhance the effect of the ornament by force ofcontrast. It frequently happens, of course, thatthe spaces between the ratters are plastered, inwhich case the same treatment will be correct.Bands of ornament, such as are suggested forceiling beams on Plate XLIII., might be stencilledupon the principals leaving the rafters in imme-diate contrast with the roof-boarding plain. Thecolour of the ornament should not contrast toostrongly with the ground colour, and breadth and


76/212

68 PRACTICAL

CRSte

/P


77/212

CHURCH DECORATION 69simplicity of effect will be found most satisfactory.The spaces between the rafters will generally befound too small to allow of much in the way ofspecial treatment. Suggestions of suitable treat-ments will be found on Plate XVIII. A good alter-native arrangement would be to keep the roof-boarding and the principals plain, ornamentingonly the rafters.

CEILINGS. Ceilings, whether wood lined orplastered, call for a somewhat different treatment.A plain waggon-roof or barrel-vaulting withnarrow lining-boards running from end to end,and broken only by the semi-circular vaulting ribs,may be very effectively treated in three tints saycream, pale salmon, and pale yellowish-greentwo or three boards being painted with each colourin turn, and the vaulting ribs ornamented. Sucha ceiling in plaster might be divided into panelsby means of longitudinal bands of ornament. Aceiling cut up into panels by means of beams maybe simply treated with a line and corner or border,with or without a central boss. In a group ofpanels one might be singled out for special treat-ment with some sort of symbolic device, or figureof angel or cherub. A panelled ceiling is, however,more of a Renaissance than a Gothic feature and theline and corner is purely a Renaissance treatmentwhich should be avoided in Gothic work. A large,plain plastered ceiling may be cut up into panels bymeans of bands of stencilled ornament it maybe covered with a simple spot diaper or powderedwith gilded stars of varying size. Cornices andother plaster enrichments may be picked out


78/212

70 PRACTICALin tints, but this ought to be done as simply aspossible. Many a fine cornice is simply ruined bybeing cut up with a multiplicity of colours. Itwill be found much better to paint the cornice allone colour and put the work thus saved on to theceiling even if only in the shape of a simple lineand corner. Sometimes a very good effect can beproduced by picking out a single small memberof the cornice with a line of bright colour, but theline must be in the right position and the colourmust be very carefully chosen.

SPANDRILS. The large spandrils of a navearcade afford a good opportunity for special treat-ment and even when it is desirable that they shouldbe left plain it is worth while to fill them in with adistinctive colour, slightly different from the pre-vailing wall colour. When they are used for thedisplay of emblems these should, as far as possible,belong to some sort of series, rather than be of amiscellaneous character. The number of spandrilswill largely determine what it is possible to do inthis way. Small spandrils are best filled withornament such as is suggested on Plate XXII. Thoseof a larger size do not lend themselves so well toornamental treatment. Nothing in the way of aborder or line and corner treatment should beattempted, as that would clash with the mouldingsof the arches and with the string-course above.A large, open, simple diaper, such as the squarediaper on Plate XXII., may be used, or a medallionmay be placed in the centre of the space. Wherea rich effect is aimed at these two ideas may becombined.


79/212

CHURCH DECORATION 71LUNETTES AND TYMPANI. The lunette is the

equivalent in Renaissance architecture of thetympanum in Gothic. They occur generally in thearches over doorways and in the case of entrancedoorways are frequently elaborately sculptured.When a plain one crops up in interior work it maybe treated in some such special fashion employingfigure, emblematic or important ornamental devices.Here again anything in the nature of a borderwould be incongruous and wrong.

