Chapter 9

LIGHTING, DECORATING, AND FURNISHING.

Light and shade being the soul of all ornamental effect, we may well consider first the methods of lighting the bath. As a rule, much artificial light will be required. The hot rooms, being often in a basement, are as a rule but feebly illumined from areas and the like. Seeing that purity of atmosphere in these apartments is of so vital importance, the method of artificial lighting adopted should not be such as impregnates the air with obnoxious and harmful, if unnoticeable, fumes. Gas, for this reason, used in the ordinary manner, is objectionable, as the ventilation being by means of low-level exits for the foul air, the products of combustion must of necessity pass by and envelop persons below the burners, though, of course, in a diluted state. Should, therefore, gas-lighting be employed in a sudatory chamber, it should for preference be on one of those systems whereby the burner is cut off from the atmosphere of the room, and provision made for carrying off the fumes. Happily, the use of electric lighting is at last increasing with marked rapidity; and the incandescent light is admirably adapted for all purposes of the Turkish bath. Where it can possibly be adopted it is a great addition to a bath.

For cooling room purposes gas is not so objectionable, except that it is heating, and assists in vitiating the atmosphere. But inasmuch as the fumes in this case will ascend with the general body of air, the objection to gas is much lessened in these apartments. Nevertheless, the electric light is the illuminant to be coveted.

The quality of the lighting in the cooling room should be toned and softened. It is not a place for brilliant general illumination, but rather for a soft light pervading the whole, and auxiliary lights where required, such as near couches, &c.--a system, in fact, diametrically opposed to sun-burner illumination. Nothing more objectionable of its kind can well be imagined than a glaring light in the ceiling of a cooling room. It would be found intolerable.

For practical purposes, the greatest amount of light required in any part of a frigidarium is that at the heads of the couches, where it must be of such strength as will admit of comfortable reading. One gas-burner, or one small incandescent lamp, to every two couches is a fair allowance. If effect be desired, there is, of course, much in the distribution of the illuminating agent that affects for good or evil, and the placing and the relative powers of the lamps or burners must be considered. The dominant point of light might be a prettily-designed lantern with a few brilliant points of colour in it, depending from a chain over a fountain, throwing its rays downwards on to the falling waters, and _not_ in the eyes of those bathers who may be reclining upon the couches.

Throughout the bath, in either natural or artificial lighting, by windows or lamps, it should be the aim not to throw strong light in the eyes of the bather--a principle of universal application, but especially to be regarded in a place where, more often than not, the occupants of the various apartments are reclining, _face upwards_, on benches or couches. In the hot rooms, as in the cooling room, little general illumination is required. A bright artificial light in such places seems especially painful to the eyes. What light, therefore, may be provided in the sudatory chambers, should be as diffused as possible, the additional lights for the few who practise reading in these apartments being so arranged as not to be objectionable to the majority of bathers. The lights should be shaded so as to throw their rays downwards in a very small compass.

Considerably more light is required in the lavatoria and shampooing rooms. In scheming the plan of bath rooms in a basement, where daylight can only be obtained at one point, it is desirable, if practicable, to arrange the shampooing room so that it may enjoy the benefit of this light.

For effect, the scale of lighting in the bath rooms may be a rather dark laconicum, and a gradually-increased amount of light from thence to the shampooing room. The plunge-bath chamber should be well lighted, but not above the tone of the frigidarium, or the bather will feel to be going from cheerfulness to comparative gloom, which would be unpleasant. A bright, warm light should be that in the plunge-bath chamber, with perhaps an ornamental lamp over the bath itself; and if the intermediary staircase--should there be such a feature--be lighted on a lower scale, the effect on entering the frigidarium will be a cheerful one.

DECORATING.

Under this heading, I would speak of the means of obtaining effect in a bath, of the materials to be employed, and of the design of features--of the effect of the whole and the proportions of its parts, rather than of anything implying the _laying on_ of so-called ornament.

The architecture of a bath is _interior architecture_ as distinct from that involving external work. Much of this, moreover, can often only be seen by artificial light. These two restrictions point to the employment, for the most part, of surface decoration, rather than of modelling--of tiles, mosaics, marbles, in place of mouldings, cornices, and pilasters.

There are three features of the bath that are fit subjects for handsome designing, and they are the frigidarium, the tepidarium, and the plunge bath. There is an excuse for elaborating the first two, in that these are the apartments in which the bather remains the longest time; and as for the plunge, it is in itself an object capable of giving a very pleasing effect. Over-elaboration--in respect to added ornament--in the hot rooms, however, gives an air of incongruity. Simplicity, with good proportions, seems here the most pleasing. The general effect of the hot rooms should be light, a statement which is wholly in harmony with what I have said on their lighting, though it may not at first sight appear to be so. The tone of the ceilings and walls and floors should be light, the darkest portions being a dado. A generally dark and heavy tone of colouring is very oppressive in a sudatory chamber. Keep them light: light ceilings of plaster for cheap baths, and of lightly decorated, large, thin tiles, or lightly-tinted enamelled iron, for more expensive establishments; light walls of white, ivory, cream, or buff glazed bricks, without startling bands of a vulgar, as distinct from a really bold, contrast; and mosaic floors of a light filling-in and not too dark pattern. The risers to marble-topped benches may be of another tone, but not too dark; and, in place of a dado of bare glazed bricks, it is perhaps best to stretch Indian matting to keep the bather from the burning wall, as at Fig. 20. This will necessitate fillets affixed to plugs in the brickwork. Woodwork looks best dark and polished, affording an agreeable contrast to the lighter materials.

Bright points of colour may be obtained by stained glass in ceiling-lights or windows, and at night by coloured glass shades over lamps, &c.

The use of iron joists with glazed brick arches between is not to be recommended for the ceilings of the hot rooms. To say the least, it is a heavy-looking arrangement. Enamelled iron may be made to look very well if affixed in sheets of delicate tint with light patterns, and affixed with "buttons" with enamelled heads to the fireproof floors, as at Fig. 18. Large thin tiles make an admirable ceiling for small baths. They may be fixed with ornamental wood fillets, or made with screw-holes and affixed to ceiling joists.

Glazed brickwork for the walls of hot rooms, &c., should be specified to be executed with an extra neat joint, and should bond to less than 12 in. to the foot; otherwise the effect of the unwieldy mortar joints is clumsy. This applies equally to walling and to arches and vaults. Work which may pass as fair in ordinary cases, looks coarse and rough in the glazed interior walls of a bath. In selecting glazed bricks there is some difficulty in obtaining really delicate tints; much of the work produced is unfortunately of a very crude colouring.

One portion of the tepidarium, and other bath rooms, admits of being rendered very attractive; and that is the flooring. Mosaic work is always pleasing, if it be designed with taste and executed artistically. Marble and tile mosaics are both good, the former admitting of a richness of effect quite its own, and the latter of brilliant colouring. In designing marble-mosaic floors, however, one may well fight shy of including that senseless, purposeless description which is nowadays so often employed as a filling-in between borders. I refer to the heterogeneous jumble of every colour mixed without regard to one another, and giving at a distance a dirty grey tone, and near at hand an effect like a gravel walk covered with faded cherry-blossom--to be flattering. Despite the fact that this method of design is of antique origin, and has a real classical designation, I cannot but think that it is to be avoided, and that fillings-in should be made with tesseræ of one tint, or that mosaic should be abandoned altogether.

Given the means, it is easy to render a set of bath rooms elaborate, with faïence and modelled glazed ware, marbles and painted encaustic tiles, and many other suitable but expensive materials; but for my own