DOI issue:
No. 56 (November, 1897)
DOI article:White, Gleeson: An epoch-making house
DOI Page / Citation link:https://doi.org/10.11588/diglit.18390#0132
An Epoch-Making House
creed, but an accepted rather than a vital factor is that of the art of the monastery and the trades-
to many people whose energy is directed toward guilds of Europe. Even the pianoforte (although
the future. it is true that this is not Morris's handiwork)—a
In this house, where the work of Morris confronts peculiarly Western object, is encrusted with gesso
a visitor everywhere, it is impossible not to recall that suggests Italy it is true--but a far more
a fancy often expressed before, namely, that in his distant legend beyond.
body the soul of some thirteenth-century master- In short, the spirit of the house reflects much of
craftsman was re-incarnated. Perhaps it would be the spirit of William Morris. For it is a house to
more near the truth to say the souls of many, for live in, not a palace to be visited by strangers,
he was no blind adherent to any local precedent, but or used only on state occasions, wherein small
found inspiration as catholic workers found it after rooms are kept for domestic use, and the rest for
the Crusades brought back to Europe glimpses of the ceremonial functions.
art of the Orient. In the drawing-room, especially The house outside can hardly be called dis-
full of Morris handiwork, you find Persian influence tinguished. It is true that an iron gate and a tiled
in rugs and embroideries as strongly evident as entrance-lobby suggest to a casual passer-by that
the plain facade is but the
husk of a precious kernel.
Yet it looks mainly what
it is, a commonplace
London house (a "family
mansion " an agent would
call it) made comely by
alteration and additions
that were not sufficiently
drastic to leave it architec-
turally imposing.
But within, a surprise
awaits, and from the hall
to the nursery every room
is a perfect example of its
kind. It is a feast of
pleasure to one interested
in the decoration of dwel-
lings. But to avoid the
risk of being misunder-
stood, it is as well to pre-
face any description with
a distinct statement that
its ideal is neither the only
satisfactory one, nor neces-
sarily the best. The real
charm of the house is that
it is a consistent example
of the use of fabrics and
patterns designed chiefly
by Mr. Morris, and that it
represents the first flower
of the "movement" in
aesthetic furnishing which
has now developed many
fresh and charming varie-
ties.
In one respect it obeys
gesso panel by wai.tkr crank the law of a perfect house,
104
creed, but an accepted rather than a vital factor is that of the art of the monastery and the trades-
to many people whose energy is directed toward guilds of Europe. Even the pianoforte (although
the future. it is true that this is not Morris's handiwork)—a
In this house, where the work of Morris confronts peculiarly Western object, is encrusted with gesso
a visitor everywhere, it is impossible not to recall that suggests Italy it is true--but a far more
a fancy often expressed before, namely, that in his distant legend beyond.
body the soul of some thirteenth-century master- In short, the spirit of the house reflects much of
craftsman was re-incarnated. Perhaps it would be the spirit of William Morris. For it is a house to
more near the truth to say the souls of many, for live in, not a palace to be visited by strangers,
he was no blind adherent to any local precedent, but or used only on state occasions, wherein small
found inspiration as catholic workers found it after rooms are kept for domestic use, and the rest for
the Crusades brought back to Europe glimpses of the ceremonial functions.
art of the Orient. In the drawing-room, especially The house outside can hardly be called dis-
full of Morris handiwork, you find Persian influence tinguished. It is true that an iron gate and a tiled
in rugs and embroideries as strongly evident as entrance-lobby suggest to a casual passer-by that
the plain facade is but the
husk of a precious kernel.
Yet it looks mainly what
it is, a commonplace
London house (a "family
mansion " an agent would
call it) made comely by
alteration and additions
that were not sufficiently
drastic to leave it architec-
turally imposing.
But within, a surprise
awaits, and from the hall
to the nursery every room
is a perfect example of its
kind. It is a feast of
pleasure to one interested
in the decoration of dwel-
lings. But to avoid the
risk of being misunder-
stood, it is as well to pre-
face any description with
a distinct statement that
its ideal is neither the only
satisfactory one, nor neces-
sarily the best. The real
charm of the house is that
it is a consistent example
of the use of fabrics and
patterns designed chiefly
by Mr. Morris, and that it
represents the first flower
of the "movement" in
aesthetic furnishing which
has now developed many
fresh and charming varie-
ties.
In one respect it obeys
gesso panel by wai.tkr crank the law of a perfect house,
104