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+The Project Gutenberg EBook of The Art of Interior Decoration, by Grace Wood
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art of Interior Decoration
+
+Author: Grace Wood
+
+Release Date: December 8, 2004 [EBook #14298]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF INTERIOR DECORATION ***
+
+
+
+
+Produced by Stan Goodman, Karen Dalrymple, and the Online Distributed
+Proofreading Team
+
+
+
+
+THE ART OF INTERIOR DECORATION
+
+
+PLATE I
+
+     There is something unusually exquisite about this composition.
+     You will discover at a glance perfect balance, repose--line,
+     everywhere, yet with it infinite grace and a winning charm. One
+     can imagine a tea tray brought in, a table placed and those two
+     attractive chairs drawn together so that my lady and a friend may
+     chat over the tea cups.
+
+     The mirror is an Italian Louis XVI.
+
+     The sconces, table and chairs, French.
+
+     The vases, Italian, all antiques.
+
+     A becoming mellow light comes through the shade of deep cream
+     Italian parchment paper with Louis XVI decorations.
+
+     It should be said that the vases are Italian medicine
+     jars--literally that. They were once used by the Italian
+     chemists, for their drugs, and some are of astonishing
+     workmanship and have great intrinsic value, as well as the added
+     value of age and uniqueness.
+
+     The colour scheme is as attractive as the lines. The walls are
+     grey, curtains of green and grey, antique taffeta being used,
+     while the chairs have green silk on their seats and the table is
+     of green and faded gold. The green used is a wonderfully
+     beautiful shade.
+
+[Illustration: _Portion of a Drawing Room, Perfect in Composition and
+Detail_]
+
+
+
+THE ART OF INTERIOR
+DECORATION
+
+
+BY
+GRACE WOOD
+AND
+EMILY BURBANK
+
+
+_ILLUSTRATED_
+
+
+NEW YORK
+DODD, MEAD AND COMPANY
+1917
+
+
+
+DEDICATED
+TO
+A.M.M.
+
+_At the age of eighty, an inspiration to all who meet her, because she
+is the embodiment of what this book stands for; namely, fidelity to
+the principles of Classic Art and watchfulness for the vital new note
+struck in the cause of the Beautiful._
+
+
+
+
+
+FOREWORD
+
+
+If you would have your rooms interesting as well as beautiful, make
+them say something, give them a spinal column by keeping all
+ornamentation subservient to line.
+
+Before you buy anything, try to imagine how you want each room to look
+when completed; get the picture well in your mind, as a painter would;
+think out the main features, for the details all depend upon these and
+will quickly suggest themselves. This is, in the long run, the
+quickest and the most economical method of furnishing.
+
+There is a theory that no room can be created all at once, that it
+must grow gradually. In a sense this is a fact, so far as it refers to
+the amateur. The professional is always occupied with creating and
+recreating rooms and can instantly summon to mind complete schemes of
+decoration. The amateur can also learn to mentally furnish rooms. It
+is a fascinating pastime when one gets the knack of it.
+
+Beautiful things can be obtained anywhere and for the minimum price,
+if one has a feeling for line and colour, or for either. If the lover
+of the beautiful was not born with this art instinct, it may be
+quickly acquired. A decorator creates or rearranges one room; the
+owner does the next, alone, or with assistance, and in a season or two
+has spread his or her own wings and worked out legitimate schemes,
+teeming with individuality. One observes, is pleased with results and
+asks oneself why. This is the birth of _Good Taste_. Next, one
+experiments, makes mistakes, rights them, masters a period, outgrows
+or wearies of it, and takes up another.
+
+Progress is rapid and certain in this fascinating
+amusement,--study--call it what you will, if a few of the laws
+underlying all successful interior decoration are kept in mind.
+
+These are:
+
+     HARMONY
+
+in line and colour scheme;
+
+     SIMPLICITY
+
+in decoration and number of objects in room, which is to be dictated
+by usefulness of said objects; and insistence upon
+
+     SPACES
+
+which, like rests in music, have as much value as the objects
+dispersed about the room.
+
+Treat your rooms like "still life," see to it that each group, such as
+a table, sofa, and one or two chairs make a "composition," suggesting
+comfort as well as beauty. Never have an isolated chair, unless it is
+placed against the wall, as part of the decorative scheme.
+
+In preparing this book the chief aim has been clearness and brevity,
+the slogan of our day!
+
+We give a broad outline of the historical periods in furnishing, with
+a view to quick reference work.
+
+The thirty-two illustrations will be analysed for the practical
+instruction of the reader who may want to furnish a house and is in
+search of definite ideas as to lines of furniture, colour schemes for
+upholstery and hangings, and the placing of furniture and ornaments in
+such a way as to make the composition of rooms appear harmonious from
+the artist's point of view.
+
+The index will render possible a quick reference to illustrations and
+explanatory text, so that the book may be a guide for those ambitious
+to try their hand at the art of interior decoration.
+
+The manner of presentation is consciously didactic, the authors
+believing that this is the simplest method by which such a book can
+offer clear, terse suggestions. They have aimed at keeping "near to
+the bone of fact" and when the brief statements of the fundamental
+laws of interior decoration give way to narrative, it is with the hope
+of opening up vistas of personal application to embryo collectors or
+students of periods.
+
+
+
+
+CONTENTS
+
+
+FOREWORD
+
+
+CHAPTER I. HOW TO REARRANGE A ROOM
+
+Method of procedure.--Inherited eyesores.--Line.--Colour.--Treatment
+of small rooms and suites.--Old ceilings.--Old floors.--To paint brass
+bedsteads.--Hangings.--Owning two or three antique pieces of
+furniture, how proceed.--Appropriateness to setting.--How to give your
+home a personal quality.
+
+
+CHAPTER II. HOW TO CREATE A ROOM
+
+Mere comfort.--Period rooms.--Starting a collection of antique
+furniture.--Reproductions.--Painted furniture.--Order of procedure in
+creating a room.--How to decide upon colour scheme.--Study
+values.--Period ballroom.--A distinguished room.--Each room a
+stage "set."--Background.--Flowers as decoration.--Placing
+ornaments.--Tapestry.--Tendency to antique tempered by vivid Bakst
+colours.
+
+
+CHAPTER III. HOW TO DETERMINE CHARACTER OF HANGINGS AND
+FURNITURE-COVERING FOR A GIVEN ROOM
+
+Silk, velvet, corduroy, rep, leather, use of antique silks,
+chintz.--When and how used.
+
+
+CHAPTER IV. THE STORY OF TEXTILES
+
+Materials woven by hand and machine, embroidered, or the combination
+of the two known as Tapestry.--Painted tapestry.--Art fostered by the
+Church.--Decorated walls and ceilings, 13th century, England.
+
+
+CHAPTER V. CANDLESTICKS, LAMPS, FIXTURES FOR GAS AND ELECTRICITY, AND
+SHADES
+
+Fixtures, as well as mantelpiece, must follow architect's
+scheme.--Plan wall space for furniture.--Shades for lights.--Important
+as to line and colour.
+
+
+CHAPTER VI. WINDOW SHADES AND AWNINGS
+
+Coloured gauze sash-curtains.--Window shades of glazed linen, with
+design in colours.--Striped canvas awnings.
+
+
+CHAPTER VII. TREATMENT OF PICTURES AND PICTURE FRAMES
+
+Selecting pictures.--Pictures as pure decoration.--"Staring" a
+picture.--Restraint necessary in hanging pictures.--Hanging
+miniatures.
+
+
+CHAPTER VIII. TREATMENT OF PIANO CASES
+
+Where interest centres abound piano.--Where piano is part of ensemble.
+
+
+CHAPTER IX. TREATMENT OF DINING-ROOM BUFFETS AND DRESSING-TABLES
+
+Articles placed upon them.
+
+
+CHAPTER X. TREATMENT OF WORK TABLES, BIRD CAGES, DOG BASKETS, AND
+FISH GLOBES
+
+Value as colour notes.
+
+
+CHAPTER XI. TREATMENT OF FIREPLACES
+
+Proportions, tiles, andirons, grates.
+
+
+CHAPTER XII. TREATMENT OF BATHROOMS
+
+A man's bathroom.--A woman's bathroom.--Bathroom fixtures.--Bathroom
+glassware.
+
+
+CHAPTER XIII. PERIOD ROOMS
+
+Chiselling of
+metals.--Ormoulu.--Chippendale.--Colonial.--Victorian.--The art of
+furniture making.--How to hang a mirror.--Appropriate furniture.--A
+home must have human quality, a personal note.--Mrs. John L.
+Gardner's Italian Palace in Boston.--The study of colour
+schemes.--Tapestries.--A narrow hall.
+
+
+CHAPTER XIV. PERIODS IN FURNITURE
+
+The story of the evolution of periods.--
+Assyria.--Egypt.--Greece.--Rome.--France.
+--England.--America.--Epoch-making styles.
+
+
+CHAPTER XV. CONTINUATION OF PERIODS IN FURNITURE
+
+Greece.--Rome.--Byzantium.--Dark Ages.--Middle
+Ages.--Gothic.--Moorish.--Spanish.--Anglo-Saxon.--Cæsar's
+Table.--Charlemagne's Chair.--Venice.
+
+
+CHAPTER XVI. THE GOTHIC PERIOD
+
+Interior decoration of Feudal Castle.--Tapestry.--Hallmarks of Gothic
+oak carving.
+
+
+CHAPTER XVII. THE RENAISSANCE
+
+Italy.--The Medici.--Great architects, painters, designers, and workers
+in metals.--Marvellous pottery.--Furniture inlaying.--Hallmarks
+of Renaissance.--Oak carving.--Metal work.--Renaissance in Germany
+and Spain.
+
+
+CHAPTER XVIII. FRENCH FURNITURE
+
+Renaissance of classic period.--Francis I, Henry II, and the
+Louis.--Architecture, mural decoration, tapestry, furniture, wrought
+metals, ormoulu, silks, velvets, porcelains.
+
+
+CHAPTER XIX. THE PERIODS OF THE THREE LOUIS
+
+How to distinguish them.--Louis XIV.--Louis XV.--Louis
+XVI.--Outline.--Decoration.--Colouring.--Mural Decoration.--Tapestry.
+
+
+CHAPTER XX. CHARTS SHOWING HISTORICAL EVOLUTION OF FURNITURE
+
+French and English.
+
+
+CHAPTER XXI. THE MAHOGANY PERIOD
+
+Chippendale.--Heppelwhite.--Sheraton.--The Adam
+Brothers.--Characteristics of these and the preceding English periods;
+Gothic, Elizabethan, Jacobean, William and Mary, Queen Anne.--William
+Morris.--Pre-Raphaelites.
+
+
+CHAPTER XXII. THE COLONIAL PERIOD
+
+Furniture.--Landscape paper.--The story of the evolution of wall
+decoration.
+
+
+CHAPTER XXIII. THE REVIVAL OF DIRECTOIRE AND EMPIRE FURNITURE
+
+Shown in modern painted furniture.
+
+
+CHAPTER XXIV. THE VICTORIAN PERIOD
+
+Architecture and interior decoration become unrelated.--Machine-made
+furniture.--Victorian cross-stitch, beadwork, wax and linen
+flowers.--Bristol glass.--Value to-day as notes of variety.
+
+
+CHAPTER XXV. PAINTED FURNITURE
+
+Including "mission" furniture.--Treatment of an unplastered
+cottage.--Furniture, colour-scheme.
+
+
+CHAPTER XXVI. TREATMENT OF AN INEXPENSIVE BEDROOM
+
+Factory furniture.--Chintz.--The cheapest
+mirrors.--Floors.--Walls.--Pictures.--Treatment of old floors.
+
+
+CHAPTER XXVII. TREATMENT OF A GUEST ROOM
+
+Where economy is not a matter of importance.--Panelled walls.--Louis
+XV painted furniture.--Taffeta curtains and bed-cover.--Chintz
+chair-covers.--Cream net sash-curtains.--Figured linen window-shades.
+
+
+CHAPTER XXVIII. A MODERN HOUSE IN WHICH GENUINE JACOBEAN FURNITURE Is
+APPROPRIATELY SET
+
+Traditional colour-scheme of crimson and gold.
+
+
+CHAPTER XXIX. UNCONVENTIONAL BREAKFAST-ROOMS AND SPORTS BALCONIES
+
+Porch-rooms.--Appropriate furnishings.--Colour schemes.
+
+
+CHAPTER XXX. SUN-ROOMS
+
+Colour schemes according to climate and season.--A small, cheap,
+summer house converted into one of some pretentions by altering vital
+details.
+
+
+CHAPTER XXXI. TREATMENT OF A WOMAN'S DRESSING-ROOM
+
+Solving problems of the toilet.--Shoe cabinets.--Jewel
+cabinets.--Dressing tables.
+
+
+CHAPTER XXXII. THE TREATMENT OF CLOSETS
+
+Variety of closets.--Colour scheme.--Chintz covered boxes.
+
+
+CHAPTER XXXIII. TREATMENT OF A NARROW HALL
+
+Furniture.--Device for breaking length of hall.
+
+
+CHAPTER XXXIV. TREATMENT OF A VERY SHADED LIVING-ROOM
+
+In a warm climate.--In a cool climate.--Warm and cold colours.
+
+
+CHAPTER XXXV. SERVANTS' ROOMS
+
+Practical and suitable attractiveness.
+
+
+CHAPTER XXXVI. TABLE DECORATION
+
+Appropriateness the keynote.--Tableware.--Linen, lace, and
+flowers.--Japanese simplicity.--Background.
+
+
+CHAPTER XXXVII. WHAT TO AVOID IN INTERIOR DECORATION: RULES FOR
+BEGINNERS
+
+Appropriateness.--Intelligent elimination.--Furnishings.--Colour
+scheme.--Small suites.--Background.--Placing rugs and hangings.--Treatment
+of long wall-space.--Men's rooms.--Table decoration.--Tea table.--How
+to train the taste, eye, and judgment.
+
+
+CHAPTER XXXVIII. FADS IN COLLECTING
+
+A panier fleuri collection.--A typical experience in collecting.--A
+"find" in an obscure American junk-shop.--Getting on the track of some
+Italian pottery.--Collections used as decoration.--A "find" in Spain.
+
+CHAPTER XXXIX. WEDGWOOD POTTERY, OLD AND MODERN
+
+The history of Wedgwood.--Josiah Wedgwood, the founder.