RECESSES. Recesses in walls such as niches,sedilia, and the spaces under arcades, must beconsidered on their merits. An empty niche,which may have been intended for the reception ofa statue, can be made to appear somewhat moreinteresting by painting its interior a different colourfrom that of the surrounding wall and using afairly rich diaper. When the back of the niche isflat a medallion with emblem or text might beintroduced. A painted figure, unless the nichewere extremely shallow, would be unsuitable, asit would merely call attention to the fact thatit ought not to be flat but " in the round." Aniche of semi-hexagonal plan would present threeflat surfaces on which emblems might be intro-duced. Sedilia, the seats occasionally found re-cessed into the chancel wall, may be treated in asimpler fashion. Emblems would be superfluoushere, and a simple diaper quite sufficient. Piscinarecesses, being purely utilitarian, should be quitesimply treated. Advantage may be taken of therecess to get in a varying note of colour, but nothingin the way of ornament need be attempted unless


80/212

72 PRACTICALperhaps the diaper in the sedilia be repeated for thesake of uniformity.ARCHES. Arches, when plastered, may havetheir voussoirs, or radiating stones, outlined incolour, after the fashion of the masonry patternspreviously mentioned. To do this accurately andsmartly the centres from which the curves are struckmust be found. A straight edge pivoted at thatpoint will then give exactly the proper directionof each line, and the lining tool can be used freelywhile the left hand supports the straight edge.In the case of a semi-circular arch a board can beplaced across the spring-line and a nail driveninto it to act as a pivot. The method frequentlyused setting out the lines to scale on a drawingboard and then measuring them on to the wall

is to be strongly discouraged as being clumsy,inaccurate and slow.

DOORS AND WINDOWS. Door heads and windowheads may be appropriately enriched with crocketsand finials, examples of which are given on PlateXVII., or, for special positions, may be elaboratedinto canopies such as those on Plates XXXIV. andXLV. It should be noted, of course, that theseparticular examples are Early English in character,and would be out of place over an ogival ordepressed arch. Over these something more per-pendicular in character would be required.PILLARS. Patterns suitable for the decorationof pillars will be found on Plate XIX. These aregenerally designed with rigid lines, as the contrastof these with the convex surface of the pillar ismost effective. " All-over " patterns of a free


81/212


PLATE XIX.


82/212

74 PRACTICALnature are not suitable as they interfere with thefeeling of strength and rigidity so necessary in apillar. For the same reason the colour of the orna-ment should not contrast too strongly with theground colour. The cut patterns, chevron andspiral, on the stone piers in Durham Cathedral andsimilar buildings are a splendid example of howornament can be applied without weakening theappearance of the construction. Gilding shouldbe avoided on pillars, but is permissible and evenadvantageous on capitals and bases.


83/212


CHAPTER VII.FURNISHINGS.

OPPORTUNITIES for painted work occur occas-ionally on Furnishings, such as reredoses, screens,and the like.

REREDOSES. The Reredos was originally merelythe wall of the church behind the altar, but aboutthe beginning of the i2th century it became thecustom in some cases to bring the altar away fromthe wall, and erect a more or less elaborate screenbehind it which has now appropriated the nameof Reredos. The Reredos is constructed of manydifferent materials, but generally of stone or wood,sometimes carved, sometimes painted. Figurepanels are frequently introduced, texts and symbolsare to be found and occasionally the Ten Com-mandments. Considerable richness is permissible,and advisable, here, both in ornament and colour,and a fair amount of gold can be used. Manyreredoses take the form of a triptych with a paintingof the Crucifixion in the centre niche, flanked byfigures

of the Virgin and St. John, generally on agold background. The carved wooden frames ofthese may be decorated with gold and colour orleft in the natural state.

The reredos being generally immediately underthe east window, its treatment will depend largely


84/212

76 PRACTICALupon the character of the window. Where thewindow is dark and sombre, a good deal of workand colour can be put into the reredos, but if thewindow be filled with very colourless glass, the floodof light from it will so dazzle the eyes, as to neces-sitate a very simple treatment for the reredos.The presence or absence of side windows in thechancel will, of course, modify matters greatly.

for Trufmtnt of WH w(ir (JolUry.PLATE XX.Where there is no separate screen it may fall to

the lot of the decorator to paint upon the walla design conveying the idea of a screen. For thispurpose, something in the nature of an arcading,such as is shown on Plate XLV., would be suitable.Three bays will be the most generally acceptablenumber, the centre niche and canopy being madehigher and wider than those on either side to carryout the triptych idea.


