In planning your house after arranging for proper wall space for your various articles of furniture, keep in mind always that lights will be needed and must be at the same time conveniently placed and distinctly decorative.
One is astonished to see how often the actual balance of a room is upset by the careless placing of electric fixtures. Therefore keep in mind when deciding upon the lighting of a room the following points: first, fixtures must follow in line style of architecture and furniture; second, the position of fixtures on walls must carry out the architect's scheme of proportion, line and balance; third, the material used in fixtures—brass, gilded wood, glass or wrought iron—must contribute to the decorator's scheme of line and colour; fourth, as a contribution to colour scheme the fixtures must be in harmony with the colour of the side walls, so as not to cut them up, and the shade should be a light note of colour, not one of the dark notes when illuminated.
This brings us to the question of shades. The selecting of shapes and colours for shading the lights in your rooms is of the greatest importance, for the shades are one of the harmonics for striking important colour notes, and their value must be equal by day and by night; that is, equally great, even if different. Some shades, beautiful and decorative by daylight, when illuminated, lose their colour and become meaningless blots in a room. We have in mind a large silk lamp shade of faded sage green, mauve, faun and a dull blue, the same combination appearing in the fringe—a combination not only beautiful, but harmonising perfectly with the old Gothic tapestry on the nearby wall. Nothing could be more decorative in this particular room during the day than the shade described; but were it not for the shell-pink lining, gleaming through the silk of the shade when lighted, it would have no decorative value at all at night.
In ordering or making shades, be sure that you select colours and materials which produce a diffused light. A soft thin pink silk as a lining for a silk or cretonne shade is always successful, and if a delicate pink, never clashes with the colours on the outside. A white silk lining is cold and unbecoming. A dark shade unlined, or a light coloured shade unlined, even if pink, unless the silk is shirred very full, will not give a diffused, yellow light.
It is because Italian parchment-paper produces the desired glow of light that it has become so popular for making shades, and, coming as it does in deep soft cream, it gives a lovely background for decorations which in line and colour can carry out the style of your room.
Figured Italian papers are equally popular for shades, but their characteristic is to decorate the room by daylight only, and to impart no quality to the light which they shade. Unless in pale colours, they stop the light, absolutely, throwing it down, if on a lamp, and back against the wall, if on side brackets. Therefore decorators now cut out the lovely designs on these figured papers and use them as appliques on a deep cream parchment background.
When you decide upon the shape of your shades do not forget that successful results depend upon absolutely correct proportions. Almost any shape, if well proportioned as to height and width, can be made beautiful, and the variety and effect desired, may be secured by varying the colours, the design of decoration, if any, or the texture or the length of fringe.
The "umbrella" shades with long chiffon curtains reaching to the table, not unlike a woman's hat with loose-hanging veil, make a charming and practical lamp shade for a boudoir or a woman's summer sitting-room, especially if furnished in lacquer or wicker. It is a light to rest or talk by, not for reading nor writing.
The greatest care is required in selecting shades for side-wall lights, because they quickly catch the eye upon entering a room and materially contribute to its appearance or detract from it.
CHAPTER VI
WINDOW SHADES AND AWNINGS
The first thing to consider in selecting window shades when furnishing a house, is whether their colour harmonises with the exterior. Keeping this point in mind, further limit your selection to those colours and tones which harmonise with your colour schemes for the interior. If you use white net or scrim, your shades must be white, and if ecru net, your shades must be ecru. If the outside of your house calls for one colour in shades and the interior calls for another, use two sets. Your dark-green sun shades never interfere, as they can always be covered by the inner set. Sometimes the dark green harmonises with the colouring of the rooms.
A room often needs, for sake of balance, to be weighted by colour on the window sides more than your heavy curtains (silk or cretonne) contribute when drawn back; in such a case decorators use coloured gauze for sash curtains in one, two or three shades and layers, which are so filmy and delicate both in texture and colouring that they allow air and light to pass through them, the effect being charming.