+
+
+CHAPTER XL. ITALIAN POTTERY
+
+Statuettes.
+
+
+CHAPTER XLI. VENETIAN GLASS, OLD AND MODERN
+
+Murano Museum collection.--Table-gardens in Venetian glass.
+
+
+IN CONCLUSION
+
+Four Fundamental Principles of Interior Decoration Re-stated.
+
+
+
+
+ILLUSTRATIONS
+
+
+PLATE I Portion of a Drawing-room, Perfect in Composition and Detail.
+
+PLATE II Bedroom in Country House. Modern Painted Furniture.
+
+PLATE III Suggestion for Treatment of a Very Small Bedroom.
+
+PLATE IV A Man's Office in Wall Street.
+
+PLATE V A Corner of the Same Office.
+
+PLATE VI Another View of the Same Office.
+
+PLATE VII Corner of a Room, Showing Painted Furniture, Antique and
+Modern.
+
+PLATE VIII Example of a Perfect Mantel, Ornaments and Mirror.
+
+PLATE IX Dining-room in Country House, Showing Modern Painted
+Furniture.
+
+PLATE X Dining-room Furniture, Italian Renaissance, Antique.
+
+PLATE XI Corner of Dining-room in New York Apartment, Showing Section
+of Italian Refectory Table and Italian Chairs, both Antique and
+Renaissance in Style.
+
+PLATE XII An Italian Louis XVI Salon in a New York Apartment.
+
+PLATE XIII Another Side of the Same Italian Louis XVI Salon.
+
+PLATE XIV A Narrow Hall Where Effect of Width is Attained by Use of
+Tapestry with Vista.
+
+PLATE XV Venetian Glass, Antique and Modern.
+
+PLATE XVI Corner of a Room in a Small Empire Suite.
+
+PLATE XVII An Example of Perfect Balance and Beauty in Mantel
+Arrangement.
+
+PLATE XVIII Corner of a Drawing-room, Furniture Showing Directoire
+Influence.
+
+PLATE XIX Entrance Hall in New York Duplex Apartment. Italian
+Furniture.
+
+PLATE XX Combination of Studio and Living-room in New York Duplex
+Apartment.
+
+PLATE XXI Part of a Victorian Parlour in One of the Few Remaining New
+York Victorian Mansions.
+
+PLATE XXII Two Styles of Day-beds, Modern Painted.
+
+PLATE XXIII Boudoir in New York Apartment. Painted Furniture, Antique
+and Reproductions.
+
+PLATE XXIV Example of Lack of Balance in Mantel Arrangement.
+
+PLATE XXV Treatment of Ground Lying Between House and Much Travelled
+Country Road.
+
+PLATE XXVI An Extension Roof in New York Converted into a Balcony.
+
+PLATE XXVII A Common-place Barn Made Interesting.
+
+PLATE XXVIII Narrow Entrance Hall of a New York Antique Shop.
+
+PLATE XXIX Example of a Charming Hall Spoiled by Too Pronounced a Rug.
+
+PLATE XXX A Man's Library.
+
+PLATE XXXI A Collection of Empire Furniture, Ornaments, and China.
+
+PLATE XXXII Italian Reproductions in Pottery After Classic Models.
+
+
+     "Those who duly consider the influence of the _fine-arts_ on the
+     _human mind_, will not think it a small benefit to the world, to
+     diffuse their productions as wide, and preserve them as long as
+     possible. The multiplying of copies of fine work, in beautiful
+     and durable materials, must obviously have the same effect in
+     respect to the arts as the invention of printing has upon
+     literature and the sciences: by their means the principal
+     productions of both kinds will be forever preserved, and will
+     effectually prevent the return of ignorant and barbarous ages."
+
+     JOSIAH WEDGWOOD: Catalogue of 1787.
+
+One of the most joyful obligations in life should be the planning and
+executing of BEAUTIFUL HOMES, keeping ever in mind that distinction is
+not a matter of scale, since a vast palace may find its rival in the
+smallest group of rooms, provided the latter obeys the law of _good
+line, correct proportions, harmonious colour scheme and
+appropriateness_: a law insisting that all useful things be beautiful
+things.
+
+
+
+
+THE ART OF INTERIOR DECORATION
+
+
+
+
+CHAPTER I
+
+HOW TO REARRANGE A ROOM
+
+
+Lucky is the man or woman of taste who has no inherited eyesores
+which, because of association, must not be banished! When these exist
+in large numbers one thing only remains to be done: look them over,
+see to what period the majority belong, and proceed as if you _wanted_
+a mid-Victorian, late Colonial or brass-bedstead room.
+
+To rearrange a room successfully, begin by taking everything out of it
+(in reality or in your mind), then decide how you want it to look, or
+how, owing to what you own and must retain, you are obliged to have it
+look. Design and colour of wall decorations, hangings, carpets,
+lighting fixtures, lamps and ornaments on mantel, depend upon the
+character of your furniture.
+
+It is the mantel and its arrangement of ornaments that sound the
+keynote upon first entering a room.
+
+Conventional simplicity in number and arrangement of ornaments gives
+balance and repose, hence dignity. Dignity once established, one can
+afford to be individual, and introduce a riot of colours, provided
+they are all in the same key. Luxurious cushions, soft rugs and a
+hundred and one feminine touches will create atmosphere and knit
+together the austere scheme of line--the anatomy of your room. Colour
+and textiles are the flesh of interior decoration.
+
+In furnishing a small room you can add greatly to its apparent size by
+using plain paper and making the woodwork the same colour, or slightly
+darker in tone. If you cannot find wall paper of exactly the colour
+and shade you wish, it is often possible to use the wrong side of a
+paper and produce exactly the desired effect.
+
+In repapering old rooms with imperfect ceilings it is easy to disguise
+this by using a paper with a small design in the same tone. A
+perfectly plain ceiling paper will show every defect in the surface of
+the ceiling.
+
+If your house or flat is small you can gain a great effect of space
+by keeping the same colour scheme throughout--that is, the same colour
+or related colours. To make a small hall and each of several small
+rooms on the same floor different in any pronounced way, is to cut up
+your home into a restless, unmeaning checkerboard, where one feels
+conscious of the walls and all limitations. The effect of restful
+spaciousness may be obtained by taking the same small suite and
+treating its walls, floors and draperies, as has been suggested, in
+the same colour scheme or a scheme of related keys in colour. That is,
+wood browns, beiges and yellows; violets, mauves and pinks; different
+tones of greys; different tones of yellows, greens and blues.
+
+Now having established your suite and hall all in one key, so that
+there is absolutely no jarring note as one passes from room to room,
+you may be sure of having achieved that most desirable of all
+qualities in interior decoration--repose. We have seen the idea here
+suggested carried out in small summer homes with most successful
+results; the same colour used on walls and furniture, while exactly
+the same chintz was employed in every bedroom, opening out of one
+hall. By this means it was possible to give to a small, unimportant
+cottage, a note of distinction otherwise quite impossible. Here,
+however, let us say that, if the same chintz is to be used in every
+room, it must be neutral in colour--a chintz in which the colour
+scheme is, say, yellows in different tones, browns in different tones,
+or greens or greys. To vary the character of each room, introduce
+different colours in the furniture covers, the sofa-cushions and
+lamp-shades. Our point is to urge the repetition of a main background
+in a small group of rooms; but to escape monotony by planning that the
+accessories in each room shall strike individual notes of decorative,
+contrasting colour.
+
+
+PLATE II
+
+     A room with modern painted furniture is shown here. Lines and
+     decorations Empire.
+
+     Note the lyre backs of chairs and head board in day-bed.
+     Treatment of this bed is that suggested where twin beds are used
+     and room affords wall space for but one of them.
+
+[Illustration: _Bedroom in Country House. Modern Painted Furniture._]
+
+
+       *       *       *       *       *
+
+What to do with old floors is a question many of us have faced. If
+your house has been built with floors of wide, common boards which
+have become rough and separated by age, in some cases allowing dust to
+sift through from the cellar, and you do not wish to go to the expense
+of all-over carpets, you have the choice of several methods. The
+simplest and least expensive is to paint or stain the floors. In this
+case employ a floor painter and begin by removing all old paint.
+Paint removers come for the purpose. Then have the floors planed to
+make them even. Next, fill the cracks with putty. The most practical
+method is to stain the floors some dark colour; mahogany, walnut,
+weathered oak, black, green or any colour you may prefer, and then wax
+them. This protects the colour. In a room where daintiness is desired,
+and economy is not important, as for instance in a room with white
+painted furniture, you may have white floors and a square carpet rug
+of some plain dark toned velvet; or, if preferred, the painted border
+may be in come delicate colour to match the wall paper. To resume, if
+you like a dull finish, have the wax rubbed in at intervals, but if
+you like a glossy background for rugs, use a heavy varnish after the
+floors are coloured. This treatment we suggest for more or less formal
+rooms. In bedrooms, put down an inexpensive filling as a background
+for rugs, or should yours be a summer home, use straw matting.
+
+For halls and dining-rooms a plain dark-coloured linoleum, costing not
+less than two dollars a yard makes and inexpensive floor covering.
+If it is waxed it becomes not only very durable but, also, extremely
+effective, suggesting the dark tiles in Italian houses. We do not
+advise the purchase of the linoleums which represent inlaid floors, as
+they are invariably unsuccessful imitations.
+
+If it is necessary to economise and your brass bedstead must be used
+even though you dislike it, you can have it painted the colour of your
+walls. It requires a number of coats. A soft pearl grey is good. Then
+use a colour, or colours, in your silk or chintz bedspread. Sun-proof
+material in a solid colour makes an attractive cover, with a narrow
+fringe in several colours straight around the edges and also, forming
+a circle or square on the top of the bed-cover.
+
+       *       *       *       *       *
+
+If your gas or electric fixtures are ugly and you cannot afford more
+attractive ones, buy very cheap, perfectly plain, ones and paint them
+to match the walls, giving decorative value to them with coloured silk
+shades.
+
+
+PLATE III
+
+     Shows one end of a very small bedroom with modern painted
+     furniture, so simple in line and decoration that it would be
+     equally appropriate either for a young man or for a young woman.
+     We say "young," because there is something charmingly fresh and
+     youthful about this type of furniture.
+
+     The colour is pale pistache green, with mulberry lines, the same
+     combination of colours being repeated in painting the walls which
+     have a grey background lined with mulberry--the broad stripe--and
+     a narrow green line. The bed cover is mulberry, the lamp shade is
+     green with mulberry and grey in the fringe.
+
+     On the walls are delightful old prints framed in black glass with
+     gold lines, and a narrow moulding of gilded oak, an old style
+     revived.
+
+     A square of antique silk covers the night table, and the floor is
+     polished hard wood.
+
+     Here is your hall bedroom, the wee guest room in a flat, or the
+     extra guest room under the eaves of your country house, made
+     equally beguiling. The result of this artistic simplicity is a
+     restful sense of space.
+
+[Illustration: _Suggestion for Treatment of a Very Small Bedroom_]
+
+
+If you wish to use twin beds and have not wall space for them, treat
+one like a couch or day-bed. See Plate II. Your cabinet-maker can
+remove the footboard, then draw the bed out into the room, place in a
+position convenient to the light either by day or night, after which
+put a cover of cretonne or silk over it and cushions of the same.
+Never put a spotted material on a spotted material. If your couch or
+sofa is done in a figured material of different colours, make your
+sofa cushions of plain material to tone down the sofa. If the sofa is
+a plain colour, then tone it up--make it more decorative by using
+cushions of several colours.
+
+If you like your room, but find it cold in atmosphere, try deep cream
+gauze for sash curtains. They are wonderful atmosphere producers. The
+advantage of two tiers of sash curtains (see Plate IX) is that one can
+part and push back one tier for air, light or looking out, and still
+use the other tier to modify the light in the room.
+
+Another way to produce atmosphere in a cold room is to use a
+tone-on-tone paper. That is, a paper striped in two depths of the same
+colour. In choosing any wall paper it is imperative that you try a
+large sample of it in the room for which it is intended, as the
+reflection from a nearby building or brick wall can entirely change a
+beautiful yellow into a thick mustard colour. How a wall paper looks
+in the shop is no criterion. As stated sometimes the _wrong side_ of
+wall paper gives you the tone you desire.
+
+When rearranging your room do not desecrate the few good antiques you
+happen to own by the use of a too modern colour scheme. Have the
+necessary modern pieces you have bought to supplement your treasures
+stained or painted in a dull, dark colour in harmony with the
+antiques, and then use subdued colours in the floor coverings,
+curtains and cushions.
+
+If you own no good old ornaments, try to get a few good shapes and
+colours in inexpensive reproductions of the desired period.
+
+If your room is small, and the bathroom opens out of it, add to the
+size of the room by using the same colour scheme in the bathroom, and
+conceal the plumbing and fixtures by a low screen. If the connecting
+door is kept open, the effect is to enlarge greatly the appearance of
+the small bedroom, whereas if the bedroom decorations are dark and the
+bathroom has a light floor and walls, it abruptly cuts itself off and
+emphasises the smallness of the bedroom.
+
+Everything depends upon the appropriateness of the furniture to its
+setting. We recall some much admired dining-room chairs in the home of
+the Maclaines of Lochbuie in Argyleshire, west coast of Scotland. The
+chairs in question are covered with sealskin from the seals caught off
+that rugged coast. They are quite delightful in a remote country
+house; but they would not be tolerated in London.
+
+The question of placing photographs is not one to be treated lightly.
+Remember, intimate photographs should be placed in intimate rooms,
+while photographs of artists and all celebrities are appropriate for
+the living room or library. It is extremely seldom that a photograph
+unless of public interest is not out of place in a formal room.
+
+To repeat, never forget that your house or flat is _your_ home, and,
+that to have any charm whatever of a personal sort, it must suggest
+_you_--not simply the taste of a professional decorator. So work with
+your decorator (if you prefer to employ one) by giving your personal
+attention to styles and colours, and selecting those most sympathetic
+to your own nature. Your architect will be grateful if you will show
+the same interest in the details of building your home, rather than
+assuming the attitude that you have engaged him in order to rid
+yourself of such bother.
