Authentic Color Schemes for Victorian Houses: Comstock's Modern House Painting, 1883
By E. K. Rossiter and F. A. Wright
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About this ebook
The heart of the book is the section of 20 exquisite color plates — each reproducing a flawlessly executed architectural drawing that shows the color possibilities for a specific house, and each accompanied by an extensive written description of the colors to be used for exterior walls and trim. An informative introductory section gives a clear explanation of how to mix primary and secondary colors to achieve such popular, mellow tones of the period as olive, russet, citrine, buff, plum, and sage. This authentic source of inspiration and suggestions will be prized by restorationists, architects, home-builders, and lovers of Victoriana.
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Authentic Color Schemes for Victorian Houses - E. K. Rossiter
ARCHITECTURE
CHAPTER I.
INTRODUCTORY.
IN all departures from generally accepted standards, and in all innovations that embody anything of a startling nature, the radicals are the prime movers, and usually come to the front as the men of action, who inaugurate, and set in motion, the machinery designed to carry out the new idea. This, naturally, often results in extreme measures at first; but, afterwards there comes the inevitable conservative reaction which tends to moderation and temperance. That. which the reform embodies of good is carefully garnered up, while that which is fanatical and meretricious is gradually sifted out and rejected. The final working out of the new ideas may be said to result in neither the one extreme of radical innovation, nor in the other of conservative inaction; but in the golden mean between the two, which is tolerance within reasonable and well defined limits.
Some such process as this is at the present time being worked out in architecture. The present architectural renaissance of the so-called Queen Anne, Free Classic, and English Domestic styles, represents an important movement in the right direction, which has all the characteristics of a true reform. The renaissance of the architectural styles prevalent over a century ago is marked by efforts of a new and original nature, resulting in elaborate complexity, and wild vagaries, not strictly warranted by ancient authority. The movement is now fairly inaugurated, with all its inconsistencies, absurdities, oddities, and extreme fanatical tendencies, brought prominently to the foreground, in full accordance with the general law we have noted. The reaction has not yet set in, but already have been heard the mutterings which presage its coming, in the protests entered here and there against some of the more especially indefensible examples, and in the growing tendency to reject features which will not adapt themselves to modern exigencies and practical requirements. Some of the good features of the new style—features that have stood the crucial test of adaptability and utility—have also been recognized by this time, and have been unhesitatingly adopted as among the architectural ideas that will live. There has grown up with the present style, as indeed an integral part of it, an ever inrceas-ing demand for and love of color. The broken surfaces and picturesque outlines of the modern Queen Anne country house offer many advantages for almost endless artistic color treatment, not possessed by former types, and it is very gratifying to find that this is seen and appreciated. This is in itself one of the most important of the good results of the revival. Color bears such an intimate relation to it that, at the risk of having it considered somewhat out of place, we cannot refrain from broadly analyzing the new style.
This is the more necessary because of the very widespread ignorance as to what is, and what is not, real Queen Anne work. Any piece of modern work in which some old and quaint effect has been introduced, or in which some ancient detail has been copied, has been unblushingly christened Queen Anne. The name has been made to do duty for classifying any departure from ordinary and well accepted standards. Not infrequently we see two buildings whose characteristic features are diametrically opposed, classed as Queen Anne, when the truth is that neither of them partakes in any degree of what can strictly speaking be so designated. Modern Queen Anne, or Free Classic, is based upon English examples of domestic buildings erected during the reigns of William and Mary, Queen Anne, and the first two Georges, and also upon buildings of a later date of a nondescript character, which resulted from an exceedingly lively effort of an eclectic school of designers to break away from English Domestic Gothic. Drawing its features from so many sources, it is not easy to clearly define them. Generally speaking, however, they are such as result from the application of classical details to Gothic forms and mediæval principles of construction. The general form and arrangement of these buildings was after the Gothic manner: i.e. they were designed from the inside; the plan was the first consideration, and was made to meet the practical requirements of the times, while the exterior was left in a great measure to take care of and adapt itself to the plan. Breaking away from the bad precedents established by the Renaissance, especially the practice of subordinating the convenience of plan and interior effects to the requirements of a classical exterior, symmetry began to be considered as no longer the all essential characteristic of