Another way to obtain the required colour value at your windows is the revival of glazed linens, with beautiful coloured designs, made up into shades. These are very attractive in a sunny room where the strong light brings out the design of flowers, fruits or foliage. Plate X shows a room in which this style of shade is used with great success. It is to be especially commended in such a case as Plate X, where no curtains are used at windows. Here the figured linen shade is a deliberate contribution to the decorative scheme of the room and completes it as no other material could.
Awnings can make or mar a house, give it style or keep it in the class of the commonplace. So choose carefully with reference to the colour of your house. The fact that awnings show up at a great distance and never "in the hand," as it were, argues in favour of clear stripes, in two colours and of even size, with as few extra threads of other colours as possible.
PLATE XI
Shows a part of a fine, old Italian refectory table, and one of the chairs, also antiques, which are beautifully proportioned and made comfortable with cushions of dark red velvet, in colour like curtains at window, which are of silk brocade.
The standard electric lamps throw the light up only. There are four, one in each corner of the room, and candles light the table.
The wall decoration here is a flower picture.
All awnings fade, even in one season; green is, perhaps, the least durable in the sun, yellows and browns look well the longest. Fortunately an awning, a discouraging sight when taken down and in a collapsed mass of faded canvas, will often look well when up and stretched, because the strong light brings out the fresh colour of the inside. Hence one finds these rather expensive necessities of summer homes may be used for several seasons.
CHAPTER VII
TREATMENT OF PICTURES AND PICTURE FRAMES
Strive to have the subject of your pictures appropriate to the room in which they are to be hung.
It is impossible to state a rule for this, however, because while there are many styles of pictures which all are able to classify, such as old paintings which are antique in colouring, method and subject, portraits, figure pictures, architectural pictures, flower and fruit pictures, modern oil paintings of various subjects (modern in subject, method and colouring), water colours, etchings, sporting prints, fashion prints, etc., there is, also, a subtle relationship between them seen and felt only by the connoisseur, which leads him to hang in the same room, portraits, architectural pictures and flower pictures, with beautiful and successful results. Often the relationship hangs on similarity in period, style of painting or colour scheme. Your expert will see decorative value in a painting which has no individual beauty nor intrinsic worth when taken out of a particular setting.
The selecting of pictures for a room hinges first on their decorative value. That is, their colour and size, and whether the subjects are appropriate and sympathetic.
Always avoid heavy gold frames on paintings, for, unless they are real objects of art, one gets far more distinction by using a narrow black moulding. When in doubt always err on the side of simplicity.
If your object is economy as well as simplicity, and you are by chance just beginning to furnish your house and own no pictures, we would suggest good photographs of your favourite old masters, framed close, without a margin, in the passepartout method (glass with a narrow black paper tape binding).
Old coloured prints need narrow black passepartout, while broad passepartout in pink, blue or pale green to match the leading tone in wall paper makes your quaint, old black-and-white prints very decorative.
Never use white margins on any pictures unless your walls are white.
The decorative value of any picture when hung, is dependent upon its background, the height at which it is hung, its position with regard to the light, its juxtaposition to other pictures, and the character of those other pictures—that is, their subjects, colour and line.
If you are buying pictures to hang in a picture gallery, there is nothing to consider beyond the attraction of the individual picture in mind. But if you are buying a picture to hang on the walls of a room which you are furnishing, you have first to consider it as pure decoration; that is, to ask yourself if in colour, period and subject it carries out the idea of your room.
A modern picture is usually out of place in a room furnished with antiques. In the same way a strictly modern room is not a good setting for an old picture, if toned by time.
If you own or would own a modern portrait or landscape and it is the work of an artist, and beautiful in colour, why not "star" it,—build your room up to it? If you decide to do this, see that everything else representing colour is either subservient to the picture, or if of equal value as to colour, that they harmonise perfectly with the picture in mind.
