If you’re a person with opinions about design—and who isn’t?—you’ll get some pleasure out of this edition of Dead Wood. A century before the excesses of DIY magazines and HGTV house flippers, the greatest novelist of New England’s upper class turned her studied eye on the designs of her friends’ homes and she was not impressed. The rooms were uncomfortable, littered with faddish furniture and unsuited to the daily lives of the families who lived in them.

Despite the popularity of “The Decoration of Houses” after its release, and despite the thousands of similar books that have followed, I could have illustrated each of Wharton’s sentences with contemporary images. So many examples come to mind. The tables littered with “trashy ornaments”. The “indifference to privacy” that would open one room to another, to another. The demands for “cheap effects” instead of plain, well-made furniture, and the continual rotation of design fads and poorly-conceived decor styles (contemporary farmhouse, anyone?). How many HGTV shows exist solely to push “the cheap originality of putting things to uses for which they were not intended”? How many magazine articles still suggest that a few decorative fixes will create the “ideal summer room,” continuing in “the mistaken idea that defects in structure or design may be remedied by an overlaying of color or ornament”? Americans have had trashy taste in design for as long as we’ve been Americans, apparently. (And Wharton isn’t too wild about the Brits either.) Maybe there’s some comfort to be found in the knowledge that it’s a longstanding cultural tradition to sacrifice good taste to the “taste for novelty”.

If nothing else, we all love to cast judgment on the rooms of others. And that’s what makes this early chapter from Wharton’s book such a delight…

BEFORE beginning to decorate a room it is essential to consider for what purpose the room is to be used. It is not enough to ticket it with some such general designation as "library," "drawing-room," or "den." The individual tastes and habits of the people who are to occupy it must be taken into account; it must be not "a library," or "a drawing-room," but the library or the drawing-room best suited to the master or mistress of the house which is being decorated. 

Individuality in house furnishing has seldom been more harped upon than at the present time. That cheap originality which finds expression in putting things to uses for which they were not intended is often confounded with individuality; whereas the latter consists not in an attempt to be different from other people at the cost of comfort, but in the desire to be comfortable in one's own way, even though it be the way of a monotonously large majority. It seems easier to most people to arrange a room like someone else's than to analyze and express their own needs. Men, in these matters, are less exacting than women, because their demands, besides being simpler, are uncomplicated by the feminine tendency to want things because other people have them, rather than to have things because they are wanted.

But it must never be forgotten that every one is unconsciously tyrannized over by the wants of others, — the wants of dead and gone predecessors, who have an inconvenient way of thrusting their different habits and tastes across the current of later existences. The unsatisfactory relations of some people with their rooms are often to be explained in this way. They have still in their blood the traditional uses to which these rooms were put in times quite different from the present. It is only an unconscious extension of the conscious habit which old-fashioned people have of clinging to their parents' way of living… To go to the opposite extreme and discard things because they are old-fashioned is equally unreasonable. The golden mean lies in trying to arrange our houses with a view to our own comfort and convenience; and it will be found that the more closely we follow this rule the easier our rooms will be to furnish and the pleasanter to live in.

People whose attention has never been specially called to the raison d'etre of house-furnishing sometimes conclude that because a thing is unusual it is artistic, or rather that through some occult process the most ordinary things become artistic by being used in an unusual manner; while others, warned by the visible results of this theory of furnishing, infer that everything artistic is un-practical. In the Anglo-Saxon mind beauty is not spontaneously born of material wants, as it is with the Latin races. We have to make things beautiful… The necessity of making this effort has caused many people to put aside the whole problem of beauty and fitness in household decoration as something mysterious and incomprehensible to the uninitiated. The architect and decorator are often aware that they are regarded by their clients as the possessors of some strange craft like black magic or astrology.

This fatalistic attitude has complicated the simple and intelligible process of house-furnishing, and has produced much of the discomfort which causes so many rooms to be shunned by everybody in the house, in spite (or rather because) of all the money and ingenuity expended on their arrangement. Yet to penetrate the mystery of house-furnishing it is only necessary to analyze one satisfactory room and to notice wherein its charm lies. To the fastidious eye it will, of course, be found in fitness of proportion, in the proper use of each moulding and in the harmony of all the decorative processes; and even to those who think themselves indifferent to such detail, much of the sense of restfulness and comfort produced by certain rooms depends on the due adjustment of their fundamental parts… 

The position of doors and fireplace, though the subject comes properly under the head of house-planning, may be included in this summary, because in rearranging a room it is often possible to change its openings, or at any rate, in the case of doors, to modify their dimensions.

The fireplace must be the focus of every rational scheme of arrangement. Nothing is so dreary, so hopeless to deal with, as a room in which the fireplace occupies a narrow space be- tween two doors, so that it is impossible to sit about the hearth.