+
+If you are building a pretentious house and decide upon some clearly
+defined period of architecture, let us say, Georgian (English
+eighteenth century) we would advise keeping your first floor mainly in
+that period as to furniture and hangings, but upstairs let yourself
+go, that is, make your rooms any style you like. Go in for a gay riot
+of colour, such combinations as are known as Bakst colouring,--if that
+happens to be your fancy. This Russian painter and designer was
+fortunate in having the theatre in which to demonstrate his
+experiments in vivid colour combinations, and sometimes we quite
+forget that he was but one of many who have used sunset palettes.
+
+
+PLATE IV
+
+     Here we have a man's office in Wall Street, New York, showing how
+     a lawyer with large interests surrounds himself with necessities
+     which contribute to his comfort, sense of beauty and art
+     instincts.
+
+     The desk is big, solid and commodious, yet artistically unusual.
+
+[Illustration: _A Man's Office in Wall Street_]
+
+
+Recently the fair butterfly daughters of a mother whose taste has
+grown sophisticated, complained--"But, Mother, we dislike
+_periods_, and here you are building a Tudor house!" forgetting, by
+the way, that the so-called Bakst interiors, adored by them, are
+equally a _period_.
+
+This home, a very wonderful one, is being worked out on the plan
+suggested, that is, the first floor is decorated in the period of the
+exterior of the house, while the personal rooms on the upper floors
+reflect, to a certain extent, the personality of their occupants.
+Remember there must always be a certain relationship between all the
+rooms in one suite, the relationship indicated by lines and a
+background of the same, or a harmonising colour-scheme.
+
+
+
+
+CHAPTER II
+
+HOW TO CREATE A ROOM
+
+
+One so often hears the complaint, "I could not possibly set out alone
+to furnish a room! I don't know anything about _periods_. Why, a Louis
+XVI chair and an Empire chair are quite the same to me. Then the
+question of antiques and reproductions--why any one could mislead me!"
+
+If you have absolutely no interest in the arranging or rearranging of
+your rooms, house or houses, of course, leave it to a decorator and
+give your attention to whatever does interest you. On the other hand,
+as with bridge, if you really want to play the game, you can learn it.
+The first rule is to determine the actual use to which you intend
+putting the room. Is it to be a bedroom merely, or a combination of
+bedroom and boudoir? Is it to be a formal reception-room, or a
+living-room? Is it to be a family library, or a man's study? If it is
+a small flat, do you aim at absolute comfort, artistically achieved,
+or do you aim at formality at the expense of comfort?
+
+If you lean toward both comfort and formality, and own a country house
+and a city abode, there will be no difficulty in solving the problem.
+Formality may be left to the town house or flat, while during
+week-ends, holidays and summers you can revel in supreme comfort.
+
+Every man or woman is capable of creating comfort. It is a question of
+those deep chairs with wide seats and backs, soft springs, thick,
+downy cushions, of tables and bookcases conveniently placed, lights
+where you want them, beds to the individual taste,--double, single, or
+twins!
+
+The getting together of a period room, one period or periods in
+combination, is difficult, especially if you are entirely ignorant of
+the subject. However, here is your cue. Let us suppose you need, or
+want, a desk--an antique desk. Go about from one dealer to the other
+until you find the very piece you have dreamed of; one that gives
+pleasure to you, as well as to the dealer. Then take an experienced
+friend to look at it. If you have every reason to suppose that the
+desk is genuine, buy it. Next, read up on the furniture of the
+particular period to which your desk belongs, in as serious a manner
+as you do when you buy a prize dog at the show. Now you have made an
+intelligent beginning as a collector. Reading informs you, but you
+must buy old furniture to be educated on that subject. Be eternally on
+the lookout; the really good pieces, veritable antiques, are rare;
+most of them are in museums, in private collections or in the hands of
+the most expensive dealers. I refer to those unique pieces, many of
+them signed by the maker and in perfect condition because during all
+their existence they have been jealously preserved, often by the very
+family and in the very house for which they were made. Our chances for
+picking up antiques are reduced to pieces which on account of reversed
+circumstances have been turned out of house and home, and, as with
+human wanderers, much jolting about has told upon them. Most of these
+are fortified in various directions, but they are treasures all the
+same, and have a beauty value in line colour and workmanship and a
+wonderful fitness for the purposes for which they were intended.
+
+"Surely we are many men of many minds!"
+
+
+PLATE V
+
+     The sofa large, strong and luxuriously comfortable; the curtains
+     simple, durable and masculine in gender. The tapestry and
+     architectural picture, decorative and appropriately impersonal,
+     as the wall decorations should be in a room used merely for
+     transacting business.
+
+[Illustration: _A Corner of the Same Office_]
+
+
+Some prefer antiques a bit dilapidated; a missing detail serving as a
+hallmark to calm doubts; others insist upon completeness to the eye
+and solidity for use; while the connoisseur, with unlimited means,
+recognises nothing less than signed sofas and chairs, and other
+_objets d'art_. To repeat:--be always on the lookout, remembering that
+it is the man who knows the points of a good dog, horse or car who can
+pick a winner.
+
+Wonderful reproductions are made in New York City and other cities,
+and thousands bought every day. They are beautiful and desirable
+pieces of furniture, ornaments or silks; but the lover of the _vrai
+antique_ learns to detect, almost at a glance, the lack of that
+quality which a fine _old_ piece has. It is not alone that the
+materials must be old. There is a certain quality gained from the long
+association of its parts. One knows when a piece has "found itself,"
+as Kipling would put it. Time gives an inimitable finish to any
+surface.
+
+If you are young in years, immature in taste, and limited as to bank
+account, you will doubtless go in for a frankly modern room, with
+cheerful painted furniture, gay or soft-toned chintzes, and
+inexpensive smart floor coverings. To begin this way and gradually to
+collect what you want, piece by piece, is to get the most amusement
+possible out of furnishing. When you have the essential pieces for any
+one room, you can undertake an _ensemble_. Some of the rarest
+collections have been got together in this way, and, if one's fortune
+expands instead of contracting, old pieces may be always replaced by
+those still more desirable, more rare, more in keeping with your
+original scheme.
+
+To buy expensive furnishings in haste and without knowledge, and
+within a year or two discover everything to be in bad taste, is a
+tragedy to a person with an instinctive aversion to waste. Antique or
+modern, every beautiful thing bought is a cherished heirloom in
+embryo. Remember, we may inherit a good antique or _objet d'art_, buy
+one, or bequeath one. Let us never be guilty of the reverse,--a
+bar-sinister piece of furniture! Sympathy with unborn posterity should
+make us careful.
+
+It is always excusable to retain an ugly, inartistic thing--if it is
+_useful_; but an ornament must be beautiful in line or in colour, or
+it belies its name. Practise that genuine, obvious loyalty which hides
+away on a safe, but invisible shelf, the bad taste of our ancestors
+and friends.
+
+Having settled upon a type of furniture, turn your attention to the
+walls. Always let the location of your room decide the colour of its
+walls. The room with a sunny exposure may have any colour you like,
+warm or cold, but your north room or any room more or less sunless,
+requires the warm, sun-producing yellows, pinks, apple-greens, beige
+and wood-colours, never the cold colours, such as greys, mauves,
+violets and blues, unless in combination with the warm tones. If it is
+your intention to hang pictures on the walls, use plain papers.
+Remember you must never put a spot on a spot! The colour of your walls
+once established, keep in mind two things: that to be agreeable to the
+artistic eye your ceilings must be lighter than your sidewalls, and
+your floors darker. Broadly speaking, it is Nature's own arrangement,
+green trees and hillsides, the sky above, and the dark earth beneath
+our feet. A ceiling, if lighter in tone than the walls, gives a sense
+of airiness to a room. Floors, whether of exposed wood, completely
+carpeted, or covered by rugs, must be enough darker than your
+sidewalls to "hold down your room," as the decorators say.
+
+If colour is to play a conspicuous part, brightly figured silks and
+cretonnes being used for hangings and upholstery, the floor covering
+should be indefinite both as to colour and design. On the other hand,
+when rugs or carpets are of a definite design in pronounced colours,
+particularly if you are arranging a living-room, make your walls,
+draperies and chair-covers plain, and observe great restraint in the
+use of colour. Those who work with them know that there is no such
+thing as an ugly colour, for all colours are beautiful. Whether a
+colour makes a beautiful or an ugly effect depends entirely upon its
+juxtaposition to other tones. How well French milliners and
+dressmakers understand this! To make the point quite clear, let us
+take magenta. Used alone, nothing has more style, more beautiful
+distinction, but in wrong combination magenta can be amazingly,
+depressingly ugly. Magenta with blue is ravishing, beautiful in
+the subtle way old tapestries are: it touches the imagination whenever
+that combination is found.
+
+
+PLATE VI
+
+     The table is modern, but made on the lines of a refectory table,
+     well suited in length, width and solidity for board meetings,
+     etc.
+
+     The chairs are Italian in style.
+
+[Illustration: _Another View of the Same Office_]
+
+
+We grow up to, into, and out of colour schemes. Each of the Seven Ages
+of Man has its appropriate setting in colour as in line. One learns
+the dexterous manipulation of colour from furnishing, as an artist
+learns from painting.
+
+Refuse to accept a colour scheme, unless it appeals to your individual
+taste--no matter who suggests it. To one not very sensitive to colour
+here is a valuable suggestion. Find a bit of beautiful old silk
+brocade, or a cretonne you especially like, and use its colour
+combinations for your room--a usual device of decorators. Let us
+suppose your silk or cretonne to have a deep-cream background, and
+scattered on it green foliage, faded salmon-pink roses and little,
+fine blue flowers. Use its prevailing colour, the deep cream, for
+walls and possibly woodwork; make the draperies of taffeta or rep in
+soft apple-greens; use the same colour for upholstery, make shades for
+lamp and electric lights of salmon-pink, then bring in a touch of blue
+in a sofa cushion, a footstool or small chair, or in a beautiful vase
+which charms by its shape as well by reproducing the exact tone of
+blue you desire. There are some who insist no room is complete without
+its note of blue. Many a room has been built up around some highly
+prized treasure,--lovely vase or an old Japanese print.
+
+A thing always to be avoided is monotony in colour. Who can not recall
+barren rooms, without a spark of attraction despite priceless
+treasures, dispersed in a meaningless way? That sort of setting puts a
+blight on any gathering. "Well," you will ask, "given the task of
+converting such a sterile stretch of monotony into a blooming joy, how
+should one begin?" It is quite simple. Picture to yourself how the
+room would look if you scattered flowers about it, roses, tulips,
+mignonette, flowers of yellow and blue, in the pell-mell confusion of
+a blooming garden. Now imitate the flower colours by _objets d'art_ so
+judiciously placed that in a trice you will admire what you once found
+cold. As if by magic, a white, cream, beige or grey room may be
+transformed into a smiling bower, teeming with personality, a room
+where wit and wisdom are spontaneously let loose.
+
+If your taste be for chintzes and figured silks, take it as a safe
+rule, that given a material with a light background, it should be the
+same in tone as your walls; the idea being that by this method you get
+the full decorative value of the pattern on chintz or silk.
+
+Figured materials can increase or diminish the size of a room, open up
+vistas, push back your walls, or block the vision. For this reason it
+is unsafe to buy material before trying the effect of it in its
+destined abode.
+
+Remember that the matter of _background_ is of the greatest importance
+when arranging your furniture and ornaments. See that your piano is so
+placed that the pianist has an unbroken background, of wall, tapestry,
+a large piece of rare old sills, or a mirror. Clyde Fitch, past-master
+at interior decoration, placed his piano in front of broad windows,
+across which at night were drawn crimson damask curtains. Some of us
+will never forget Geraldine Farrar, as she sat against that background
+wearing a dull, clinging blue-green gown, going over the score,--from
+memory,--of "Salomé."
+
+The aim is to make the performer at the piano the object of interest,
+therefore place no diverting objects, such as pictures or ornaments,
+on a line with the listener's eye, except as a vague background.
+
+There can be no more becoming setting for a group of people dining by
+candle or electric light, than walls panelled with dark wood to the
+ceiling, or a high wainscoting.
+
+A beautiful sitting-room, not to be forgotten, had light violet walls,
+dull-gold frames on the furniture which was covered in deep-cream
+brocades, bits of old purple velvets and violet silks on the tables,
+under large bowls of Benares bronze filled with violets. The grand
+piano was protected by a piece of old brocade in faded yellows, and
+our hostess, a well-known singer, usually wore a simple Florentine
+tea-gown of soft violet velvet, which together with the lighter violet
+walls, set off her fair skin and black hair to beautiful advantage.
+
+Put a figured, many-coloured sofa cushion behind the head of a pretty
+woman, and if the dominating colour is becoming to her, she is still
+pretty, but change it to a solid black, purple or dull-gold and see
+how instantly the degree of her beauty is enhanced by being
+thrown into relief.
+
+
+PLATE VII
+
+     Gives attractive corner by a window, the heavy silk brocade
+     curtains of which are drawn. A standard electric lamp lights the
+     desk, both modern-painted pieces, and the beautiful old flower
+     picture, black background with a profusion of colours in lovely
+     soft tones, is framed by a dull-gold moulding and gives immense
+     distinction. The chair is Venetian Louis XV, the same period as
+     desk in style.
+
+     Not to be ignored in this picture is a tin scrap basket
+     beautifully proportioned and painted a vivid emerald green; a
+     valuable addition a note of cheerful colour. The desk and wooden
+     standard of lamp are painted a deep blue-plum colour, touched
+     with gold, and the silk curtains are soft mulberry, in two tones.
+
+[Illustration: _Corner of Room, Showing Painted Furniture, Antique and
+Modern_]
+
+
+Study values--just why and how much any decorative article decorates,
+and remember in furnishing a room, decorating a wall or dining-room
+table, it is not the intrinsic value or individual beauty of any one
+article which counts. Each picture on the wall, each piece of
+furniture, each bit of silver, glass, china, linen or lace, each yard
+of chintz or silk, every carpet or rug must be beautiful and effective
+_in relation to the others used_, for the _art_ of interior decoration
+lies in this subtle, or obvious, relationship of furnishings.
+
+We acknowledge as legitimate all schemes of interior decoration and
+insist that what makes any scheme good or bad, successful, or
+unsuccessful presuming a knowledge of the fundamentals of the art, is
+the fact that it is planned in reference to the type of man or woman
+who is to live in it.