PLATE XII
From a studio one enters a smaller room, one side of which is shown here, a veritable Italian Louis XVI salon.
We were recently shown a painting giving a view of Central Park from the Plaza Hotel, New York, under a heavy fall of snow, in the late afternoon, when the daylight still lingered, although the electric lights had begun to spangle the scene. The prevailing tone was a delicate, opalescent white, shading from blue to mauve, and we were told that one of our leading decorators intended to hang it in a blue room which he was furnishing for a New York client.
Etchings are at their best with other etchings, engravings or water colours, and should be hung in rooms flooded with light and delicately furnished.
The crowding of walls with pictures is always bad; hang only as many as furnish the walls, and have these on a line with the eye and when the pictures vary but slightly in size make a point of having either the tops of the frames or the bottoms on the same line,—that is, an equal distance from floor or ceiling. If this rule is observed a sense of order and restfulness is communicated to the observer.
If one picture is hung over the other uniformity and balance must be preserved.
One large picture may be balanced by two smaller ones.
Hang your miniatures in a straight line across your wall, under a large picture or in a straight line—one under the other, down a narrow wall panel.
CHAPTER VIII
TREATMENT OF PIANO CASES
A professional pianist invariably prefers the case of his or her piano left in its simple ebony or mahogany, and would not approve of its being relegated to the furniture department and decorated accordingly, any more than your violinist, or harpist, would hand over his violin, or harp, for decoration.
When a piano, however, is not the centre of interest in a house, and the artistic ensemble of decorative line and colour is, the piano case is often ordered at the piano factory to be made to accord in line with the period of the room for which it is intended, after which it is decorated so as to harmonise with the colours in the room. This can be done through the piano factory; but in the case of redecorating a room, one can easily get some independent artist to do this work, a man who has made a study of the decorations on old spinets in palaces, private mansions and museums. Some artists have been very successful in converting what was an inartistic piece of furniture as to size, outline and colour, into an object which became a pleasing portion of the colour scheme because in proper relation to the whole.
You can always make an ebony or mahogany piano case more in harmony with its setting by covering it, when not in use, with a piece of beautiful old brocade, or a modern reproduction.
PLATE XIII
Another side of same Italian Louis XVI salon. The tea-table is a modern painted convenience, the two vases are Italian pharmacy jars and the standard for electric lights is a modern-painted piece.
CHAPTER IX
TREATMENT OF DINING-ROOM BUFFETS AND DRESSING-TABLES
A dining-room buffet requires the same dignity of treatment demanded by a mantelpiece whether the silver articles kept on it be of great or small intrinsic value. Here, as in every case, appropriateness dictates the variety of articles, and the observance of the rule that there shall be no crowding nor disorder in the placing of articles insures that they contribute decorative value; in a word, the size of your buffet limits the amount of silver, glass, etc., to be placed upon it.
The variety and number of articles on a dressing-table are subject to the same two laws: that is, every article must be useful and in line and colour accord with the deliberate scheme of your room, and there must be no crowding nor disorder, no matter how rare or beautiful the toilet articles are.
CHAPTER X
TREATMENT OF WORK TABLES, BIRD CAGES, DOG BASKETS AND FISH GLOBES
Every bedroom planned for a woman, young or old, calls for a work table, work basket or work bag, or all three, and these furnish opportunities for additional "flowers" in your room; for we insist upon regarding accessories as opportunities for extra colour notes which harmonise with the main colour scheme and enliven your interior quite as flowers would, cheering it up—and, incidentally, its inmates! Apropos of this, it was only the other day that some one remarked in our hearing, "This room is so blooming with lovely bits of colour in lamp shades, pillows, and objets d'art, that I no longer spend money on cut flowers." There we have it! Precisely the idea we are trying to express. So make your work-table, if you own the sort with a silk work-bag suspended from the lower part, your work-basket or work-bag, represent one, two or three of the colours in your room.
If some one gives you an inharmonious work-bag, either build a room up to it, or give it away, but never hang it out in a room done in an altogether different colour scheme.