85/212


86/212


87/212

CHURCH DECORATION 79The colouring would be rather stronger arid

brighterthan that of the surrounding wall, in orderto insure prominence. The arcading ought to beno wider, as a rule, than the top of the altar, and

have the appearance of standing upon it. Wherean exceptionally large space has to be filled in it isof course permissible to make the reredos widerthan the altar, but in that case it must be carriedup from the floor on either side. This will generallyonly occur in large buildings. Examples of sculp-tured reredoses so arranged are to be seen in St.Paul's Cathedral, London, Durham Cathedral,Christchurch Minster, and elsewhere. The nichesmay be filled as previously suggested, with figures,symbols, or texts. There is of course no reasonwhy the triptych should be always adopted. Fourniches with figures or symbols of the Evangelistswould make an equally good arrangement. Twoniches would work in well for other subjects. Incase of a church dedicated to two saints, SS. Peterand Paul, for example, a two niched reredos mightbe designed to contain figures of the two saints.The painted reredos need not partake of thearcading or canopy idea, though that will certainlyharmonise best with most Gothic churches. Aspace of wall can be divided off by means of orna-mental bands and decorated in a simple fashionwith a powdering of gilded symbols on a back-ground of plain colour.SCREENS. Screens of carved wood occasionallyafford scope for introduction of a little colour,and there is no doubt that in the Middle Agescolour was used freely upon them, but nowadays


88/212

8o PRACTICAL

PLATE XXIII.


89/212

CHURCH DECORATION 81they are generally left the natural colour of thewood, and all that the decorator will have to applyto them will be varnish, and not always that.

IRONWORK. Ironwork screens, on the otherhand, give more scope, from the fundamentalfact that the iron requires to be painted to pre-serve it from the corrosion of the atmosphere.Generally there is room for the introduction ofseveral colours as well as gold, and decorators areonly too often content to paint ironwork whetherit be screen, railing, or gasfitting with a groundcolour of chocolate brown, picked out with red andblue. These would almost appear to be standardcolours for church ironwork. Why ? Granted thatit is a very effective scheme, it is not by any meansthe only one. Why not try olive green for a groundcolour, picked out with peacock blue and orange ?or slatey blue picked out with old gold and Indianred ? The " picking out " should not be overdone,as it will have the effect of destroying the appear-ance of strength and unity of the metal work, whichin a grille or screen is of first importance. Alu-minium paint, too, is exceedingly useful for churchironwork. Its quiet lustre is light and yet rich,and harmonises better with paint than a polishedsurface would. A few touches of bright colour willenhance its appearance very greatly vermilion,bright blue and bright green are best for the pur-pose but gold should not be used with it. Thereis an old law in heraldry that metal must not beblazoned upon metal and it may be taken asapplying equally to decoration.


90/212


91/212

CHURCH DECORATION

PLATE XXIV.


92/212

84 PRACTICAL

PLATE XXV.


93/212

CHURCH DECORATION

4A4 UW * *

PLATE XXVI.


94/212

86 PRACTICALeffective. Different patterns on alternate pipes arevery useful in broadening the effect, and to carrythe same principle a little further, it will be foundexpedient to put a striking design on every thirdor fourth pipe, leaving the intervening ones almostplain. Band and chevron patterns, the straightlines of which contrast well with the curved surfaceof the pipes, are always effective.

PULPITS. Pulpits, whether of stone or wood,offer opportunities for the introduction of points ofinterest in their panels. Monograms and symbols inrich colours, with a little gilding, can be worked inhere, and sometimes gesso-work can be addedto help the effect. Sounding boards and back-ground features are best treated rather plainly, asanything in the way of striking design would clashto some extent with the face and figure of thepreacher, just in the same way, though to a lessextent, as the lamps or gas-brackets so frequentlyplaced upon or behind pulpits, dazzle the eyes ofa congregation and prevent their following thesermon with the comfort and satisfaction whichthey might otherwise have.MONUMENTS. Monuments occasionally call fora little attention. Mural tablets, for instance,when cut out of soft stone, become so black withage as to make something of a blot upon a Tightcoloured wall. It should be permissible in such acase to give them a coat of flat enamel which wouldfreshen them up and bring them into the generalscheme. The question of colouring coats of armsupon such tablets is dealt with in Chapter VIII.A large monument or tomb in a small chapel or


95/212

CHURCH DECORATION

PLATE XXVII.


