Illustration: Turner and Sons. Flock diaper wallpaper pattern, 1849.
The choice of decorative styles in mid-nineteenth century Britain were not always as cut and dried as is sometimes appears one hundred and fifty plus years later. Although we assume that the Gothic Revival dominated the period, this is only partially true as a range of styles from different cultural backgrounds held sway over much of the interiors market in Britain.
The self-proclaimed arbiter of taste the Journal of Design and Manufactures, perhaps summed up the genuine feeling of bewilderment met by most members of the general public when trying to choose a satisfying decorative style for their home:
'There is no general agreement in principles of taste: what principles may happen to be recognised seem only transitional...'
However, although decorative styles did indeed seem at times bewilderingly diverse, three particularised styles did seem to be more popularly available than perhaps others. These were classical, medieval and renaissance, three styles that were in fact to battle it out largely through architecture, for much of the rest of the nineteenth century, hence Britain's eclectic Victorian city and town centres.
Of course within these styles there were variations and grades and although connoisseurs of purity would no doubt have understood the correct formula for each decorative style, many were either unsure or unconcerned with specific and rigid purity. The industries that supplied the interiors market also ranged from a relatively accurate portrayal of classical, medieval and renaissance to one that was a time much more cavalier. This meant that a range of styles, and styles within styles were presented to the public through textiles, furnishings and wallpaper.
This active and exuberant cross-referencing of styles and cultures led to some obviously ill-advised pattern work, but also work that could be considered creative hybrids, decoration that produced a wholly Victorian, rather than one that was rigidly faithful to the past.
Illustration: Turner and Sons. Wallpaper design, 1849.
There were of course many critics who were concerned with the sometimes innovative approach to the decorative arts taken by designers and the companies that employed them. However, most seemed much more concerned with the lack of discipline that the general public displayed when making their own choices as to interior decoration, rather than employing the understanding presented by professional decorators.
The two wallpaper examples supplied by Turner and Co, both derive from 1849 and are an interesting example of the diversity of style and taste as presented by the mid-nineteenth century. The first colour example was apparently available in a range of colours, and although superficially gothic in style, it seems less adamant than some of the medieval inspired wallpaper pattern work that was available. This was obviously a pattern that could imply a number of fashionable styles without being severely specific, a perfect choice for any individual who was either confused or perhaps was not wealthy enough to change wallpaper decoration on a whim.
The second and vastly more complex decorative pattern is altogether different than the first. It is a beautifully meandering piece of work that is part arabesque, part medieval, part renaissance, all styles to all people. Technically it should not work as a finished decorative piece, but somehow does. Admittedly, it has not been published as an actual coloured swatch of wallpaper pattern, which could well have proved problematic, but as a black and white sketch it projects itself as a sophisticated piece of pattern work that could just as well be seen as either decoration or indeed ornament.
Interestingly, the Journal of Design and Manufactures which published both examples, suggested that this second decorative piece of pattern work should be sought by:
'The intelligent designer for woven fabrics [who] ought to obtain some suggestions from this decoration.'
That the design would have worked equally well woven, printed, embroidered, used as a rug or even as iron work, gives some suggestion as to the flexibility that could be found in mid-nineteenth century interior decorative work. Perhaps some of the particular intransigence portrayed by at least some of the more vociferous critics of the period might have been better placed in making either certain accommodations towards creatively decorative innovations, or expressing the multi-disciplinary capability of at least a proportion of pattern output during this busy and productive period.
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