Bird-cages, dog-baskets and fish-globes may become harmonious instead of jarring colour notes, if one will give a little thought to the matter. In fact some of the black iron wrought cages when occupied by a wonderful parrot with feathers of blue and orange, red and grey, or red, blue and yellow, can be the making of certain rooms. And there are canaries with deep orange feathers which look most decorative in cages painted dark green, as well as the many-coloured paroquet, lovely behind golden bars.
Many a woman when selecting a dog has bought one which harmonised with her costume, or got a costume to set off her dog! Certainly a dark or light brindle bull is a perfect addition to a room done in browns, as is a red Chow or a tortoise-shell cat.
See to it that cage and basket set off your bird, dog or cat; but don't let them become too conspicuous notes of colour in your room or on your porch; let it be the bird, the dog or the cat which has a colour value.
The fish-globe can be of white or any colour glass you prefer, and your fish vivid or pale in tone; whichever it is, be sure that they furnish a needed—not a superfluous—tone of colour in a room or on a porch.
PLATE XIV
Shows narrow hall in an old country house, thought impossible as to appearance, but made charming by "pushing out" the wall with an antique painted tapestry and keeping all woodwork and carpets the same delicate dove grey.
CHAPTER XI
TREATMENT OF FIREPLACES
Nothing is ever more attractive than the big open fireplace, piled with blazing logs, and with fire-dogs or andirons of brass or black iron, as may accord with the character of your room. If yours is a period room it is possible to get andirons to match, veritable old ones, by paying for them. The attractiveness of a fireplace depends largely upon its proportions. To look well it should always be wider than high, and deep enough to insure that the smoke goes up the chimney, and not out into your room. If your fireplace smokes you may need a special flue, leading from fireplace to proper chimney top, or a brass hood put on front of the fireplace.
Many otherwise attractive fireplaces are spoiled by using the wrong kind of tiles to frame them. Shiny, enamelled tiles in any colour, are bad, and pressed red brick of the usual sort equally bad, so if you are planning the fireplace of an informal room, choose tiles with a dull finish or brick with a simple rough finish. In period rooms often beautiful light or heavy mouldings entirely frame the three sides of the fireplace when it is of wood. Well designed marble mantels are always desirable. This feature of decoration is distinctly within the province of your architect, one reason more why he and the interior decorator, whether professional or amateur, should continually confer while building or rebuilding a house.
For coal fires we have a variety of low, broad grates; as well as reproductions of Colonial grates, which are small and swung high between brass uprights, framing the fireplace, with an ash drawer, the front of which is brass. If you prefer the old, one can find this variety of grate in antique shops as well as "Franklin stoves" (portable open fireplaces).
If your rooms are heated with steam, cover the radiators with wooden frames in line with the period of your room cut in open designs to allow heat to come through, and painted to match the woodwork of the room. See Plate XIX.
Let the fireplace be the centre of attraction in your room and draw about it comfortable chairs, sofas and settles,—make it easy to enjoy its hospitable blaze.
CHAPTER XII
TREATMENT OF BATHROOMS
Sumptuous bathrooms are not modern inventions, on the contrary the bath was a religion with the ancient Greeks, and a luxury to the early Italians. What we have to say here is in regard to the bath as a necessity for all classes.
The treatment of bathrooms has become an interesting branch of interior decoration, whereas once it was left entirely to the architect and plumber.
First, one has to decide whether the bathroom is to be finished in conventional white enamel, which cannot be surpassed for dainty appearance and sanitary cleanliness. Equally dainty to look at and offering the same degree of sanitary cleanliness, is a bathroom enamelled in some delicate tone to accord in colour with the bedroom with which it connects.
PLATE XV
This illustration speaks for itself—fruit dishes and fruit, candlesticks, covered jars for dried rose leaves, finger bowls, powder boxes, flower vase, and scent bottles—all of Venetian Glass in exquisite shades.
