19th Century Decorative Art

A Brief Overview of 19th Century Decorative Arts
The Dr. James Ford Historic Home was "Victioranized" in the 1870s, but the earlier Federalist style remains evident even with the additions. The roofline trim is minimal and not very ornate as is typical of the Victorian period when the additions were made; the trim around doors is simple and square cut; the windows are not curved.

The Ford's also had a hearth in their dining room, so the parlor would have served as the more formal gathering place while the dining room was reserved for family activities such as studying, playing games, eating, and reading.

The Victorian Era
This time period was named for England's Queen Victoria was who reigned from 1837 - 1901. Several styles of decorating went in and out of popularity during this period. The era is somewhat divided in three - early Victorian (Georgian simplicity), Mid Victorian (known for heavier masculine looks), and late Victorian (feminine influence on interior décor).

Furnishings
Furniture was generally large and made from popular woods such as oak and rosewood. The ability to make furniture more efficiently as well as making good quality reproductions were also significant Victorian characteristics. Furniture was ornate and held many details that were meant to be displayed with pride.

Typical pieces included ottomans and over-stuffed divans and couches. Amongst all the sofas, chairs, footstools and tables, the largest item was the upholstered sofa. Typically, they were deep buttoned medallion and serpentine-backed Queen Anne, or Sheraton style.

Other than the table and chairs, the most important piece of dining room furniture was the sideboard. It was fitted with a mirror, shelves, drawers and cabinets. The woodwork was often embellished with carved decorations. At dinner parties most dishes were placed on the sideboard, this left the center of the table free for floral arrangements.

Colors of the Period
During the first half of the Victorian era, walls were usually light colors except for dining rooms and libraries. The second half gave way to much more vibrant, rich colors such as vivid greens and mahogany brown typically found in bedrooms. During this period, the general feeling was that deep, rich colors enhanced the importance of a room.

Considerable thought was given to creating the right balance of both color and texture between wall, molding, ceiling, and woodwork. Adding texture to a room was achieved through the use of wallpaper, stenciling and paint finishes such as sponging and marbleizing.

Writers began to specify rules for interior color choice and placement. Most relied upon the work of David Ramsay Hay of Edinburgh, Scotland, a housepainter and author. Hay had two theories. The first was "harmony by analogy," using those colors next to one another on the color wheel. The second was "harmony by contrast," employing those colors opposite one another on the color wheel. This was the more popular approach to selecting interior colors throughout the 1850's, 60's, and 70's.

Wallpaper
In the early and mid-Victorian period scrolled floral patterns were favored and primary backgrounds of red, blue and green overprinted with shades of cream and tan were common. Later in the 19th century Gothic-inspired trellises with leaf and floral work were frequently used in all rooms of the house.

The most authoritative and influential designer of wallpaper and fabrics during this time was William Morris, architect, designer and founder of the Arts and Crafts movement. Morris' patterns were inspired by Medieval and Gothic tapestries. He was known for mixing strong, pure colors to create a harmonious effect.

Borders were an integral part of any wall treatment. They appeared in rooms with or without cornices. By the 1840's borders were narrow, often flocked, and usually in a darker shade that the paper on the wall. The most common border patterns were floral, trailing vines, or architectural details. Borders representing swags of fabric were also used.

The Parlor
The Parlor was the most important room and the most lavishly decorated in the Victorian home. Bareness in a room was thought to be in poor taste, thus every available surface was filled with objects that reflected who the homeowners aspired to be.

It usually was the most spacious room in the house with the highest ceilings, the most elaborate architectural designs, and the most elegant furnishings.

Plants were abundant. Photo albums and paintings of family members were on prominent display. Prints of little children and their pets were popular. Books and libraries, or at least bookcases were in most good homes. Collections of any type were encouraged.

Though styles of decor varied, the one thing that remained constant was the feminine touch. The room was designed to create a comfortable feeling, so guests would choose to linger.

Window Treatments
Window drapery was also a significant feature. The drapes were made of white muslin, during the spring and summer and, heavier fabrics such as velvet, brocade and silk during the fall and winter. Folded and held back with ropes or scroll-shaped fitments. Scrolled, scalloped, or gilded valances adorned the tops and were usually made of velvet or lace.

A fully draped window consisted of a cornice, a valance, and one or more curtains. In the 1840's the cornice was generally a painted, gilded, or stained pole. The valance hung below the cornice attached by rings.