+
+A new note has been struck of late in the arranging of bizarre,
+delightful rooms which on entering we pronounce "very amusing."
+
+Original they certainly are, in colour combinations, tropical in the
+impression they make,--or should we say Oriental?
+
+They have come to us via Russia, Bakst, Munich and Martine of Paris.
+Like Rheinhardt's staging of "Sumurun," because these blazing interiors
+strike us at an unaccustomed angle, some are merely astonished, others
+charmed as well. There are temperaments ideally set in these interiors,
+and there are houses where they are in place. We cannot regard them as
+epoch-making, but granted that there is no attempt to conform to two of
+the rules for furnishing,--_appropriateness_ and _practicality_,
+the results are refreshingly new and entertaining. This is one of the
+instances where exaggeration has served as a healthy antidote to the
+tendency toward extreme dinginess rampant about ten years ago, resulting
+from an obsession to antique everything. The reaction from this, a flaming
+rainbow of colours, struck a blow to the artistic sense, drew
+attention back to the value of colour and started the creative impulse
+along the line of a happy medium.
+
+Whether it be a furnished porch, personal suite (as bedroom, boudoir
+and bath), a family living-room, dining-room, formal reception-room,
+or period ballroom, never allow members of your household or servants
+to destroy the effect you have achieved with careful thought and
+outlay of money, by ruthlessly moving chairs and tables from one room
+to another. Keep your wicker furniture on the porch, for which it was
+intended. If it strays into the adjacent living-room, done in quite
+another scheme, it will absolutely thwart your efforts at harmony,
+while your porch-room done in wicker and gay chintzes, striped awnings
+and geranium rail-boxes, cries out against the intrusion of a chair
+dragged out from the house. Remember that should you intend using your
+period ballroom from time to time as an audience room for concerts and
+lectures, you must provide a complete equipment of small, very light
+(so as to be quickly moved) chairs, in your "period," as a necessary
+part of your decoration.
+
+The current idea that a distinguished room remains distinguished
+because costly tapestries and old masters hang on its walls, even when
+the floor is strewn with vulgar, hired chairs, is an absurd mistake.
+Each room from kitchen to ballroom is a stage "set,"--a harmonious
+background for certain scenes in life's drama. It is the man or woman
+who grasps this principle of a distinguished home who can create an
+interior which endures, one which will hold its own despite the ebb
+and flow of fashion. Imposing dimensions and great outlay of money do
+not necessarily imply distinction, a quality depending upon unerring
+good taste in the minutest details, one which may be achieved equally
+in a stately mansion, in a city flat, or in a cottage by the sea.
+
+The question of background is absorbingly interesting. A vase, with or
+without flowers, to add to the composition of your room, that is, to
+make "a good picture," must be placed so that its background sets it
+off. Let the Venetian glass vase holding one rose stand in such a
+position that your green curtain is its background, and not a
+photograph or other picture. One flower, carefully placed in a room,
+will have more real decorative value than dozens of costly roses
+strewn about in the wrong vases, against mottled, line-destroying
+backgrounds.
+
+Flowers are always more beautiful in a plain vase, whether of glass,
+pottery, porcelain or silver. If a vase chances to have a decoration
+in colour, then make a point of having the flowers it holds accord in
+colour, if not in shade, with the colour or colours in the vase.
+
+There is a general rule that no ornament should ever be placed in
+front of a picture. The exception to this rule occurs when the picture
+is one of the large, architectural variety, whose purpose is primarily
+mural decoration,--an intentional background, as tapestries often are,
+serving its purpose as nature does when a vase or statue is placed in
+a park or garden. One sees in portraits by some of the old masters
+this idea of landscape used as background. Bear in mind, however, that
+if there is a central design--a definite composition in the picture,
+or tapestry, no ornament should ever be so placed as to interfere with
+it. If you happen to own a tapestry which is not large enough for your
+space by one, two or three feet, frame it with a plain border of
+velvet or velveteen, to match the dominating colour, and a shade
+darker than it appears in the tapestry. This expedient heightens the
+decorative effect of the tapestry.
+
+
+
+
+CHAPTER III
+
+HOW TO DETERMINE CHARACTER OF HANGINGS AND FURNITURE-COVERING FOR A
+GIVEN ROOM
+
+
+In a measure, the materials for hangings and furniture-coverings are
+determined more or less by the amount one wishes to spend in this
+direction. For choice, one would say silk or velvet for formal rooms;
+velvets, corduroys or chintz for living-rooms; leather and corduroy
+with rep hangings for a man's study or smoking-room; thin silks and
+chintz for bedrooms; chintz for nurseries, breakfast-rooms and
+porches.
+
+In England, slip-covers of chintz (glazed cretonne) appear, also, in
+formal rooms; but are removed when the owner is entertaining. If the
+permanent upholstery is of chintz, then at once your room becomes
+informal. If you are planning the living-room for a small house or
+apartment, which must serve as reception-room during the winter
+months, far more dignity, and some elegance can be obtained for the
+same expenditure, by using plain velveteen, modern silk brocades in
+one colour, or some of the modern reps to be had in very smart shades
+of all colours.
+
+If your furniture is choice, rarely beautiful in quality, line and
+colour, hangings and covers must accord. Genuine antiques demand
+antique silks for hangings and table covers; but no decorator, if at
+all practical, will cover a chair or sofa in the frail old silks, for
+they go to pieces almost in the mounting. Waive sentiment in this
+case, for the modern reproductions are satisfactory to the eye and
+improve in tone with age.
+
+If you own only a small piece of antique silk, make a square of it for
+the centre of the table, or cleverly combine several small bits, if
+these are all you have, into an interesting cover or cushion. Nothing
+in the world gives such a note of distinction to a room as the use of
+rare, old silks, properly placed.
+
+The fashion for cretonne and chintz has led to their indiscriminate
+use by professionals as well as amateurs, and this craze has caused a
+prejudice against them. Chintz used with judgment can be most
+attractive. In America the term chintz includes cretonne and stamped
+linen. If you are planning for them, put together, for consideration,
+all your bright coloured chintz, and in quite another part of your
+room, or decorator's shop, the chintz of dull, faded colours, as they
+require different treatment. A general rule for this material--bright
+or dull--is that if you would have your chintz _decorate_, be careful
+not to use it too lavishly. If it is intended for curtains, then cover
+only one chair with it and cover the rest in a solid colour. If you
+want chintz for all of your chairs and sofa, make your curtains, sofa
+cushions and lamp shades of a solid colour, and be sure that you take
+one of the leading colours in the chintz. Next indicate your intention
+at harmony, by "bringing together" the plain curtains or chairs, and
+your chintz, with a narrow fringe or border of still another colour,
+which figures in the chintz. Let us suppose chintz to be black with a
+design in greens, mulberry and buff. Make your curtains plain
+mulberry, edged with narrow pale green fringe with black and buff
+in it, or should your chintz be grey with a design in faded blues and
+violets and a touch of black, make curtains of the chintz, and cover
+one large chair, keeping the sofa and the remaining chairs grey, with
+the bordering fringe, or gimp, in one or two of the other shades, sofa
+cushions and the lamp shades in blues and violets (lining lamp shades
+with thin pink silk), and use a little black in the bordering fringe.
+
+
+PLATE VIII
+
+     Shows an ideal mantel arrangement, faultless as a composition and
+     beautiful and rare in detail. The exquisite white marble mantel
+     is Italian, not French, of the time of Louis XVI.
+
+     Though the designs of this period are almost identical, one
+     quickly learns to detect the difference in feeling between the
+     work of the two countries. The Italians are freer, broader in
+     their treatment, show more movement and in a way more grace,
+     where the French work is more detailed and precise, hence at
+     times, by contrast, seems stilted and rigid.
+
+     Enchantingly graceful are the two candelabra, also Louis XVI,
+     while the central ornament is ideally chosen for size and design.
+
+     The dull gold frame of the mirror is very beautiful, and the
+     painting above the glass interesting and unusual as to subject
+     and execution.
+
+     The chair is a good example of Italian Louis XV.
+
+[Illustration: _Example of a Perfect Mantel, Ornaments and Mirror_]
+
+
+If you decide upon a very brilliant chintz use it only in one chair, a
+screen, or in a valance over plain curtains with straps to hold them
+back, or perhaps a sofa cushion. Whether a chintz is bright or dull,
+its pattern is important. As with silks, brocaded in different
+colours, therefore never use chintz where a chair or sofa calls for
+tufting. A tufted piece of furniture always looks best done in plain
+materials.
+
+In using a chintz in which both colour and design are indefinite, the
+kind which gives more or less an impression of faded tapestry, you
+will find that the very indefiniteness of the pattern makes it
+possible to use the chintz with more freedom, being always sure of a
+harmonious background. The one thing to guard against is that on
+entering a room you must not be conscious either of several colours,
+or of any set design.
+
+
+
+
+CHAPTER IV
+
+THE STORY OF TEXTILES
+
+
+The story of the evolution of textiles (any woven material) is
+fascinating, and like the history of every art, runs parallel with the
+history of culture and progress in the art of living,--physical,
+mental and spiritual.
+
+To those who feel they would enjoy an exhaustive history of textiles
+we recommend a descriptive catalogue relating to the collection of
+textiles in the South Kensington Museum, prepared by the Very Rev.
+Daniel Rock, D.D. (1870).
+
+In the introduction to that catalogue one gets the story of woven
+linens, cottons, silks, paper, gold and silver threads, interspersed
+with precious jewels and glass beads--all materials woven by hand or
+machine.
+
+The story of textiles includes: 1st, woven materials; 2nd, embroidered
+materials; 3rd, a combination of the two, known as "tapestry." If one
+reads their wonderful story, starting in Assyria, then progressing to
+Egypt, the Orient, Greece, Rome and Western Europe, in any history of
+textiles, one may obtain quickly and easily a clear idea of this
+department of interior decoration from the very earliest times.
+
+The first European silk is said to have been in the form of
+transparent gauze, dyed lovely tones for women of the Greek islands, a
+form of costume later condemned by Greek philosophers.
+
+We know that embroidery was an art three thousand years ago, in fact
+the figured garments seen on the Assyrian and Egyptian bas-reliefs are
+supposed to represent materials with embroidered figures--not woven
+patterns--whereas in the Bible, when we read of embroidery, according
+to the translators, this sometimes means woven stripes.
+
+
+PLATE IX
+
+     An ideal dining-room of its kind, modern painted furniture,
+     Empire in design. In this case yellow with decoration in white.
+     Curtains, thin yellow silk.
+
+     Note the Empire electric light fixtures in hand-carved gilded
+     wood, reproductions of an antique silver applique. Even the steam
+     radiators are here cleverly concealed by wooden cases made after
+     Empire designs.
+
+     The walls are white and panelled in wood also white.
+
+[Illustration: _Dining-room in Country House, Showing Modern Painted
+Furniture. Style Directoire._]
+
+
+The earliest garments of Egypt were of cotton and hemp, or mallow,
+resembling flax. The older Egyptians never knew silks in any form, nor
+did the Israelites, nor any of the ancients. The earliest account of
+this material is given by Aristotle (fourth century). It was
+brought into Western Europe from China, via India, the Red Sea
+and Persia, and the first to weave it outside the Orient was a maiden
+on the Isle of Cos, off the coast of Asia Minor, producing a thin
+gauze-like tissue worn by herself and companions, the material
+resembling the Seven Veils of Salome. To-day those tiny bits of gauze
+one sees laid in between the leaves of old manuscript to protect the
+illuminations, as our publishers use sheets of tissue paper, are said
+to be examples of this earliest form of woven silk.
+
+The Romans used silk at first only for their women, as it was
+considered not a masculine material, but gradually they adopted it for
+the festival robes of men, Titus and Vespasian being among those said
+to have worn it.
+
+The first silk looms were set up in the royal palaces of the Roman
+kings in the year 533 A.D. The raw material was brought from the East
+for a long time but in the sixth century two Greek monks, while in
+China, studied the method of rearing silk worms and obtaining the
+silk, and on their departure are said to have concealed the eggs of
+silk worms in their staves. They are accredited with introducing the
+manufacture of silk into Greece and hence into Western Europe. After
+that Greece, Persia and Asia Minor made this material, and Byzantium
+was famed for its silks, the actual making of which got into the hands
+of the Jews and was for a long time controlled by them.
+
+Metals (gold, silver and copper) were flattened out and cut into
+narrow strips for winding around cotton twists. These were the gold
+and silver threads used in weaving. The Moors and Spaniards instead of
+metals used strips of gilded parchment for weaving with the silk.
+
+We know that England was weaving silk in the thirteenth century, and
+velvets seem to have been used at a very early date. The introduction
+of silk and velvet into different countries had an immediate and
+much-needed influence in civilising the manners of society. It is hard
+to realise that in the thirteenth century when Edward I married
+Eleanor of Castile, the highest nobles of England when resting at
+their ease, stretched at full length on the straw-covered floors of
+baronial halls, and jeered at the Spanish courtiers who hung the walls
+and stretched the floors of Edward's castle with silks in preparation
+for his Spanish bride.
+
+The progress of art and culture was always from the East and moved
+slowly. Do not go so far back as the thirteenth century. James I of
+England owned no stockings when he was James VI of Scotland, and had
+to borrow a pair in which to receive the English ambassador.
+
+In the eleventh century Italy manufactured her own silks, and into
+them were woven precious stones, corals, seed pearls and coloured
+glass beads which were made in Greece and Venice, as well as gold and
+silver spangles (twelfth and thirteenth centuries).
+
+Here is an item on interior decorations from Proverbs vii, 16; "I have
+woven my bed with cords, I have covered it with painted tapestry
+brought from Egypt." There were painted tapestries made in Western
+Europe at a very early date, and collectors eagerly seek them (see
+Plate XIV). In the fourteenth century these painted tapestries were
+referred to as "Stained Cloth."
+
+Embroidery as an art, as we have already seen, antedates silk
+weaving. The youngest of the three arts is tapestry. The oldest
+embroidery stitches are: "the feather stitch," so called because they
+all took one direction, the stitches over-lapping, like the feathers
+of a bird; and "cross-stitch" or "cushion" style, because used on
+church cushions, made for kneeling when at prayer or to hold the Mass
+book.
+
+Hand-woven tapestries are called "comb-wrought" because the instrument
+used in weaving was comb-like.