96/212

88 PRACTICALchantry may be of sufficient importance to warrantits determining the nature and extent of the decora-tion around it and may offer very valuable sugges-tions.

Stone and marble monuments which havebecome discoloured by age can generally be cleanedwith a little care. Chloride of lime, mixed to athick paste with water and applied to the stonewith an old brush, may be allowed to remain for acouple of days and then washed off with plentyof cold water. American potash mixed with whitingand water to a thick paste may be used in the sameway, and is equally effective.SEATING. The treatment of pews, chairs, andother seating will vary greatly in different places.In many old churches, the pews, whether of oakor softer wood, are frequently left in the naturalcondition of the wood without stain or varnish,and the rush bottomed chairs which are suchfavourites in churches are also generally left clean.The colour which they acquire with age is a softneutral grey which harmonises with most colourschemes and, from the colour point of view, neednot be disturbed. Varnished wood-work, however,is not always so inoffensive. The colour of oak,under varnish, will generally pass muster, andsome of the softer woods pine, etc. acquire arich quiet brown which is rather nice, butpitch pine, as has already been stated, issomewhat glaring. Unfortunately some peopleseem to have a weakness for it and will not haveit interfered with " for fear of spoiling the beautifulgrain." That is all very well in its way the


97/212

CHURCH DECORATION 89grain is worth keeping, but it is possible to modifythe colour without hiding the grain. Either greenor brown stains can be used for this purpose withgood effect, and the immense superiority of thequieter tone over the glaring yellow-brown in rich-ness and comfortable furnished appearance is wellworth striving for. A church or chapel with pews,gallery-fronts and organ case of varnished pitchpine is one of the hardest, coldest, and most comfort-less looking places it is possible to find, but a com-paratively slight modification of the colour of thewood would absolutely transform it.When the wood is new the staining can bedone by means of water stain before varnishingold wood, unvarnished, will require careful cleaningbefore the application of water stain in order tothoroughly remove grease which does accumulateon seats through their frequent contact with clothesand hands, though it is not always visible to theeye. For wood-work which has been varnishedpreviously the stain can be mixed with the varnish :the effect produced is, naturally, somewhat differentas the colour does not enter into the grain of thewood. " Matsine " colours, prepared by Messrs.Mander Bros., of Wolverhampton, are speciallyrecommended for such work as this. They offera choice of six colours, which can be mixed to pro-duce intermediate shades, and can be applied eitheras a stain to the bare wood or as a " scumble " inthe way suggested above.The necessity of thoroughly removing all dirtand grease before applying varnish or Matsine can-not be too strongly insisted upon. The omission


98/212


99/212


CHAPTER VIII.SYMBOLISM.

SYMBOLIC PLANTS. Usually symbolism is onlyintroduced into Church work in the form of moreor less isolated devices placed in medallions, or inother positions calculated to give them prominence,but occasionally in modern work some attempt hasbeen made to make the whole scheme of decorationsymbolic by adopting a plant, such as the vine orthe passion flower, or more than one, and basingall the ornament upon it. Such a practice naturallycalls for a considerable amount ot resource indesign to obtain a satisfactory result and avoidmonotony, but it has in its favour the advantagenot only of giving meaning to the work, but also astyle and distinction which is well worth strivingfor. To ensure success it is, of course, necessary tochoose a motif which will admit of varied treatment,and to make the utmost use of that variety. Therose, the vine, and the passion flower can all berecommended for adaptability such plants as thelily on the other hand would be less suitable onaccount of their stiff growth and branchless stems.The following paragraph from an old bookgiving the symbolic significance attached to thePassion Flower is worth quoting :