Some go so far as to make the bathroom the same colour as the bedroom, even when this is dark. We have in mind a bath opening out of a man's bedroom. The bedroom is decorated in dull blues, taupe and mulberry. The bathroom has the walls painted in broad stripes of dull blue and taupe, the stripes being quite six inches wide. The floor is tiled in large squares of the same blue and taupe; the tub and other furnishings are in dull blue enamel, and the wall-cabinets (one for shaving brushes, tooth brushes, etc., another for shaving cups, medicine glasses, drinking glasses, etc., and the third for medicines, soaps, etc.) are painted a dull mulberry. Built into the front of each cabinet door is an old coloured print covered with glass and framed with dull blue moulding and on the inside of each cabinet door is a mirror. One small closet in the bathroom is large enough to hang bath robe, pajamas, etc., while another is arranged for drying towels and holds a soiled clothes basket. On the inside of both doors are full-length mirrors.
The criticism that mirrors in men's bathrooms are necessarily an effeminate touch, can be refuted by the statement that so sturdy a soldier as the Great Napoleon had his dressing room at Fontainebleau lined with them! This fact reminds us that we have recently seen a most fascinating bathroom, planned for a woman, in which the walls and ceiling are of glass, cut in squares and fitted together in the old French way. Over the glass was a dull-gold trellis and twined in and out of this, ivy, absolutely natural in appearance, but made of painted tin. The floor tiles, and fixtures were white enamel, and a soft moss-green velvet carpet was laid down when the bath was not used.
Bathroom fixtures are to-day so elaborate in number and quality, that the conveniences one gets are limited only by one's purse. The leading manufacturers have anticipated the dreams of the most luxurious.
Window-curtains for bathrooms should be made of some material which will neither fade nor pull out of shape when washed. We would suggest scrim, Swiss, or China silk of a good quality.
When buying bath-mats, bath-robes, bath-slippers, bath-towels, wash-cloths and hand-towels, it is easy to keep in mind the colour-scheme of your rooms, and by following it out, the general appearance of your suite is immensely improved.
For a woman's bathroom, Venetian glass bottles, covered jars and bowls of every size, come in opalescent pale greens and other delicate tints. See Plate XI. Then there are the white glass bottles, jars, bowls, and trays with bunches of dashing pink roses, to be obtained at any good department store. Glass toilet articles come in considerable variety and at all prices, and to match any colour scheme; so use them as notes of colour on the glass shelves in your bathrooms. Here, too, is an opportunity to use your old Bristol or Bohemian glass, once regarded as inherited eyesores, but now unearthed, and which, when used to contribute to a colour scheme, have a distinct value and real beauty.
PLATE XVI
Part of a room in a small suite where the furniture is all old and the majority of it Empire in style. However, the small piano at once declares itself American Empire. The beautifully decorative nameplate on its front reads, "Geib & Walker, 23 Maiden Lane, N.Y." The date of piano is about 1830.
The brown mahogany commode on the right has the lion's claw-feet, and pilasters are topped by women's heads in bronze. This piece was bought in France. It has the original marble top, dark pink veined with white. The knobs on drawers are bronze lions' heads, holding rings in their mouths. Chairs are Italian and between Directoire and Empire.
The table, a good specimen, was also found in France. On the table is a French vanity mirror, Louis XVI in time, very Greek in design. The mirror is on both sides and turns on a gold arrow which pierces it. The bronze frame of mirror has a design so intricate in detail that it resembles lace work.
The vase on the piano is Empire and antique, decoration of green and gold. The flowers on table are artificial, a quaint Victorian contrast.
Through the doorway one sees the end of an Empire bed which came from an old château in Brittany. Note the same pilasters as on bureau, only that in this case the woman's head is gilded wood and two little feet of gilded wood appear at base of mahogany pilaster.
A gilded urn rests on a mahogany post of bed against the wall, the only position possible for beds of this style. The head and foot board are of equal height and alike.