+
+"Cut-work" is embroidery that is cut out and appliqued, or sewed on
+another material.
+
+Carpets which were used in Western Europe in the Middle Ages are
+seldom seen. The Kensington Museum owns two specimens, both of them
+Spanish, one of the fourteenth and one of the fifteenth century.
+
+In speaking of Gothic art we called attention to the fostering of art
+by the Church during the Dark Ages. This continued, and we find that
+in Henry VIII's time those who visited monasteries and afterward wrote
+accounts of them call attention to the fact that each monk was
+occupied either with painting, carving, modelling, embroidering or
+writing. They worked primarily for the Church, decorating it for the
+glory of God, but the homes of the rich and powerful laity, even so
+early as the reign of Henry III (1216-1272), boasted some very
+beautiful interior decorations, tapestries, painted ceilings and
+stained glass, as well as carved panelling.
+
+Bostwick Castle, Scotland, had its vaulted ceiling painted with
+towers, battlements and pinnacles, a style of mural decoration which
+one sees in the oldest castles of Germany. It recalls the illumination
+in old manuscripts.
+
+
+
+
+CHAPTER V
+
+CANDLESTICKS, LAMPS, FIXTURES FOR GAS AND ELECTRICITY, AND SHADES
+
+
+Candlesticks, lamps, and fixtures for gas and electricity must accord
+with the lines of your architecture and furniture. The mantelpiece is
+the connecting link between the architecture and the furnishing of a
+room. It is the architect's contribution to the furnishing, and for
+this reason the keynote for the decorator.
+
+In the same way lighting fixtures are links between the construction
+and decoration of a room, and can contribute to, or seriously divert
+from, the decorator's design.
+
+It is important that fixtures be so placed as to appear a part of the
+decoration and not merely to illuminate conveniently a corner of the
+room, a writing-desk, table or piano.
+
+
+PLATE X
+
+     The dining-room of this apartment is Italian Renaissance--oak,
+     almost black from age, and carved.
+
+     The seat pads and lambrequin over window are of deep red velvet.
+     The walls are stretched with dull red _brocotello_ (a combination
+     of silk and linen), very old and valuable. The chandelier is
+     Italian carved wood, gilded.
+
+     Attention is called to the treatment of the windows. No curtains
+     are used, instead, boxes are planted with ivy which is trained to
+     climb the green lattice and helps to temper the light, while the
+     window shades themselves are of a fascinating glazed linen,
+     having a soft yellow background and design of fruit and vines in
+     brilliant colours.
+
+[Illustration: _Dining-room Furniture, Italian Renaissance_]
+
+
+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.
+
+[Illustration: _Corner of Dining-room in New York Apartment, Showing
+Section of Italian Refectory Table and Italian Chairs, Both Antique
+and Renaissance_]
+
+
+_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.
+
+[Illustration: _An Italian Louis XVI Salon in a New York Apartment_]
+
+
+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.
+
+[Illustration: _Another Side of Same Italian Louis XVI Salon_]
+
+
+
+
+
+
+
+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.
+
+[Illustration: _A Narrow Hall Where Effect of Width Is Attained by
+Use of Tapestry with Vista_]
+
+
+
+
+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.
+
+[Illustration: _Venetian Glass, Antique and Modern_]
+
+
+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.
+
+[Illustration: _Corner of a Room in a Small Empire Suite_]
+
+
+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.
+
+FOOTNOTES:
+
+[Footnote 1: Louis XIV, XV, and XVI.]
+
+
+
+
+CHAPTER XIV
+
+PERIODS IN FURNITURE
+
+
+Periods in furniture are amazingly interesting if one plunges into the
+story, not with tense nerves, but gaily, for mere amusement, and then
+floats gently, in a drifting mood. One gathers in this way many
+sparkling historical anecdotes, and much substantial data really not
+so cumbersome as some imagine!
+
+To know anything at all about a subject one must begin at the
+beginning, and to make the long run seems a mere spin in an auto, let
+us at once remind you that the whole fascinating tale lies between the
+covers of one delightful book, the "Illustrated History of Furniture,"
+by Frederick Litchfield, published by Truslove & Hanson, London, and
+by John Lane, New York. There are other books--many of them--but first
+exhaust Litchfield and apply what he tells you as you wander through
+public and private collections of furniture.
+
+If you care for furniture at all, this book, which tells all that is
+known of its history, will prove highly instructive.
+
+One cannot speak of the gradual development of furniture and
+furnishing; it is more a case of _waves of types_, and the story
+begins on the crest of a wave in Assyria, about 3000 years before
+Christ! Yes, seriously, interior decoration was an art back in that
+period and can be traced without any lost links in the chain of
+evidence.
+
+From Assyria we turn to Egypt and learn from the frescoes and
+bas-reliefs on walls of ruined tombs, that about that same time, 3000
+B.C., rooms on the banks of the Nile were decorated more or less as
+they are to-day. The cultured classes had beautiful ceilings, gilded
+furniture, cushions and mattresses of dyed linen and wools, stuffed
+with downy feathers taken from water fowl, curtains that were
+suspended between columns, and, what is still more interesting to the
+lover of furniture, we find that the style known as Empire when
+revived by Napoleon I was at that time in vogue. Even more remarkable
+is the fact that parts of legs and rails of furniture were turned as
+perfectly (I quote Litchfield) as if by a modern lathe. The variety
+of beautiful woods used by the Egyptians for furniture included ebony,
+cedar, sycamore and acacia. Marquetry was employed as well as
+wonderful inlaying with ivory, from both the elephant and
+hippopotamus. Footstools had little feet made like lion's claws or
+bull's hoofs. According to Austin Leyard, the very earliest Assyrian
+chairs, as well as those of Egypt, had the legs terminating in the
+same lion's feet or bull's hoofs, which reappear in the Greek, Roman,
+Empire and even Sheraton furniture of England (eighteenth century).
+
+The first Assyrian chairs were made without backs and of beautifully
+wrought gold and bronze, an art highly developed at that time. In
+Egypt we find the heads of animals capping the backs of chairs in the
+way that we now see done on Spanish chairs.
+
+The pilasters shown on the Empire furniture, Plate XVI, capped by
+women's heads with little gold feet at base, and caryatides of a kind,
+were souvenirs of the Egyptian throne seats which rested on the backs
+of slaves--possibly prisoners of war. These chairs were wonderful
+works of art in gold or bronze. We fancy we can see those interiors,
+the chairs and beds covered with woven materials in rich colours and
+leopard skins thrown over chairs, the carpets of a woven palm-fibre
+and mats of the same, which were used as seats.
+
+Early Egyptian rooms were beautiful in line because simple; never
+crowded with superfluous furnishings. It is amusing to see on the very
+earliest bas-reliefs Egyptian belles and beaux reclining against what
+we know to-day as Empire rolls,--seen also on beds in old French
+prints of the fourteenth century. Who knows, even with the Egyptians
+this may have been a revived style!
+
+One talks of new notes in colour scheme. The Bakst thing was being
+done in Assyria, 700 B.C.! Sir George Green proved it when he opened
+up six rooms of a king's palace and found the walls all done in
+horizontal stripes of red, yellow and green! Also, he states that each
+entrance had the same number of pilasters. Oh wise Assyrian King and
+truly neutral, if as is supposed, those rooms were for his six wives!
+
+In furniture, the epoch-making styles have been those showing _line_,
+and if decorated, then only with such decorations as were subservient
+to line; pure Greek and purest Roman, Gothic and early Renaissance,
+the best of the Louis, Directoire and First Empire, Chippendale, Adam,
+Sheraton and Heppelwhite.
+
+The bad styles are those where ornamentations envelop and conceal line
+as in late Renaissance, the Italian Rococo, the Portuguese Barrocco
+(baroque), the curving and contorted degenerate forms of Louis XIV and
+XV and the Victorian--all examples of the same thing, _i.e._: perfect
+line achieved, acclaimed, flattered, losing its head and going to the
+bad in extravagant exuberance of over-ornamentation.
+
+There is a psychic connection between the _outline_ of furniture and
+the _inline_ of man.
+
+Perfect line, chaste ornamentation, the elimination of the superfluous
+was the result of the Greek idea of restraint--self-control in all
+things and in all expression. The immense authority of the law-makers
+enforced simple austerity as the right and only setting for the daily
+life of an Athenian, worthy of the name. There were exceptions, but as
+a rule all citizens, regardless of their wealth and station, had
+impressed upon them the civic obligation to express their taste for
+the beautiful, in the erecting of public buildings in their city of
+Athens, monuments of perfect art, by God-like artists, Phidias,
+Apelles, and Praxiteles.
+
+
+
+
+CHAPTER XV
+
+CONTINUATION OF PERIODS IN FURNITURE
+
+
+From Greece, culture, borne on the wings of the arts, moved on to
+Rome, and at first, Roman architecture and decoration reproduced only
+the classic Greek types; but, as Rome grew, her arts took on another
+and very different outline, showing how the history of decorative art
+is to a fascinating degree the history of customs and manners.
+
+Rome became prosperous, greedy, powerful and imperious, enslaving the
+civilised world, and, not having the restraining laws of Greece, waxed
+luxurious and licentious, and chafed, in consequence, at the austere
+rigidity of the Greek style of furnishing.
+
+We know that in the time of Augustus Cæsar the Romans had wonderful
+furniture of the most costly kind, made from cedar, pine, elm, olive,
+ash, ilex, beach and maple, carved to represent the legs, feet, hoofs
+and heads of animals, as in earlier days was the fashion in Assyria,
+Egypt and Greece, while intricate carvings in relief, showed Greek
+subjects taken from mythology and legend. Cæsar, it is related, owned
+a table costing a million sesterces ($40,000).
+
+But gradually the pure line swerved, ever more and more influenced by
+the Orient, for Rome, always successful in war, had established
+colonies in the East. Soon Byzantine art reached Rome, bringing its
+arabesques and geometrical designs, its warm, glowing colours, soft
+cushions, gorgeous hangings, embroideries, and rich carpets. In fact
+all the glowing luxury that the _new_ Roman craved.
+
+The effect of this _mésalliance_ upon all Art, including interior
+decoration, was to cause its immediate decline. Elaboration and
+_banal_ designs, too much splendour of gold and silver and ivory
+inlaid with gold, resulted in a decadent art which reflected a
+decadent race and Rome fell! Not all at once; it took five hundred
+years for the neighbouring races to crush her power, but continuous
+hectoring did it, in 476 A.D. Then began the Dark Ages merging into
+the Middle Ages (fifth to fifteenth centuries).
+
+Dark they were, but what picturesque and productive darkness! Rome
+fell, but the Carlovingian family arose, and with it the great nations
+of Western Europe, to give us, especially in France, another supreme
+flowering of interior decoration. Britain was torn from the grasp of
+Rome by the Saxons, Danes and Normans, and as a result the great
+Anglo-Saxon race was born to create art periods. Mahomet appeared and
+scored as an epoch-maker, recording a remarkable life and a spiritual
+cycle. The Moors conquered Spain, but in so doing enriched her arts a
+thousandfold, leaving the Alhambra as a beacon-light through the ages.
+Finally the crusades united all warring races against the infidels.
+Blood was shed, but at the same time routes were opened up, by which
+the arts, as well as the commerce, of the Orient, reached Europe. And
+so the Byzantine continued to contend with Gothic art--that art which
+preceded from the Christian Church and stretched like a canopy over
+Western Europe, all through the Middle Ages. It was in the churches
+and monasteries that Christian art, driven from pillar to post by
+wars, was obliged to take refuge, and there produced that marvellous
+development known as the Gothic style,--of the Church, for the Church,
+by the Church, perfected in countless Gothic cathedrals,--crystallised
+glorias lifting their manifold spires to heaven,--ethereal monuments
+of an intrepid Faith which gave material form to its adoration, its
+fasting and prayer, in an unrivalled art.
+
+There is one early Gothic chair which has come down to us,
+Charlemagne's, made of gilt-bronze and preserved in the Louvre, at
+Paris. Any knowledge beyond this one piece, as to what Carlovingian
+furniture was like (the eighth century) we get only from old
+manuscripts which show it to have been the pseudo-classic, that is,
+the classic modified by Byzantine influence, and very like the Empire
+style of Napoleon I. Here is the reason for the type. Constantinople
+was the capital of the Eastern Empire, when in 726 A.D., Emperor Leo
+III prohibited image worship, and the artists and artisans of his part
+of the world, in order to earn a livelihood, scattered over Europe,
+settling in the various capitals, where they were eagerly welcomed and
+employed.
+
+Even so late as the tenth to fourteenth centuries the knowledge we
+have of Gothic furniture still comes from illustrated manuscripts and
+missals preserved in museums or in the national libraries.
+
+Rome fell as an empire in the fifth century. In the eighth century,
+Venice asserted herself, later becoming the great, wealthy, Merchant
+City of Eastern Europe, the golden gate between Byzantium and the West
+(eleventh to fifteenth centuries). Her merchants visiting every
+country naturally carried home all art expressions, but, so far as we
+know, her own chief artistic output in very early days, was in the
+nature of richly carved wooden furniture, no specimens of which
+remain.
+
+
+
+
+CHAPTER XVI
+
+THE GOTHIC PERIOD
+
+
+The Gothic Period is the pointed period, and dominated the art of
+Europe from about the tenth to the fifteenth century. Its origin was
+Teutonic, its development and perfection French.
+
+At first, the house of a feudal lord meant one large hall with a
+raised dais, curtained off for him and his immediate family, and
+subdivided into sleeping apartments for the women. On this dais a
+table ran crossways, at which the lord and his family with their
+guests, ate, while a few steps lower, at a long table running
+lengthwise of the hall, sat the retainers. The hall was, also, the
+living-room for all within the walls of the castle. Sand was strewn on
+the stone floor and the dogs of the knights ate what was thrown to
+them, gnawing the bones at their leisure. This rude scene was
+surrounded by wonderful tapestries hung from the walls:--woman's
+record of man's deeds.
+
+Later, we read of stairs and of another room known as the _Parloir_ or
+talking-room, and here begins the sub-division of homes, which in
+democratic America has arrived at a point where more than 200 rooms
+are often sheltered under one private roof!
