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Colour has the most profound influence on the atmosphere of any room, but with a vast array of papers, paints and fabrics to choose from it is a subject that can seem bewilderingly complex. Reaction to colour, combinations of colour, patterns and texture deeply affect the way we feel.

Some make us feel secure, others make us initially optimistic but pall after a short time.There seem to be innumerable variations with few set rules. Some people have a natural eye for the fine gradations of colour, others can barely detect the difference between yellow and ochre. Close observation and experience are invaluable in taming this most subjective of areas. Certain colours and patterns are associated with specific periods and styles of decoration. In many cases this is due to the availability of pigments at the time in question. Until the middle of the nineteenth century, when a great many of the more difficult colours were made synthetically, the range was fairly limited. Moreover, the quality of commercially available pigments was nowhere near as dependable as we have come to take for granted today. The result, however, was often to produce the most subtle and natural texture full of imperfections, which gave such character to these period decorative schemes — something that no modern vinyl or latex can achieve despite its stability, washability and durability.

During the sixteenth century, the predominant colours used in tapestries and crewel-work were the muted shades of blues, greens, earthy reds and ochres obtained through using natural dyes. Rooms would have been wood-panelled or decorated with patterns or images painted onto roughly plastered walls. Rich, jewel-like colours, such as deep reds, blues and greens, suited the ornate grandeur of the baroque style in the latter part ofthe seventeenth century. During the early part of the eighteenth century the French rococostyle was associated with pale pinks, blues, yellows and greens and the plentiful use of mirror and gilt, further adding to the effect of lightness and elegance. Also typical of that time were toile de Jouy fabrics with their amusing depictions of bucolic country scenes. The Regency period, which broadly spans the end of the eighteenth century and the beginning of the nineteenth century, was characterized by forthright colours often combined in stripes. In particular this period will always be associated with the colour red, which was extensively used to convey the luxury and liveliness of the times. Decorative painting such as marbling and graining was very much in vogue and the relative cheapness of its execution, in comparison with the wonderful richness of colour and texture it produced, made it extremely popular. Brighton Pavilion or the Soane Museum in Lincoln’s Inn Fields inLondon are excellent sources of inspiration if you find strong and unusual colours appealing.

Well-to-do Victorians considered themselves pillars of a solid and respectable Establishment, and their homes reflected this gravitas. Furniture and fabrics of a frivolous nature were consigned to the attic, and reception rooms became repositories for vast amounts of dark-brown furniture and heavily fringed, sombre fabrics. The intricate and beautifully balanced designs of William Morris, the leading exponent of the Arts and Crafts Movement, are still produced by Sandersons — ideal for creating an instant impression of late-Victorian style. The interest in period style continues unabated — wallpaper and fabric manufacturers add new designs to their collections each season, but the theme or principal motif is more often than not adapted from a classical or traditional design. Some companies produce no new designs, merely re-colouring patterns from their archive collection to fit in with the current vogue. One constant running through all these periods is the fact that white has rarely been used in the decoration of interiors, with the exception of ceilings, which were often tinted with red or blue anyway. However, during the latter half of this century, especially in thefield of contemporary design, white has become much more popular. The direction in which your living room faces will have an important bearing on which colour you choose for the walls. Rooms with a northerly aspect often appear to be lacking in warmth, so you might compensate for this by using asunny yellow or ochre. Cooler, lighter colours such as off-whites, pale greens, yellows and blues canwork especially well in rooms facing south and enjoying plentiful natural light. Attempting to make small, dark rooms appear lighter through the use of white or off-white is generally a mistake; the lack of natural light will result in the room feeling merely dull and colourless. An alternative course of action would be to use a deep red or green to imbue the room with a sense of warmth and drama. Add bookshelves, good lighting and strongly coloured curtains, and you have the makings of cosy library-cum-living room.

It is a far easier task to match wall colour to fabric than the other way round. Study the constituent colours of the fabric closely; you might find that one of the less dominant colours proves ideal for the walls. Curtains and walls are always adjacent; when the colours bear a close relationship to each other the effect is generally pleasantly harmonious. An increasing number of specialist companies now produce ranges of historically accurate colours, using traditional methods and materials to achieve an authentic finish.They may be more expensive but, although similar colours are to be found in mass produced modern paints, they lack the depth of colour and inimitable texture of paint produced using traditional methods and natural pigments.

By using broken colour it is possible to add a softer, more natural appearance to wall surfaces and furniture. In
nature, uniform coloration is a totally unknown phenomenon. If a child is asked to paint a tree, the leaves are
always depicted as one shade of green and the trunk is brown. In reality, however a leaf is many shades of green, just as the trunk is rarely brown but a mixture of greys and greens. If the subject of decorative paint finishes is new to you, try experimenting with sample-size pots of two similar shades of the same colour. You will be amazed at the sense of depth and movement that can be added to a flat surface by applying the paint in different ways. For instance, by painting a thinned-down mixture of one colour over the other, a two-tone effect is immediately produced. Or use a brush to drag down vertically for a gently striated look. There are numerous books available

on the subject that will explain the processes involved in more detail.

It is important not to underestimate the significance of texture in the overall decorative scheme. Without the interplay of light and shadow on a variety of surfaces an otherwise stunning room can appear lifeless and dull. Sisal, coir and jute floor coverings with their rich textural qualities look equally at home in traditional and contemporary settings. For those who prefer the softness of conventional carpet, several manufacturers now produce ranges that imitate the appearance of coir matting. Rugs and dhurries can be used to introduce an element of pattern as well as texture and are also useful for the way that they help to define a particular part of a room — such as the fireside or the seating area. The textural qualities of different fabrics varies enormously — as can be seen if you compare the effect of sunlight shining on the surface of silk, cotton and velvet — and can have a significant influence on the appearance of a room.

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