Few Empire beds are now on the market. This one is used with a roll at each end and is covered with genuine Empire satin in six-inch stripes of canary yellow and sage green divided by two narrow black stripes and a narrow white stripe between them.
To-day a bathroom is considered the necessary supplement to every bedroom in an apartment or house, where the space allows, and no house is regarded as a good investment if built with less than one bath to communicate with every two rooms. Yet among the advertisements in the New York City Directory of 1828 we read the following naïve statement concerning warm baths, which is meant in all seriousness. It refers to the "Arcade Bath" at 32 Chambers Street, New York City.
"The warm bath is more conducive to health than any luxury which can be employed in a populous city; its beneficial effects are partially described as follows:
"The celebrated Count Rumford has paid particular attention to the subject of Warm Bathing; he has examined it by the test of experiments, long and frequently repeated, and bears testimony to its excellent effects. 'It is not merely on account of the advantages,' says the count, 'which I happen to see from Warm Bathing, which renders me so much an advocate of the practice; exclusive of the wholesomeness of the warm bath, the luxury of bathing is so great, and the tranquil state of the mind and body which follows, is so exquisitely delightful, that I think it quite impossible to recommend it too highly, if we consider it merely as a rational and elegant refinement. The manner in which the warm bath operates, in producing the salutary consequences, seems very evident. The genial warmth which is so applied to the skin in the place of the cold air of the atmosphere, by which we are commonly surrounded, expands all those very small vessels, where the extremities of the arteries and veins unite, and by gently stimulating the whole frame, produces a full and free circulation, which if continued for a certain time, removes all obstructions in the vascular system, and puts all the organs into that state of regular, free, and full motion which is essential to health, and also to that delightful repose, accompanied by a consciousness of the power of exertion, which constitutes the highest animal enjoyment of which we are capable.'
"N.B.: As the Bath is generally occupied on Saturday evenings and Sunday mornings, it is recommended to those who would wish to enjoy the Bath and avoid the crowded moment, to call at other times. The support of the public will be gratefully received and every exertion made to deserve it. For the Proprietor, G. Wright.
"Strangers will recognise the Bathing House from the front being extended over two lots of ground, and the centre basement being of free-stone."
The bathtub then was the simple tin sort, on the order of the round English tub. To-day the variety of bathtubs as to size, shape, material and appointments is bewildering; tubs there are on feet and tubs without feet, tubs sunken in the floor so that one goes down steps into them, tubs of large dimensions and tubs of small, and all with or without "showers," as the purchaser may prefer. Truly the warm baths so highly recommended in Count Rumford's rhapsody are to be had for the turning of one's own faucet at any moment of the day or night!
The Count Rumford in question is that romantic figure, born of simple English parents, in New England (Woburn, Mass., 1753), who went abroad when very young and by the great force of his personality and genius, became the power behind the throne in Bavaria, where he was made Minister of War and Field Marshal by the Elector, and later knighted in recognition of his scientific attainments and innumerable civic reforms. There is a large monument erected to the memory of Count Rumford in Munich. He died at Auteuil, France, in 1814.
CHAPTER XIII
PERIOD ROOMS
We use the term "period rooms" with full knowledge of the difficulties involved, in defining Louis XIV, Louis XV, Louis XVI, Directoire, Jacobean, Empire, Georgian, Victorian and Colonial decorations. Each period certainly has its distinctive earmarks in line and typical decoration, but you must realise that a period gradually evolves, at first exhibiting characteristics of its ancestors, then as it matures, showing a definite new type, and, later, when the elation of success has worn off, yielding to various foreign influences. By way of example, note the Chinese decoration on some of the painted furniture of the Louis XVI type, the Dutch influence on Chippendale in line, and the Egyptian on Empire.
One fascinating way of becoming familiar with history, is to delve into the origin and development of periods in furniture. The story of Napoleon is recorded in the unpretentious Directoire, the ornate Empire of Fontainebleau, while the conversion of round columns into obelisk-like pilasters surmounted by heads, the bronze and gilded-wood ornaments in the form of the Sphynx, are frank souvenirs of Egypt.