+
+Oak chests figured prominently among the furnishings of a Gothic home,
+because the possessions of those feudal lords, who were constantly at
+war with one another, often had to be moved in haste. As men's lives
+became more settled, their possessions gradually multiplied; but even
+at the end of the eleventh century bedsteads were provided only for
+the nobility, probably on account of expense, as they were very grand
+affairs, carved and draped. To that time and later belong the
+wonderfully carved presses or wardrobes.
+
+Carved wood panelling was an important addition to interior decoration
+during the reign of Henry III (1216-72).
+
+In the thirteenth and fourteenth centuries England with Flanders led
+in the production of mediæval art.
+
+Hallmarks of the Gothic period are animals and reptiles carved to
+ornament the structural parts of furniture and to ornament panels.
+Favourite subjects with the wood carvers of that time were scenes from
+the lives of the saints (the Church dominated the State) and from the
+romances, chanted by the minstrels.
+
+
+
+
+CHAPTER XVII
+
+THE RENAISSANCE
+
+
+Following the Gothic Period came the Renaissance of Greek art which
+began in Italy under the leadership of Leonardo Da Vinci and Raphael,
+who, rejecting the existing types of degraded decorative art, in Italy
+a combination of the Byzantine and Gothic--turned to the antique, the
+purest Greek styles of Pericles' time. The result was another period
+of perfect line and proportion, called the Italian Renaissance, a
+great wave of art which swept over all Europe, gaining impetus from
+the wise patronage of the ruling Medicis. One of them (Pope Leo X with
+the co-operation of Italy's reigning dukes and princes) employed and
+so developed the extraordinary powers of Michael Angelo, Titian,
+Raphael, Andrea del Sarto and Correggio.
+
+By the end of the fifteenth century, Classic Greek art was engrossing
+the mind of Western Europe, classical literature was becoming the
+fashion and there was even an attempt to make Latin the popular
+language.
+
+It was during the Renaissance that Palladio rebuilt the palaces of
+Italy,--beautiful beyond words, and that Benvenuto Cellini designed in
+gold, silver and bronze in a manner never since equalled. From that
+same period dates the world-famous Majolica of Urbino, Pesaro and
+Gubbio, shown in our museums. So far as house-furnishing went, aside
+from palaces, there was but little that was appropriate for intimate
+domestic life. The early Renaissance furniture was palatial,
+architectural in outline and, one might almost say, in proportions.
+The tables were impossibly high, the chairs were stiff, and the
+cabinets immense and formal in outline. It had, however, much stately
+beauty, and very lovely are certain old pieces of carved and gilded
+wood where the gilt, put on over a red preparation and highly
+burnished, has rubbed off with time, and shows a soft glow of colour
+through the gold.
+
+But as always, the curse of over-elaboration to please perverted
+minds, was resorted to by cabinet-makers who copied mosaics with their
+inlaying, and invented that form known as _pietra-dura_--polished
+bits of marble, agates, pebbles and lapis lazuli. Ivory was carved
+and used as bas-reliefs and ivory and tortoise shell, brass and
+mother-of-pearl used as inlay. Elaborate Arabesque designs inlaid
+were souvenirs of the Orient, and where the cabinetmaker's saw left
+a line, the cuts were filled in with black wood or stained glue, which
+brought out the design and so gave an added decorative effect. Skilled
+artisans had other designs bitten into wood by acids, and shading was
+managed by pouring hot sand on the surface of the wood. Hallmarks of
+the Renaissance are designs which were taken from Greek and Roman
+mythology, and allegories representing the elements, seasons, months
+and virtues. Also, battle scenes and triumphal marches.
+
+The insatiable love for decoration found still another expression in
+silver and gold plaques of the highest artistic quality, embossed and
+engraved for those princes of Florence, Urbino, Ferrara, Rome, Venice
+and Naples, who vied with one another in extravagance until the
+inevitable reaction came.
+
+
+PLATE XVII
+
+     An example of good mantel decoration. The vases and clock are
+     Empire, the chairs Directoire, and footstools Louis XV.
+
+     A low bowl of modern green Venetian glass holds flowers.
+
+[Illustration: _An Example of Perfect Balance and Beauty in Mantel
+Arrangement_]
+
+
+Edmund Bonneffé says that in the latter part of the Renaissance,
+while the effort of the Italians seems to have been to disguise wood,
+French cabinet-makers emphasised its value--an interesting point to
+bear in mind.
+
+       *       *       *       *       *
+
+If we trace the Renaissance movement in Germany we find that it was
+Albrecht Dürer who led it. Then, as always, the Germans were foremost
+in wood carving; with Holland and Belgium they are responsible for
+much of the antique oak furniture on Renaissance lines. The
+Scandinavians have also done wonderful wood carving, which is easily
+confused with the early wood carving of the Russians, for the reason
+that the Swedes settled Finland, and Russia's Ruric rulers (before the
+Romanoff house,--sixteenth century) were from Finland.
+
+In the sixteenth century metal work in steel, iron and brass reached
+its height in Germany and Italy. It is supposed that the elaborate
+mounts in furniture which were later perfected in France had their
+origin in iron corners and hinge-plates used, at first, merely to
+strengthen, but as the men who worked in metals became more and more
+skilful, the mounts were made with the intent of mere decoration and
+to draw attention to the beauty of the wood itself.
+
+Before Dürer turned Germany's mind toward the Greek revival of Art,
+the craftsmen of his country had been following Dutch models. This was
+natural enough, for Charles V was king at that time, of Holland,
+Germany and Spain, and the arts of the three countries, as well as
+their commerce were interchangeable. In fact it was the Dutch painter,
+Van Eyck, who took the Renaissance into Spain when called thereto
+paint royalty. Sculptors, tapestry weavers, books on art, etc.,
+followed.
+
+That was the Spanish awakening, but the art of Spain during the
+sixteenth century shows that the two most powerful influences were
+Moorish and Italian. The most characteristically Spanish furniture of
+that period are those cabinets,--"_Vargueos_," made of wood ornamented
+on the outside with wrought iron, while inside are little columns made
+of fine bone, painted and gilded. Much of the old Spanish furniture
+reproduces German and Italian styles. Embossed leather put on with
+heavy nails has always been characteristic of Spain, and in the
+seventeenth century very fine Spanish mahogany and chestnut were
+decorated with tortoise-shell inlaid with ivory, so as to make
+elaborate pictures in the Italian style. (See Baron Davillier on
+Spanish Furniture.).
+
+
+
+
+CHAPTER XVIII
+
+FRENCH FURNITURE
+
+
+The classic periods in French furniture were those known as Francis I,
+Henry II and the three Louis,--XIV, XV, and XVI. One can get an idea
+of all French periods in furnishing by visiting the collection in
+Paris belonging to the government, "Mobilier National," in the new
+wing of the Louvre.
+
+It is always necessary to consult political history in order to
+understand artistic invasions. Turn to it now and you will find that
+Charles VIII of France held Naples for two years (1495-6), and when he
+went home took with him Italian artists to decorate his palaces. Read
+on and find that later Henry II married Catherine de Medici and loved
+Diane de Poitiers, and that, fortunately for France, both his queen
+and his mistress were patronesses of the arts. So France bloomed in
+the sunshine of royal favour and Greek influence, as few countries
+ever had. Fontainebleau (begun by Francis I) was the first of a chain
+of French royal palaces, all monuments without and within, to a
+picturesque system of monarchy,--Kings who could do no wrong, wafting
+sceptres over powerless subjects, whose toil produced Art in the form
+of architecture, cabinetmaking, tapestry weaving, mural decoration,
+unrivalled porcelain, exquisitely wrought silver and gold plate,
+silks, lovely as flower gardens (showing the "pomegranate" and "vase"
+patterns) and velvets like the skies! And for what? Did these things
+represent the wise planning of wise monarchs for dependent subjects?
+We know better, for it is only in modern times that simple living and
+small incomes have achieved surroundings of artistic beauty and
+comfort.
+
+The marvels of interior decoration during the classic French periods
+were created for kings and their queens, mistresses and favoured
+courtiers. Diane de Poitiers wished--perhaps only dreamed--and an
+epoch-making art project was born. Madame du Barry admired and made
+her own the since famous du Barry rose colour, and the Sèvres
+porcelain factories reproduced it for her. But how to produce this
+particular illusive shade of deep, purplish-pink became a forgotten
+art, when the seductive person of the king's mistress was no more.
+
+If you would learn all there is to know concerning the sixteenth
+century furnishings in France read Edmund Bonneffé's "Sixteenth
+Century Furniture."
+
+It was the Henry II interior decoration and architecture which first
+showed the Renaissance of pure line and classic proportion, followed
+by the never-failing reaction from the simple line to the undulating
+over-ornate when decoration repeated the elaboration of the most
+luxurious, licentious periods of the past.
+
+One has but to walk through the royal palaces of France to see French
+history beguilingly illustrated, in a series of volumes open to all,
+the pages of which are vibrant with the names and personalities of men
+and women who will always live in history as products of an age of
+great culture and art.
+
+
+PLATE XVIII
+
+     A delightful bit of a room. The furniture, in line, shows a
+     Directoire influence. The striped French satin sofa and one chair
+     is blue, yellow and faun, the Brussels tapestry in faded blues,
+     fauns and greys. Over a charmingly painted table is a Louis XV
+     gilt applique, the screen is dark in tone and has painted panels.
+
+     The rug, done in cross-stitch, black ground and design colours,
+     was discovered in a forgotten corner of a shop, its condition so
+     dingy from the dust of ages that only an expert would have
+     recognised its possibilities.
+
+[Illustration: _Corner of a Drawing Room, Furniture Showing Directoire
+influence_]
+
+
+The Louis XIV, XV and XVI periods in furniture are all related. Rare
+brocades, flowered and in stripes, bronze mounts as garlands,
+bow-knots and rosettes, on intricate inlaying, mark their common
+relationship. The story of these periods is that gradually decoration
+becomes over-elaborated and in the end dominates the Greek outline.
+
+The three Louis mark a succession of great periods. Louis XIV, though
+beautiful at its best, is of the three the most ornate and is
+characterised in its worst stage by the extremely bowed (cabriole)
+legs of the furniture, ludicrously suggestive of certain debauched
+courtiers who surrounded the _Grande Monarch_.
+
+Louis XV legs show a curve, also, but no longer the stoggy, squat
+cabriole of the over-fed gallant. Instead we are entranced by an
+ethereal grace and lightness of movement in every line and decoration.
+Here cabriole means but a courtly knee swiftly bending to salute some
+beauty's hand. So subtly waving is the curving outline of this
+furniture that one scarcely knows where it begins or ends, and it is
+the same with the decorations--exquisitely delicate waving traceries
+of vines and flora, gold on gold, inlay, or paint in delicate tones.
+All this gives to the Louis XV period supremacy over Louis XVI, whose
+round, grooved, tapering straight legs, one tires of more quickly,
+although fine gold and lovely paint make this type winning and
+beloved.
+
+From Louis XVI we pass to the Directoire, when, following the
+Revolution, the voice of the populace decried all ostentation and
+everything savouring of the superfluous. The Great Napoleon in his
+first period affected simplicity and there were no longer bronze
+mounts, in rosettes, garlands and bow-knots, elaborate inlaying, nor
+painted furniture with lovely flowering surfaces; in the most severe
+examples not even fluted legs! Instead, simple but delicately
+proportioned furniture with slender, squarely cut, chastely tapering
+legs, arms and backs, was the fashion. In fact, the Directoire type is
+one of ideal proportions, graceful outlines with a flowing movement
+and the decoration when present, kept well within bounds, entirely
+subservient to the main structural material. One feels an almost
+Quaker-like quality about the Directoire, whether of natural wood or
+plain painted surface.
+
+With Napoleon's assumption of regal power and habits, we get the
+Empire (he had been to Rome and Egypt), pseudo-classic in outline and
+richly ornamented with mounts in ormoulu characteristic of the Louis.
+
+The Empire period in furniture was dethroned by the succeeding régime.
+
+When we see old French chairs with leather seats and backs, sometimes
+embossed, in the Portuguese style, with small regular design, put on
+with heavy nails and twisted or straight stretchers (pieces of wood
+extending between legs of chairs), we know that they belong to the
+time of Henry IV or Louis XIII. Some of the large chairs show the
+shell design in their broad, elaborate stretchers.
+
+The beautiful small side tables of the Louis and First Empire called
+consoles, were made for the display of their marvellously wrought
+pieces of silver, hammered and chiselled by hand,--"museum pieces,"
+indeed, and lucky is the collector who chances upon any specimen
+adrift.
+
+
+
+
+CHAPTER XIX
+
+THE PERIODS OF THE THREE LOUIS
+
+
+The only way to learn how to distinguish the three _Louis_ is to study
+these periods in collections of furniture and objects of art, or,
+where this is impossible, to go through books showing interiors of
+those periods. In this way one learns to visualise the salient
+features of any period and gradually to acquire a _feeling_ for them,
+that subtle sense which is not dependent wholly upon outline,
+decoration, nor colour, but upon the combined result.
+
+French writers who specialise along the lines of interior decoration
+often refer to the three types as follows:
+
+Period of Louis XIV--heavily, stolidly masculine;
+
+Period of Louis XV--coquettishly feminine;
+
+Period of Louis XVI--lightly, alertly masculine.
+
+One soon sees why, for Louis XIV furniture does suggest masculinity
+by its weight and size. It is squarely made, straight (classic) in
+line, equally balanced, heavily ponderous and magnificent. Over its
+surface, masses of decoration immobile as stone carving, are evenly
+dispersed, and contribute a grandiose air to all this furniture.
+
+There was impressive gallantry to the Louis XIV style, a ceremonious
+masculine gallantry, while Louis XV furniture--the period dominated by
+women when "poetry and sculpture sang of love" and life revolved about
+the boudoir--shows a type entirely _intime_, sinuously, lightly,
+gracefully, coquettishly feminine, bending and courtesying, with no
+fixed outline, no equal balance of proportions. Louis XV was the
+period when outline and decoration were merged in one and the _shell_
+which figured in Louis XIV merely as an ornament, gave its form (in a
+curved outline) and its name "rococo" (Italian for shell) to the
+style.
+
+As a reaction from this we get the Louis XVI period, again masculine
+in its straight rigidity of line, its perfectly poised proportions,
+the directness of its appeal to the eye, a "reflection of the more
+serious mental attitude of the nation." Louis XVI had an aristocratic
+sobriety and was masculine in a light, alert, mental way, if one can
+so express it, which stimulates the imagination, in direct contrast to
+the material and literal type of Louis XIV which, as we have said, was
+masculine in its ponderous magnificence, and unyielding
+over-ornamentation.
