It’s no wonder that modern interior design has such a love/hate relationship with Victorian style. Many of us still live in Victorian homes, but the image of overstuffed, dark and dusty rooms and the backlash from succeeding generations has done much to discredit Victorian interiors. In spite of this, the attitude to home decoration underwent a revolution in the nineteenth century. The Victorians were preoccupied with interior décor. Modern-day decorators would identify the eclecticism and interest in recreating historical styles – they continue as themes in the modern day approach to decorating.
Until the 1850s, decorating was done out of necessity rather than creativity. Furniture, wallpaper and curtains were generally purchased locally, often from the local upholsterer, who kept a limited range. DIY was unheard of, and any decorating that needed doing was carried out by experienced tradesmen.
A typical early-Victorian living room had a large circular working table, armchairs, a sofa and straight backed chairs as furniture. A gilt-framed mirror over the fireplace was essential, but the overall effect was restrained. Homeowners aspired to elegant neo-classical interiors such as Robert Adam’s designs for Syon House or Osterley Park created in the late 1700s. Eighteenth century French touches like gilt, floral garlands and imitation marble were popular. What ornaments there were tended to betray an interest in natural history – stuffed animals or birds, or collections of shells, rocks or plants.
Then, in the mid-century, a number of events changed the Victorian attitude towards interiors. The first and most important was the Industrial Revolution, which dramatically increased both the standard of living and the quantity of manufactured goods available to the homeowner. Home furnishings which previously had to be made by hand could now be manufactured quickly and cheaply. In particular, fabrics were far more widely available. The burgeoning middle classes, many of whom had made their money in the industries producing these goods, found themselves with increased free time and spending power.
A new breed of household guides emerged, aimed at the newly-wealthy anxious to appear cultured and display their new status. Fashionable London stores began to circulate catalogues for those who lived outside the capital. They also adopted the practice of showing ‘room sets’ – pictures of complete room designs that helped buyers visualise how the new products would look in the home. Suddenly, simplicity and restraint became associated with lack of means. Social status had to be on display.
The Great Exhibition of 1851 was another inspiration for domestic interiors. Impressive displays from every nation in the Commonwealth offered millions of visitors an opportunity to experience foreign cultures that had previously seemed remote. Chinese, Japanese, Moorish and Egyptian themes all found their way into home décor. The import market boomed, and English manufacturers were quick to respond to the trend by making cheap copies of more expensive pieces.
In keeping with the Victorian sense of social responsibility and respect for tradition, interest in reviving historial decoration was high. Augustus Pugin, who designed the interiors for the Houses of Parliament, chose medieval, ecclesiastical themes to reflect the majesty of the workings of government. In a reaction to industrial methods that produced poor-quality goods and demeaned workers, William Morris promoted hand made goods and championed the craftsman. This ‘moral’ approach to decoration was embraced by many of those eager to create a home that reflected their convictions. Medieval, Classical and later, the folk-influenced Arts and Crafts style all were an external expression of an inward ideology.
In contrast to the early Victorian interior, the living room of the late nineteenth century seems over-the-top. Windows and doorways were lavishly draped with newly-affordable velvets and damasks. The large central reading table was replaced with smaller side tables, draped and filled with books, handicrafts, ornaments and other displays of worldliness, wealth and leisure time. The mirror over the fireplace became a large over-mantle with space for yet more ornaments. Screens and partitions were used to section off rooms for different activities – the size of the space less important than its devotion to a particular pursuit.
Whether or not we agree with the Victorian sense of style, it’s worth remembering how much our homes reflect the preoccupations of our times. Fashion, current events and even history all affect how we view and decorate our interior lives.