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The Decoration of Houses

The Decoration of Houses

img Young Adult
img 16 Chapters
img 77 View
img Ogden Codman
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The Historical Tradition Rooms in General Walls Doors Windows Fireplaces Ceilings and Floors Entrance and Vestibule Hall and Stairs The Drawing-room, Boudoir, and Morning-room Gala Rooms: Ball-room, Saloon, Music-room, Gallery The Library, Smoking-room, and "Den" The Dining-room Bedrooms The School-room and Nurseries Bric-à-Bracooms may be decorated in two ways: by a superficial application of ornament totally independent of structure, or by means of those architectural features which are part of the organism of every house, inside as well as out. In the middle ages, when warfare and brigandage shaped the conditions of life, and men camped in their castles much as they did in their tents, it was natural that decorations should be portable, and that the naked walls of the mediæval chamber should be hung with arras, while a ciel, or ceiling, of cloth stretched across the open timbers of its roof. When life became more secure, and when the Italian conquests of the Valois had acquainted men north of the Alps with the spirit of classic tradition, proportion and the relation of voids to masses gradually came to be regarded as the chief decorative values of the interior. Portable hangings were in consequence replaced by architectural ornament: in other words, the architecture of the room became its decoration. This architectural treatment held its own through every change of taste until the second quarter of the present century; but since then various influences have combined to sever the natural connection between the outside of the modern house and its interior. In the average house the architect's task seems virtually confined xx to the elevations and floor-plan. The designing of what are to-day regarded as insignificant details, such as mouldings, architraves, and cornices, has become a perfunctory work, hurried over and unregarded; and when this work is done, the upholsterer is called in to "decorate" and furnish the rooms.

Chapter 1 The Preface To the Gospel. Luke 1:1-4

1 Forasmuch as many have taken in hand to draw up a narrative concerning those matters which have been fulfilled among us, 2 even as they delivered them unto us, who from the beginning were eyewitnesses and ministers of the word, 3 it seemed good to me also, having traced the course of all things accurately from the first, to write unto thee in order, most excellent Theophilus; 4 that thou mightest know the certainty concerning the things wherein thou wast instructed.

This preface is a perfect gem of Greek art; even in the English Version it loses little, if anything, of its literary charm. As a prologue it is regarded as unsurpassed for brevity, modesty, and dignity. However, its value lies not in its beauty but in its testimony to the veracity of the writer and to the historic worth and absolute credibility of the gospel story. The fact of inspiration should not blind us to the human means by which the Spirit of God secured accuracy in the communication of truth and in the composition of the Holy Scriptures.

Here we are admitted to the study of a great historian. We see about him his tools and his material; we are informed as to his motives and methods in work, and are told of the qualifications he possesses for his great task. First of all, he has before him many written accounts of the ministry of Christ. He does not reject these as inaccurate but regards any one of them as inadequate. By comparing and combining them he secures valuable outlines for his more complete narrative.

Then, too, he intimates that he is living and writing amidst the scenes and in the very atmosphere of the events he is recording; only recently, as he indicates, have these "matters ... been fulfilled." Again, he has access to the testimony of men who were eyewitnesses of these events and who have been public teachers of the gospel.

Further, he assures us of the absolute accuracy with which he has investigated the incidents of the life and ministry of Christ, even from the earliest scenes; he has sifted [pg 018] his material and weighed the evidence and is to record only established facts.

These facts he is to relate "in order," that is, in the sequence of time, and further still, with the system and the careful regard to proportion and to completeness which should characterize a scientific, historical composition.

Then again he dedicates the book to Theophilus whose title, "most excellent," indicates that he is a man of rank and official position, one to whom an author would not venture to present hasty, imperfect, and inaccurate work, especially when the one addressed had been instructed already in reference to the matters related.

Thus this preface shows the supreme purpose of Luke was to confirm the belief of Theophilus, who is apparently his patron and friend, and to deepen his conviction of the truth of the gospel story. Surely, such an introduction must remind every reader that our Christian faith is based upon an impregnable foundation of historic fact.

[pg 019]

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