Every period, whether ascribed to England, France, Italy or Holland, has found expression in all adjacent countries. An Italian Louis XVI chair, mirror or applique is frequently sold in Paris or London as French and Empire furniture was "made in Germany." Periods have no restricted nationality; but nationality often declares itself in periods. That is to say, lines may be copied; but workmanship is another thing. Apropos of this take the French Empire furniture, massive as much of it is, built squarely and solidly to the floor, but showing most extraordinary grace on account of the amazing delicacy of intricate designs, done by the greatest French sculptors of the time and worked out in metal by the trained hands of men who had a special genius for this art. At no other time, nor in any other country, has an equal degree of perfection in the fine chiselling of metals so much as approached the standard attained during the Louis [1] and the Empire periods. If in your wandering, you happen upon a genuine bit of this work in silver or ormoulu, buy it. The writer once found in a New Jersey antique shop, a rare Empire bronze vase, urn-shaped, a specimen of the very finest kind of this metal engraving. The price asked for it (in ignorance, of course) was $2.50! The piece would have brought $40 in Paris. But the quest of the antique is another story.
When one realises the eternal borrowing of one country from another, the ever-recurring renaissance of past periods and the legitimate and illegitimate mixing of styles, it is no wonder that the amateur feels nervously uncertain, or frankly ignorant. Many a professional decorator hesitates to give a final judgment.
To take one case in point, we glibly speak of "Colonial" furniture, that term which covers such a multitude of sins, and inspiring virtues, too! We have the Colonial which closely resembles the Empire, and we have what is sometimes styled the Chippendale Colonial, following the Chippendale of England. Our Colonial cabinet-makers used as models, beautiful pieces imported from England, Holland and France by the wealthier members of our communities. Also a Chinese and Japanese influence crept in, on account of the lacquer and carved teak wood, brought home by our seafaring ancestors. It is quite possible that the carved teak wood stimulated the clever maker of some of the most beautiful Victorian furniture made in America, which is gradually finding its way into the hands of collectors. Some of these cabinet-makers glued together and put under heavy pressure seven to nine layers of rosewood with the grain running at every angle, so as to produce strength. When the layers had been crushed into a solid block, they carved their open designs, using one continuous piece of wood for the ornamental rim of even large sofas. The best of the Victorian period is attractive, but how can we express our opinion of those American monstrosities of the sixties or seventies, beds in rosewood and walnut, the head-boards covering the side of a room, bureaus proportionately huge, following out the idea that a piece of furniture to be beautiful must be very large and very expensive! It is to be hoped that the lovely rosewood and walnut wasted at that time are to-day being rescued by wary cabinet-makers.
The art of furniture making, like every other art, came into being to serve a clearly defined purpose. This must not be forgotten. A chair and a sofa are to sit on; a mirror, to reflect. Remember this last fact when hanging one. It is important that your mirror reflect one of the most attractive parts of your room, and thus contribute its quota to your scheme of decoration. It is interesting to note that chairs were made with solid wooden seats when men wore armour, velvet cushions followed more fragile raiment, and tapestries while always mural decorations were first used in place of doors and partitions, in feudal castles, before there were interior doors and partitions. Any piece of furniture is artistically bad when it does not satisfactorily serve its purpose. The equally fundamental law that everything useful should at the same time be beautiful cannot be repeated too often.
Period rooms which slavishly repeat, in every piece of furniture and ornament, only one type, have but a museum interest. If your rooms are to serve as a home, give them a winning, human quality, keep before your mind's eye, not royal palaces which have become museums, but homes, built and furnished by men and women whose traditions and associations gave them standards of beauty, so that they bought the choicest furniture both at home and abroad. In such a home, whether it be an intimate palace in Europe, a Colonial mansion in New England, or a Victorian interior of the best type, an extraneous period is often represented by some objet d'art as a delightful, because harmonious note of contrast.