+
+So much for _outline_. Now for the _decoration_ of the three periods.
+
+Remember that the Louis XIV, XV and XVI periods took their ideas for
+decoration from the Greeks, via Italy, and the extreme Orient. A
+national touch was added by means of their Sèvres porcelain medallions
+set into furniture, and the finely chiselled bronzes known as ormoulu,
+a superior alloy of metals of a rich gold colour. The subjects for
+these chiselled bronzes were taken from Greek and Roman mythology;
+gods, goddesses, and cupids the insignia of which were torches,
+quivers, arrows, and tridents. There were, also, wreaths, garlands,
+festoons and draperies, as well as rosettes, ribbons, bow-knots,
+medallion heads, and the shell and acanthus leaf. One finds these in
+various combinations or as individual motives on the furniture of
+the Louis.
+
+
+PLATE XIX
+
+     Shows the red-tiled entrance hall of a duplex apartment in New
+     York.
+
+     On the walls are two Italian mirrors (Louis XVI), a side table
+     (console) of the same epoch, and two Italian carved chairs.
+
+[Illustration: _Entrance Hall in New York Duplex Apartment. Italian
+Furniture_]
+
+
+The backgrounds for these mounts were the woods finely inlaid with
+ivory shell and brass in the style of the Italian Renaissance.
+Oriental lacquer and painted furniture, at that time heavily gilded.
+
+The legs of chairs, sofas and tables of the Louis XIV period were
+cabrioles (curved outward)--a development of the animal legs of carved
+wood, bronze or gold, used by the ancient Assyrians, Egyptians and
+Greeks as supports for tables and chairs. Square grooved legs also
+appeared in this type.
+
+The same grooves are found on round tapering legs of Louis XVI's time.
+In fact that type of leg is far more typical of the Louis XVI period
+than the cabriole or square legs grooved, but one sees all three
+styles.
+
+Other hallmarks of the Louis XVI period are the straight outlines,
+perfectly balanced proportions, the rosettes, ribbon and bow-knot with
+torch and arrows in chiselled bronze.
+
+That all "painting and sculpture sang of love" is as true of Louis XVI
+as of Louis XV. In both reigns the colouring was that of
+spring-tender greens, pale blossoms, the grey of mists, sky-blues,
+and yellows of sunshine.
+
+During Louis XV's time soft cushions fitted into the sinuous lines of
+the furniture, and as some Frenchman has put it, "a vague, discreet
+perfume pervaded the whole period, in contrast to the heavier odour of
+the First Empire."
+
+The walls and ceilings of the three Louis were richly decorated in
+accordance with a scheme, surpassing in magnificence any other period.
+
+An intricate system of mouldings (to master which, students at the
+École des Beaux Arts, Paris, must devote years) encrusted sidewalls
+and ceilings, forming panels and medallions, over-doors and
+chimney-pieces, into which were let paintings by the great masters of
+the time, whose subjects reflected the moods and interests of each
+period. The Louis XV and XVI paintings are tender and vague as to
+subject and the colours veiled in a greyish tone, full of sentiment.
+
+That was the great period of tapestry weaving--Beauvais, Arras and
+Gobelin, and these filled panels or hung before doors.
+
+It may be said that the period of Louis XVI profited by antiquity,
+but continued French traditions; it was a renaissance of line and
+decoration kept alive, while the First Empire was classic form
+inanimate, because an abrupt innovation rather than an influence and a
+development. One may go farther and quote the French claim that the
+colour scheme of Louis XVI was intensely suggestive and personal,
+while the Empire colouring was literal and impersonal.
+
+Under Louis XVI furniture was all but lost in a crowd of other
+articles, tapestry, draperies of velvet, flowered silks, little
+objects of art in porcelain, more or less useless, silver and ormoulu,
+exquisitely decorated with a précieuse intricacy of chiselled designs.
+
+The Louis XVI period was rigid in its aristocratic sobriety, for
+although torch and arrows figured, as did love-birds, in
+decoration--(souvenirs of the painter Boucher), everything was set and
+decorous, even the arrow was often the warrior's not cupid's; in the
+same way the torch was that of the ancients, and when a medallion
+showed a pastoral subject, its frame of straight lines linked it to
+the period. Even if Cupid appeared, he was decorously framed or
+pedestaled.
+
+To be sure, Marie Antoinette and the ladies of her court played at
+farming in the Park of the Petite Trainon, at Versailles; but they
+wore silk gowns and powdered wigs. To be rustic was the fad of the day
+(there was a cult for gardening in England); but shepherdesses were
+confined to tapestries, and, while the aristocracy held the stage, it
+played the game of life in gloves.
+
+There was about the interior decoration of Louis XVI, as about the
+lives of aristocratic society of that time, a "penetrating perfume of
+love and gallantry," to which all admirers of the beautiful must ever
+return for refreshment and standards of beauty and grace.
+
+Speaking generally of the three Louis one can say that on a background
+of a great variety of wonderful inlaid woods, ivory, shell,
+mother-of-pearl and brass, or woods painted and gilded, following the
+Italian Renaissance, or lacquered in the manner of the Orient, were
+ormoulu wrought and finely chiselled, showing Greek mythological
+subjects; gods, goddesses and their insignia, with garlands,
+wreaths, festoons, draperies, ribbons, bow-knots, rosettes and
+medallions of cameo, Sèvres porcelain, or Wedgwood paste. Among the
+lost arts of that time are inlaying as done by Boule and the finish
+known as Vernis Martin.
+
+
+PLATE XX
+
+     This large studio is a marked example of comfort and interest
+     where the laws of appropriateness, practicableness, proportion
+     and balance are so observed as to communicate at once a sense of
+     restfulness.
+
+     Here the comfortable antiques and beautifully proportioned modern
+     furniture make an ideal combination of living-room and painter's
+     studio.
+
+[Illustration: _Combination of Studio and Living Room in a New York
+Duplex Apartment_]
+
+
+Tapestries and mural paintings were framed by a marvellous system of
+mouldings which covered ceilings and sidewalls.
+
+The colour scheme was such as would naturally be dictated by the
+general mood of artificiality in an age when dreams were lived and the
+ruling classes obsessed by a passion for amusements, invented to
+divert the mind from actualities. This colour scheme was beautifully
+light in tone and harmoniously gay, whether in tapestries, draperies
+and upholstery of velvets, or flowered silks, frescoes or painted
+furniture. It had the appearance of being intended to act as a
+soporific upon society, whose aim it was to ignore those jarring
+contrasts which lay beneath the surface of every age.
+
+
+
+
+CHAPTER XX
+
+CHARTS SHOWING HISTORICAL EVOLUTION OF FURNITURE
+
+
+LOUIS XIV, 1643 to        {Compressed regularity   {Straight, square,
+  1715                    {  giving way in         {  grooved and very
+Key-note                  {  reaction to a         {  squat cabriole
+  The Grand               {  ponderous ugliness.   {  legs.
+  Audience Rooms          {                        {
+
+
+THE REGENCY AND           {The Reign of Woman.     {Cabriole legs of a
+  LOUIS XV, 1715 to       {                        {  perfect lightness
+  1774                    {                        {  and grace.
+Key-note                  {                        {
+  The Boudoir             {                        {
+
+
+                          {The transition style     {Legs tapering
+                          {  between the Bourbon    {  straight, rounded
+                          {  Interior Decoration    {  and grooved. A
+                          {  and that of            {  few square-grooved
+                          {  the "Directorate"      {  legs and
+LOUIS XVI, 1774 to        {  and "Empire,"          {  a few graceful,
+  1793                    {  characterised by a     {  slender cabriole
+Key-note                  {  return to the classic  {  legs.
+  The Salon _Intime_      {  line which reflects    {
+                          {  a more serious turn    {
+                          {  of mind on part of     {
+                          {  the Nation in an age   {
+                          {  of great mental        {
+                          {  activity.              {
+
+                          {Classic lines.
+                          {Classic decorations with subjects taken from
+                          {  Greek mythologies.
+                          {Winged figures, emblems of liberty; antique
+                          {  heads of helmeted warriors, made like
+                          {  medallions, wreaths, lyres, torches,
+                          {  rosettes, etc.
+                          {Besides the wonderful mounts of Ormoulu,
+                          {  designed by the great sculptors and painters
+                          {  of the period, there was a great deal
+                          {  of fine brass inlaying.
+                          {Antique vases taken from ancient tombs were
+THE FIRST EMPIRE,         {  placed in recesses in the walls of rooms
+  NAPOLEON I, 1804        {  after the style of the ancient "Columbaria."
+  to 1814                 {Every effort was made to surround Napoleon I
+                          {  with the dignity and austere sumptuousness
+                          {  of a great Roman Emperor. As we have said,
+                          {  he had been in Rome and he had been in Egypt;
+                          {  the art of the French Empire was reminiscent
+                          {  of both. Napoleon would outstrip the other
+                          {  conquerors of the world.
+                          {Some Empire furniture shows the same fine
+                          {  turning which characterizes Jacobean furniture
+                          {  of both oak and walnut periods. We refer to
+                          {  the round, not spiral, turning. See legs of
+                          {  Empire sofa on which Madame Récamier reclines
+                          {  in the well-known portrait by David (Louvre).
+
+
+
+ENGLISH FURNITURE
+
+
+                          {Gothic, through 14th Century.
+THE OAK PERIOD            {Renaissance, 16th Century.
+  (including early        {Elizabethan, 16th Century.
+  Jacobean)               {Jacobean or Stuart, 17th Century; James I,
+                          {  Charles I and II, and James II, 1603-1688.
+
+                          {Late Jacobean.
+THE WALNUT PERIOD         {William and Mary, 1688.
+                          {Queen Anne, 1702.
+
+"MAHOGANY" PERIOD         {Chippendale.             {18th Century.
+  (and other imported     {HEPPELWHITE.             {
+  woods), or              {SHERATON                 {
+  CHIPPENDALE PERIOD.     {THE ADAM BROTHERS.       {
+
+
+                          {Almost no furniture exists of the 13th
+                          {  Century. We get the majority of our
+GOTHIC PERIOD,            {  ideas from illustrated manuscripts of
+  Through 14th Century.   {  that time. The furniture was carved
+                          {  oak or plain oak ornamented with
+                          {  iron scroll work, intended both for
+                          {  strength and decoration.
+
+RENAISSANCE OR            {The characteristic, heavy, wide mouldings
+  ELIZABETHAN,            {  and small panels, and heavy round
+  16th Century.           {  carving.
+
+
+                          {Panels large and mouldings very narrow and
+                          {  flat, or no mouldings at all, and flat
+                          {  carving. The classic influence shown during
+JACOBEAN OR               {  the period of the Commonwealth in designs,
+  STUART PERIOD,          {  pilastars and pediments was the result of a
+  17th Century.           {  classic  reaction, all elaboration being
+                          {  resented.
+WALNUT PERIOD,            {The Restoration brought in elaborate
+  late 17th Century.      {  carving. Dutch influence is exemplified
+                          {  in the fashion for inlaying imported from
+                          {  Holland, as well as the tulip design.
+                          {  Turned legs, stretchers, borders and spiral
+                          {  turnings, characterized Jacobean style.
+
+In the GOTHIC PERIOD (extending      {
+  through 14th Century), as          {
+  the delightful irregularity in     {
+  line and decoration shows,         {Tables, chests, presses (wardrobes),
+  there was NO SET TYPE; each        {  chairs and benches or
+  piece was an individual creation   {  settles.
+  and showed the personality         {
+  of maker.                          {
+
+
+During RENAISSANCE OR ELIZABETHAN    {
+PERIOD (16th Century)                {Table chests, presses, chairs,
+types begin to establish             {  benches, settles, and small
+and repeat themselves.               {  chests of drawers.
+
+
+                                     {Inlaying in ebony, ivory,
+                                     {  mother-of-pearl, and ebonised
+                                     {  oblong bosses of the jewel type
+                                     {  (last half of 17th Century).
+In the JACOBEAN (17th Century)       {  The tulip design introduced
+there was already a set type,        {  from Holland as decoration.
+pieces made all alike, turned        {Turned and carved frames and
+out by the hundreds.                 {  stretchers; caned seats and
+                                     {  backs to chairs, velvet cushions,
+                                     {  velvet satin damask and
+                                     {  needlework upholstery, the
+                                     {  seats stuffed.
+
+
+
+Henry VIII made England _Protestant_, it having been Roman
+Catholic for several hundred years before the coming of the Anglo-Saxons
+and for a thousand years after.
+
+
+                {QUEEN ELIZABETH.
+PROTESTANT.     {
+                {"The Elizabethan Period."
+
+STUART.         {JAMES I. 1603.
+ROMAN CATHOLIC. {
+"JACOBEAN."     {CHARLES I. (Puritan Revolution), 1628.
+
+                {Oliver Cromwell. 1649.
+PURITAN.        {
+                {Commonwealth.
+
+STUART.         {Charles II. (1660), Restoration.
+ROMAN CATHOLIC. {
+"JACOBEAN."     {James II. (1686), Deposition and Flight.
+
+                {William--Prince of Orange (Holland), 1688.
+PROTESTANT.     {  Who had married the English Princess
+                {  Mary and was the only available _Protestant_
+                {  (1688).
+
+PROTESTANT.     --Queen Anne (1702-1714).
+
+
+
+
+CHAPTER XXI
+
+THE MAHOGANY PERIOD
+
+
+It is interesting to note that the Great Fire of London started the
+importation of foreign woods from across the Baltic, as great
+quantities were needed at once for the purpose of rebuilding. These
+soft woods aroused the invention of the cabinet-makers, and were
+especially useful for inlaying; so we find in addition to oak, that
+mahogany, pear and lime woods were used in fine furniture, it being
+lime-wood that Grinling Gibbons carved when working with Sir
+Christopher Wren, the famous architect (seventeenth century).
+
+During the early Georgian period the oak carvings were merely poor
+imitations of Elizabethan and Stuart designs. There seemed to have
+been no artist wood-carvers with originality, which may have been
+partly due to a lack of stimulus, as the fashion in the decoration of
+furniture turned toward inlaying.