It is no exaggeration to say that many houses are deserted by the men of the family for lack of those simple comforts which they find at their clubs: windows unobscured by layers of muslin, a fireplace surrounded by easy-chairs and protected from draughts, well-appointed writing-tables and files of papers and magazines. Who cannot call to mind the dreary drawing-room, in small town houses the only possible point of reunion for the family, but too often, in consequence of its exquisite discomfort, of no more use as a meeting-place than the vestibule or the cellar?

The windows in this kind of room are invariably supplied with two sets of muslin curtains, one hanging against the panes, the other fulfilling the supererogatory duty of hanging against the former; then come the heavy stuff curtains, so draped as to cut off the upper light of the windows by day, while it is impossible to drop them at night: curtains that have thus ceased to serve the purpose for which they exist. Close to the curtains stands the inevitable lamp or jardiniere, and the wall-space between the two windows, where a writing-table might be put, is generally taken up by a cabinet or console, surmounted by a picture made invisible by the dark shadow of the hangings. The writing-table might find place against the side-wall near either window; but these spaces are usually sacred to the piano and to that modern futility, the silver-table. Thus of necessity the writing-table is either banished or put in some dark corner, where it is little wonder that the ink dries unused and a vase of flowers grows in the middle of the blotting-pad.

The hearth should be the place about which people gather; but the mantelpiece in the average American house, being ugly, is usually covered with inflammable draperies; the fire is, in consequence, rarely lit, and no one cares to sit about a fireless hearth. Besides, on the opposite side of the room is a gap in the wall eight or ten feet wide, opening directly upon the hall, and exposing what should be the most private part of the room to the scrutiny of messengers, servants and visitors. This opening is sometimes provided with doors; but these, as a rule, are either slid into the wall or are unhung and replaced by a curtain through which every word spoken in the room must necessarily pass. In such a room it matters very little how the rest of the furniture is arranged, since it is certain that no one will ever sit in it except the luckless visitor who has no other refuge.

Even the visitor might be thought entitled to the solace of a few books; but as all the tables in the room are littered with knick-knacks, it is difficult for the most philanthropic hostess to provide even this slight alleviation.

Too often even the "little room down-stairs" is arranged less like a sitting-room in a private house than a waiting-room at a fashionable doctor's or dentist's. It has the inevitable yawning gap in the wall, giving on the hall close to the front door, and is either the refuge of the ugliest and most uncomfortable furniture in the house, or, even if furnished with taste, is arranged with so little regard to comfort that one might as well make it part of the hall, as is often done in rearranging old houses. This habit of sacrificing a useful room to the useless widening of the hall is indeed the natural outcome of furnishing rooms of this kind in so unpractical a way that their real usefulness has ceased to be apparent. The science of restoring wasted rooms to their proper uses is one of the most important and least understood branches of house-furnishing.

Privacy would seem to be one of the first requisites of civilized life, yet it is only necessary to observe the planning and arrangement of the average house to see how little this need is recognized. Each room in a house has its individual uses: some are made to sleep in, others are for dressing, eating, study, or conversation; but whatever the uses of a room, they are seriously interfered with if it be not preserved as a small world by itself. If the drawing-room be a part of the hall and the library a part of the drawing-room, all three will be equally unfitted to serve their special purpose. 

The indifference to privacy which has sprung up in modern times, and which in France, for instance, has given rise to the grotesque conceit of putting sheets of plate-glass between two rooms, and of replacing doorways by openings fifteen feet wide, is of complex origin. It is probably due in part to the fact that many houses are built and decorated by people unfamiliar with the habits of those for whom they are building.

In deciding upon a scheme of decoration, it is necessary to keep in mind the relation of furniture to ornament, and of the room as a whole to other rooms in the house. As in a small house a very large room dwarfs all the others, so a room decorated in a very rich manner will make the simplicity of those about it look mean. Every house should be decorated according to a carefully graduated scale of ornamentation culminating in the most important room of the house; but this plan must be carried out with such due sense of the relation of the rooms to each other that there shall be no violent break in the continuity of treatment. If a white-and-gold drawing-room opens on a hall with a Brussels carpet and papered walls, the drawing-room will look too fine and the hall mean.

In the furnishing of each room the same rule should be as carefully observed. The simplest and most cheaply furnished room (provided the furniture be good of its kind, and the walls and carpet unobjectionable in color) will be more pleasing to the fastidious eye than one in which gilded consoles and cabinets of buhl stand side by side with cheap machine-made furniture, and delicate old marquetry tables are covered with trashy china ornaments.