For example, in a Louis XVI salon, where the colour scheme is harmonious, one gradually realises that one of the dominant ornaments in the room is a rare old Chinese vase, brought back from the Orient by one of the family and given a place of honour on account of its uniqueness.
Every one understands and feels deeply the difference between the museum palace or the period rooms of the commonplace decorator, and such a marvellous, living, breathing, palatial home as that "Italian palace" in Boston, Massachusetts, created, not inherited, by Mrs. John L. Gardner. Here we have a splendid example to illustrate the point we are trying to make; namely, regardless of its dimensions, make your home home-like and like you, its owner. Never allow any one, professional or amateur, to persuade you to put anything in it which you do not like yourself; but if an expert advises against a thing, give careful consideration to the advice before rejecting it. Mrs. Gardner's house is unique among the great houses of America as having that quality of the intimate palaces abroad,—a subtle mellowness which in the old world took time and generations of cultivated lovers of the rare and beautiful, to create. Adequate means, innate art appreciation, experience and the knowledge which comes from keeping in touch with experts, account for the intrinsic value of Mrs. Gardner's collection; but the subtle quality of harmony and vitality is her own personal touch. The colour scheme is so wisely chosen that it actually does unite all periods and countries. One is surprised to note how perfectly at home even the modern paintings appear in this version of an old Italian palace.
Be sure that you aim at the same combination of beauty, usefulness, and harmony between colour scheme and objets d'art. It is in colour scheme that we feel the personality of our host or hostess, therefore give attention to this point. Always have a colour scheme sympathetic to you. Make your rooms take on the air of being your abode. It is really very simple. What has been done with vast wealth can be just as easily done by the man of one room and a bath. Know what you want, and buy the best you can afford; by best, meaning useful things, indisputably beautiful in line and colour. Use your Colonial furniture; but if you find a wonderful Empire desk, with beautiful brass mounts and like it, buy it. They are of the same period in point of date, as it happens, and your Louis XVI bronze candlesticks will add a touch of grace. The writer recalls a simple room which was really a milestone in the development of taste, for it was so completely harmonious in colouring, arrangement of furniture, and placing of ornaments. Built for a painter's studio, with top light, it was used, at the time of which we speak, for music, as a Steinway grand indicated. The room was large, the floors painted black and covered with faded Oriental rugs; woodwork and walls were dark-green, as were the long, low, open bookcases, above which a large foliage tapestry was hung. On the other walls were modern paintings with antique frames of dulled gold, while a Louis XVI inlaid desk stood across one corner, and there was an old Italian oval table of black wood, with great, gold birds, as pedestal and legs, at which we dined simply, using fine old silver, and foreign pottery. This room was responsible for starting more than one person on the pursuit of the antique, for pervading it was a magic atmosphere, that wizard touch which comes of knowing, loving and demanding beautiful things, and then treating them very humanly. Use your lovely vases for your flowers. Hang your modern painting; but let its link with the faded tapestry be the dull, old frame. To be explicit, use lustreless frames and faded colours with old furniture and tapestry. Your grandmother wears mauves and greys—not bright red.
If your taste is for modern painted furniture and vivid Bakst colours in cushions and hangings, take your lovely old tapestry away. Speaking of tapestries, do not imagine that they can never be used in small rooms and narrow halls. Plate XIV shows an illustration of a hall in an old-fashioned country house, that was so narrow that it aroused despair. We call attention to the fact that it gains greatly in width from the perspective shown in the tapestry, one of the rare, old, painted kind, which depicts distance, wide vistas and a scene flooded with light. (An architectural picture can often be used with equally good results.) To increase size of this hall, the woodwork, walls and carpets were kept the same shade of pale-grey. The landscape paper in our Colonial houses of the eighteenth and early nineteenth centuries, often large in design, pushed back the walls to the same amazing degree.
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