PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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Historic types of wallpaper and decorative schemes of interiors Figure 3. Flocked wallpapers with symmetrical design were commonly used in large representative rooms. Speaker’s Parlor at Clandon Park, Surrey, ca. 1735. Reproduction from The Papered Wall. The History, Patterns and Techniques of Wallpaper, ed. by Lesley Hoskins, Thames and Hudson, London, 2005, p. 28–29. 37
Historic types of wallpaper and decorative schemes of interiors 1.2. WALLPAPER IN 18TH-CENTURY <strong>INTERIORS</strong> The Rococo period brought with it an increased need for intimacy and personal comfort, which is why the decorative objects and furniture became lighter in scale and weight, and sumptuous enfilades were replaced by small, intimate apartments. The decoration of the era was characterized by the use of rocaille and exotic chinoiserie and singeries motifs, and an interest in exotic and foreign cultures and ornaments, such as Chinese, Persian and Turkish. Although there was only a loose hierarchy of rooms, the rooms descended in importance and size, from public rooms to informal ones. The function of each room was not only designated by its location in the appartement and its size, but also by the ambience created by decoration. For example, a parlour for dinner guests to assemble in after leaving the dining room had to have cheerful decoration, to offer a pleasant background for conversation and table games. 50 According to the classical order, the walls of a Rococo room were divided into three parts: the dado, field and entablature, a space for a frieze or a cornice. The filling area was split into sections by symmetrically arranged panels, which were framed by thin and low mouldings. (Fig. 4) A prominent role in the decoration scheme was played by the over-door or over-mantel panels, called trumeaux. 51 Since asymmetry was represented by the use of abundant ornaments, balance needed to be maintained in the total composition. To create symmetry, the decoration of opposing walls reflected each other, i.e. elements that could break the symmetry, such as doors and closets, needed to be hidden in the setting. Besides wood, the centres of the panels could be filled with mirrors, textiles (e.g. silks, damasks and velvets), tapestries, painted canvas or wallpaper. 52 (Fig. 5) 50 Richard A. Etlin, Symbolic Space: French Englightenment Architecture and Its Legacy (Chicago: University of Chicago Press, 1996), 132. 51 Blakemore, History of Interior Design and Furniture, 214. 52 Ibidem. 38
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Kokkuvõte tapeetide säilitamine n
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INTERVIEW Interview with Simona Pre
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Paccin - Preparation, Art Handling
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Collier, A., Wallpaper - In and Out
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PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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