It is, of course, not always possible to refurnish a room when it is redecorated. Many people must content themselves with using their old furniture, no matter how ugly and ill-assorted it may be; and it is the decorator's business to see that his background helps the furniture to look its best. It is a mistake to think that because the furniture of a room is inappropriate or ugly a good background will bring out these defects. It will, on the contrary, be a relief to the eye to escape from the bad lines of the furniture to the good lines of the walls ; and should the opportunity to purchase new furniture ever come, there will be a suitable background ready to show it to the best advantage.

Most rooms contain a mixture of good, bad, and indifferent furniture. It is best to adapt the decorative treatment to the best pieces and to discard those which are in bad taste, replacing them, if necessary, by willow chairs and stained deal tables until it is possible to buy something better. When the room is to be refurnished as well as redecorated the client often makes his purchases without regard to the decoration. Besides being an injustice to the decorator, inasmuch as it makes it impossible for him to harmonize his decoration with the furniture, this generally produces a result unsatisfactory to the owner of the house. Neither decoration nor furniture, however good of its kind, can look its best unless each is chosen with reference to the other… 

When a room is to be furnished and decorated at the smallest possible cost, it must be remembered that the comfort of its occupants depends more on the nature of the furniture than of the wall-decorations or carpet. In a living-room of this kind it is best to tint the walls and put a cheerful drugget on the floor, keeping as much money as possible for the purchase of comfortable chairs and sofas and substantial tables. If little can be spent in buying furniture, willow arm-chairs

It is to be regretted that, in this country and in England, it should be almost impossible to buy plain but well-designed and substantial furniture. Nothing can exceed the ugliness of the current designs: the bedsteads with towering head-boards fretted by the versatile jig-saw; the "bedroom suits" of "mahoganized" cherry, bird's-eye maple, or some other crude-colored wood ; the tables with meaninglessly turned legs; the "Empire" chairs and consoles stuck over with ornaments of cast bronze washed in liquid gilding; and, worst of all, the supposed "Colonial" furniture, that unworthy travesty of a plain and dignified style. All this showy stuff has been produced in answer to the increasing demand for cheap "effects" in place of unobtrusive merit in material and design; but now that an appreciation of better things in architecture is becoming more general, it is to be hoped that the "artistic" furniture disfiguring so many of our shop-windows will no longer find a market…

The worst defects of the furniture now made in America are due to an Athenian thirst for novelty, not always regulated by an Athenian sense of fitness. No sooner is it known that beautiful furniture was made in the time of Marie Antoinette than an epidemic of supposed "Marie Antoinette " rooms breaks out over the whole country. Neither purchaser nor manufacturer has stopped to inquire wherein the essentials of the style consist. They know that the rooms of the period were usually painted in light colors, and that the furniture (in palaces) was often gilt and covered with brocade; and it is taken for granted that plenty of white paint, a pale wall-paper with bow-knots, and fragile chairs dipped in liquid gilding and covered with a flowered silk- and-cotton material, must inevitably produce a " Marie Antoinette" room. According to the creed of the modern manufacturer, you have only to combine certain "goods" to obtain a certain style.

The householder who cannot afford to buy old pieces, or to have old models copied by a skilled cabinet-maker, had better restrict himself to the plainest of furniture, relying for the embellishment of his room upon good bookbindings and one or two old porcelain vases for his lamps.

Concerning the difficult question of color, it is safe to say that the fewer the colors used in a room, the more pleasing and restful the result will be. A multiplicity of colors produces the same effect as a number of voices talking at the same time. The voices may not be discordant, but continuous chatter is fatiguing in the long run. Each room should speak with but one voice: it should contain one color, which at once and unmistakably asserts its predominance, in obedience to the rule that where there is a division of parts one part shall visibly prevail over all the others…

It is well, as a rule, to shun the decorative schemes concocted by the writers who supply our newspapers with hints for "artistic interiors." The use of such poetic adjectives as jonquil-yellow, willow-green, shell-pink, or ashes-of-roses, gives to these descriptions of the "unique boudoir" or "ideal summer room " a charm which the reality would probably not possess. The arrangements suggested are usually cheap devices based upon the mistaken idea that defects in structure or design may be remedied by an overlaying of color or ornament. This theory often leads to the spending of much more money than would have been required to make one or two changes in the plan of the room, and the result is never satisfactory to the fastidious.

There are but two ways of dealing with a room which is fundamentally ugly: one is to accept it, and the other is courageously to correct its ugliness. Half-way remedies are a waste of money and serve rather to call attention to the defects of the room than to conceal them.

Read more from “The Decoration of Houses” at the Internet Archive.

DEAD WOOD provides regular excerpts from the years before ideas became “content”. Some editions are serious and thought-provoking. Some are ludicrous or silly. Some are chosen just because they happened to strike us as particularly interesting.

If you have an excerpt of “Dead Wood” you’d like to suggest, email Juke at tonyajuke@gmail.com

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