100/212


101/212


102/212

94 PRACTICAL" Its leaves are thought to represent the head

of the spear by which our Blessed Lord's side waspierced ; the five points, the five sacred wounds ;the tendrils, the cords which bound Him ; the tenpetals, the ten faithful Apostles, omitting the onewho denied Him (St. Peter) and the one whobetrayed Him (Judas) ; the pillar in the centre isthfe Cross ; the staneus, the hammers ; the styles,the nails ; the circle around the pillar, the crownof thorns ; the radiance, the glory."With them can be introduced at prominentpoints some of the more formal symbolic devices.SYMBOLIC DEVICES. A selection of the most use-ful symbols is given on Plates XXVIII. to XXXII.The well known emblems of the Four Evange-liststhe Man, the Lion, the Bull and the Eagle-had their origin in the account given in Ezekieli. 4-14 of Ezekiel's vision, though they make noattempt to accurately portray the miraculouscreatures therein described. The intention of thesesymbols has been described as follows : ' Thefirst emphasises the historical import of the lifeof Christ ; the second His Royal dignity ; thethird, His Sacrificial character ; the fourth, HisDivinity."The Ship and the Ark are both used as emblemsof the Church. The symbolic use of the Pelican isdue to an old belief that the female bird fed heryoung by drawing blood from her own breast, andmay be taken as suggesting self-sacrifice, thoughother meanings are attached to it. In actual factthe young birds are fed with food carried in thehuge pouch beneath the mother's bill. In most


103/212


PLATE XXX.


104/212

q6 PRACTICALrepresentations of this device the bird is not recog-nisable as a pelican at all. An attempt has beenmade on Plate XXX. to rectify this, but it is doubt-ful whether it helps matters much, as the old storyof the blood must be retained to convey the desiredmeaning and it is practically impossible for apelican, with such a bill, to peck its own breast.The well known emblems of Faith, Hope andCharity are shown singly on Plate XXXII., and com-bined in one figure on Plate XXXI. The lamp onPlate XXXII. is an emblem of active piety, thecelestial crown and palms on the same plate suggestits reward. The scroll on Plate XXXI. is a repre-sentation of the manuscript from which the lawwas read in Jewish synagogues and may be taken asemblematic of Scripture generally, an open bookbeing frequently employed in the same way.The pilgrims' staff and water bottle may beused as emblems of pilgrimage or of life generally.The fish is one of the oldest symbols used in theChristian Faith, being found on the walls of theRoman catacombs and dating from the ist century.Its significance rests upon the fact that the initialsof the Greek words Jesus Christ, Son of God,Saviour speU the Greek word ichthus, a fish.Three fish, arranged in the form of a triangle, areused as a symbol of Baptism. The Dove, in variouspositions, is a symbol of the Holy Ghost. A dovecarrying an olive sprig commemorates the returnof the dove to the ark after the flood, and is usedas a symbol of peace. The trefoil enclosing atriangle on Plate XXXI. is one of many attemptsto symbolise the Trinity, all more or less ineffectual.


105/212


106/212


107/212

CHURCH DECORATION

PLATE XXXI.


108/212


109/212


PLATE XXXIT.


110/212

ioo PRACTICALmixes up two languages Greek, Christos : Latin,Noster Our Christ.

EMBLEMS. A number of emblems associatedwith the various saints are frequently used, deviceswhich have been ascribed to them by tradition,in some cases the instruments of their calling, inothers the means of their martyrdom. It is, how-ever, seldom that these are used without figuresof the saints to which they appertain. The signsof the Zodiac are occasionally to be found in oldchurches, and though they have no connectionwith the Christian religion and are really of heathenorigin, they have a certain amount of value insuggesting the Omnipotence of the Creator, andare therefore worth consideration.

SYMBOLISM AND CREED. Mention has alreadybeen made of the fact that the use of symbolismmust depend very much on the creed of the congre-gation using the building under treatment. Inthe Roman Catholic Church, the system of symbol-ism is very full and complete. The whole serviceis full of it, it appears in the iurniture ol the buildingand in the robes of the priests. Many more decora-tive devices are used than have been mentionedhere, so many that it is difficult to make any sugges-tion as to what would be most useful. Naturallythe dedication of the building would be considered

in a building dedicated to the Virgin, emblemsassociated with her would be used in preference toothers in a Church of the Sacred Heart the Heartand othe

Documents

Practical Church Decoration