+
+     THE PERIOD OF WILLIAM III AND QUEEN MARY AND EARLY GEORGIAN
+
+are characterised by _turned_ work, giving way to _flattened forms_,
+and the disappearance of the elaborate front stretcher on Charles II
+chairs.
+
+The coming of mahogany into England and its great popularity there
+gives its name to that period when Chippendale, Heppelwhite, Sheraton
+and the Adam Brothers were the great creative cabinet-makers. The
+entire period is often called CHIPPENDALE, because Chippendale's books
+on furniture, written to stimulate trade by arousing good taste and
+educating his public, are considered the best of that time. There were
+three editions: 1754, 1759, and 1762.
+
+The work was entitled "The Gentleman and Cabinet-maker's Director and
+Useful Designs of Household Furniture in the Gothic, Chinese and
+Modern Taste" (and there was still more to the title!).
+
+Chippendale's genius lay in taking the best wherever he found it and
+blending the whole into a type so graceful, beautiful, perfectly
+proportioned, light in weight and appearance, and so singularly suited
+to the uses for which it was intended, that it amounted to creation.
+
+The "Chinese Craze" in England was partly due to a book so called,
+written by Sir William Chambers, architect, who went to China and not
+only studied, but sketched, the furniture, he saw there.
+
+Thomas Sheraton, we are assured, was the most cultivated of this group
+of cabinet-makers. The three men made both good and bad styles. The
+work of the three men can be distinguished one from the other and,
+also, it can be very easily confused. To read up a period helps; but
+to really know any type of furniture with certainty, one must become
+familiar with its various and varying characteristics.
+
+The houses and furniture designed and made by the Adam brothers were
+an epoch in themselves. These creations were the result of the
+co-operation of a little band of artists, consisting of Michael Angelo
+Pergolesi, who published in 1777, "Designs for Various Ornaments";
+Angelica Kauffman and Cipriani, two artist-painters who decorated the
+walls, ceilings, woodwork and furniture designed by the Adam brothers;
+and another colleague, the great Josiah Wedgwood, whose medallions and
+plaques, cameo-like creations in his jasper paste, showed both classic
+form and spirit.
+
+The Adam brothers' creations were rare exotics, with no forerunners
+and no imitators, like nothing the world had ever seen--yet reflecting
+the purest Greek period in line and design.
+
+One of the characteristics of the Mahogany Period was the cabriole
+leg, which is, also, associated with Italian and French furniture of
+the seventeenth and eighteenth centuries. As a matter of fact this
+form of leg is as old as the Romans and is really the same as the
+animal legs of wood or bronze, used as supports for tripods and tables
+by Assyrians, Egyptians and Greeks. The cabriole leg may be defined as
+"a convex curve above a concave one, with the point of junction
+smoothed away. On Italian console tables and French commodes we see
+the two simple curves disguised by terminal figures."
+
+The rocaille (shell) ornament on the Chippendale as well as the
+cabriole leg copied from Italy and France, and the Dutch foot from
+Holland, substantiate our claim that Chippendale used what he found
+wherever he found it irrespective of the stigma of plagiarism.
+
+There is a beautiful book by F.S. Robinson in which the entire subject
+of English furniture is treated in a most charming fashion.
+
+Now let us return a moment to the Jacobean period. It was under
+Charles I that couches and settles became prominent pieces of
+furniture. Some of the Jacobean chairs are like those made in Italy,
+in the seventeenth century, with crossed legs, backs and seats covered
+with red velvet. Other Jacobean chairs had scrollwork carved and
+pierced, with central panel in the back of embroidery, while the seat
+was of cane.
+
+Some of the Jacobean cabinets had panels of ebony, the other parts
+inlaid with mother-of-pearl and ivory.
+
+The silver Jacobean furniture is interesting and the best examples of
+this type are said to be those belonging to Lord Sackville. They are
+of ebony with silver mountings.
+
+Yorkshire is noted for its Jacobean furniture, but some famous rooms
+done in this style are at Langleys, in Essex, the seat of Col.
+Tufnell, where the ceilings and mantels are especially fine and the
+library boasts interesting panelled walls, once enlivened by stained
+glass windows, when this room was used as a private chapel for the
+family.
+
+Jacobean carving was never ornate.
+
+Twenty years later came the Queen Anne period. Queen Anne chairs show
+a solid splat, sometimes vase-shaped, and strap-work arabesques. Most
+of the legs were cabriole, instead of the twisted turnings (on Stuart
+lines) which had been Supports for chairs, cabinets and tables. The
+Queen Anne chair legs terminated when cabriole, in claws and balls or
+simple balls. Settees for two were then called "love seats," and
+"pole-screens" belonged to this period, tall, slender poles with
+small, sliding screens.
+
+Queen Anne hangings were of rich damasks, silks and velvets, and the
+wainscot of rooms was painted some pale colour as an effective
+background to set off the dark, turned walnut or gorgeous lacquer
+made in red, green or black, and ornamented with gold. Some of the
+Queen Anne pieces of this variety had hinges and lockplates of chased
+brass. Another variety was of oak, veneered with walnut and inlaid.
+
+The very high ceilings of the Queen Anne period led to the use of
+"tall boys" or family bureaus, those many-storied conveniences which
+comprised a book-case above, writing desk in the middle, and drawers
+below.
+
+Lockwood says in giving the history of chairs, in his "Cabinet Makers
+from 1750 to 1840": "Extravagance of taste and fluctuation of fashion
+had reached high water mark due to increase of wealth in England and
+her colonies. From the plain, stately pieces of Queen Anne the public
+turned to the rococo French designs of early Chippendale, then tiring
+of that, veered back to classic lines, as done by the Adam brothers,
+and so on, from heavy Chippendale to the overlight and perishable
+Heppelwhite. Then public taste turned to the gaudily painted Sheraton
+and finally, took to copying the French Empire."
+
+The American Revolutionary War stopped the exportation of furniture
+to America, with the result that cabinet-makers in the United States
+copied Chippendale and neglected all other later artists. When America
+began again to import models, Sheraton was an established and not a
+transitional type. Beautiful specimens are shown in the Nichols house,
+at Salem, Mass., furnished in 1783. The furniture used by George
+Washington when President of the United States in 1789, and now in the
+City Hall, New York, is pure Sheraton. (See Colonial Furniture, Luke
+Vincent Lockwood.)
+
+Sir Christopher Wren, architect, with Grinling Gibbons, designer and
+wood-carver, were chiefly responsible for the beautifully elaborate
+mouldings on ceilings and walls, carved from oak and used for forming
+large panels with wide bevels, into which were sometimes set
+tapestries.
+
+The Italian stucco mouldings were also used at that time. The fashion
+for elaborate ceilings and sidewalls had come to England via Italy and
+France. The most elaborate ones of those times were executed under
+Charles II and William III, the ceilings rivalling those of Louis XIV.
+
+William and Mary (1687-1702) brought over with them from Holland,
+Dutch cabinet makers, which accounts for the marked Dutch influence on
+the Mahogany Period, an influence which shows in a Dutch style of
+inlaying, cabriole legs and the tulip design. A sure sign of the
+William and Mary period is the presence of jasmine, as designed for
+inlaying in bone, ivory or hollywood.
+
+Lacquer came to England via Holland, the Dutch having imported Chinese
+workmen.
+
+The entire Mahogany Period, including the Adam brothers, used the
+shell as a design and the backs of settees resembled several chair
+backs places side by side.
+
+A feature of the Mahogany Period were the knife-boxes and cases for
+bottles, made of mahogany and often inlaid, which stood upon pedestals
+constructed for the purpose, at each side of the sideboard. Later the
+pedestals became a part of the sideboard. The urn-shaped knife-boxes
+were extremely graceful as made by Adam, Chippendale and Heppelwhite.
+
+It is impossible to clearly define all of the work of the
+cabinet-makers of the mahogany or any other period, for reasons
+already stated. So one must be prepared to find Chippendale sofas
+which show the shapes originated by him and, also, at times, show
+Louis XVI legs and Louis XV outline. Chippendale's contemporaries were
+quite as apt to vary their types, and it is only by experience that
+one can learn to distinguish between the different artists, to
+appreciate the hall marks of creative individuality.
+
+The early Chippendale was almost identical with Queen Anne furniture
+and continued the use of cabriole leg and claw and ball feet. The top
+of the Chippendale chairs were bow-shaped with ends extending beyond
+the sides of the back and usually turned _up_. If turned down they
+never rounded into the sides, as in the case of Queen Anne chairs. The
+splats have an upward movement and were joined to chair seats, and not
+to a cross-rail. They were pierced and showed elaborate ribbon and
+other designs in carving. There were, also, "ladder backs," and the
+Chinese Chippendale chairs, with lattice work open carved and
+extending over entire backs. The characteristic Chippendale leg is
+cabriole with claw and ball foot.
+
+The setting for Chippendale furniture was a panelled dado, classic
+mantelpiece, architraves and frieze, and stretched over sidewalks,
+above dado, was silk or paper showing a large pattern harmonising with
+the furniture. The Chinese craze brought about a fashion for Chinese
+wall papers with Chinese designs. This Chinese fashion continued for
+fifty years.
+
+Chippendale carved the posts of his bedsteads, and so the bed curtains
+were drawn back and only a short valance was used around the top,
+whereas in the time of William and Mary bed curtains enveloped all the
+woodwork. Still earlier in the Elizabethan period bed posts were
+elaborately carved.
+
+In the eighteenth century it was the fashion to embroider the bed
+curtains.
+
+The Chippendale china-cabinets with glass fronts, were the outcome of
+the fad for collecting Chinese and French porcelain, and excellent
+taste was displayed in collecting these small articles within definite
+and appropriate limits. Cabinets with glass doors were also used as
+receptacles for silverware.
+
+Thomas Sheraton (1760-1786), another great name in the Mahogany
+Period, admired Louis XV and Louis XVI and one can easily trace French
+influence in the "light, rhythmic style" he originated. Sheraton's
+contribution to interior decoration was furniture. His rooms, walls,
+ceilings, over-doors, windows and chimney pieces, are considered very
+poor; which accounts for the fact that Sheraton furniture as well as
+Heppelwhite was used in Adam rooms.
+
+Sheraton made a specialty of pieces of furniture designed to serve
+several purposes, and therefore adapted for use in small rooms; such
+as dressing-tables with folding mirrors, library step-ladders
+convertible into tables, etc.
+
+The backs of Sheraton chairs had straight tops and several small
+splats joined to a cross-rail, and not to the seat. The legs were
+straight.
+
+Sheraton introduced the use of turned work on the legs and outer
+supports of the backs of chairs, and produced fine examples of painted
+furniture, especially painted satin-wood. He, also, did some very fine
+inlaying and used cane in the seats and backs of chairs which he
+painted black and gold. Among those who decorated for him was Angelica
+Kauffman.
+
+Heppelwhite chairs are unmistakable on account of their _shield_,
+_heart_ or _oval_ backs and open splats, which were not joined to
+the seat in the centre of backs. The most beautiful were those with carved
+Prince of Wales feathers, held together by a bow-knot delicately
+carved. They were sometimes painted. The legs of Heppelwhite furniture
+were straight.
+
+We see in the book published by A. Heppelwhite & Co., a curious
+statement to the effect that cabriole chairs were those having stuffed
+backs. This idea must have arisen from the fact that many chairs of
+the eighteenth century with cabriole legs, did have stuffed backs.
+
+Robert Adam, born in 1785, was an architect and decorative artist. The
+Adam rooms, walls, ceilings, mantels, etc., are the most perfect of
+the period; beautiful classic mouldings encrust ceilings and
+sidewalls, forming panels into which were let paintings, while in
+drawing-rooms the side panels were either recessed so as to hold
+statuary in the antique style, or were covered with damask or
+tapestry. It is stated that damask and tapestry were never used on the
+walls of Adam dining-rooms. James Adam, a brother, worked with
+Robert.
+
+Every period had its own weak points, so we find the Adam brothers at
+times making wall-brackets which were too heavy with ram's heads,
+garlands, etc., and the Adam chairs were undoubtedly bad. They had
+backs with straight tops, rather like Sheraton chairs, and several
+small splats joining top rail to seat. The bad chairs by Adam, were
+improved upon by Sheraton and Heppelwhite. The legs of Adam furniture
+were straight.
+
+The ideal eighteenth century interior in England was undoubtedly an
+Adam room with Heppelwhite or Sheraton furniture.
+
+Sir John Soane, architect, had one of the last good house interiors,
+for the ugly Georgian style came on the scene about 1812. Grinling
+Gibbons' carvings of heavy fruits and flowers, festoons and masks made
+to be used architecturally we now see used on furniture, and often
+heavily gilded.
+
+William Morris was an epoch maker in English interior decoration, for
+he stood out for the "great, simple note" in furnishings. The
+pre-Raphaelites worked successfully to the same end, reviving classic
+simplicity and establishing _the value of elimination_. The good,
+modern furniture of to-day, designed with reference to meeting the
+demands of modern conditions, undoubtedly received a great impetus
+from that reaction to the simple and harmonious.
+
+
+
+
+CHAPTER XXII
+
+THE COLONIAL PERIOD
+
+
+The furniture made in America during the eighteenth and early
+nineteenth centuries was reproduced from English models and shows the
+influence of Chippendale, Sheraton, Heppelwhite and the Adam brothers.
+For those interested in these early types of American output, the Sage
+and other collections in the Metropolitan Museum, New York, give a
+delightful object lesson, and there has been much written on the
+subject in case any data is desired.
+
+If some of our readers own heirlooms and plan reproducing Colonial
+interiors of the finest type, we would advise making an effort to see
+some of the beautiful New England or Virginia homes, which remain
+quite as they were in the old days; fine square rooms with hand-carved
+woodwork, painted white, their walls panelled in wood and painted the
+same white. Into these panels were set hand-painted wall paper. The
+authors saw some made for a house in Peabody, near Salem,
+Massachusetts, some time between 1760 and 1800, and were amazed to
+find that the colours were as vivid as when first put on.
+
+Here let us say that the study of interior decoration throws a strong
+light on the history of walls. In Gothic days the stone or wood of the
+feudal hall was partially concealed by tapestries,--the needlework of
+the women of the household, a record of the gallant deeds of men used
+as interior decoration. Later of course, the making of tapestries
+became a great industry in Italy, France and Belgium, an industry
+patronised by kings and the nobility, and subsidised by governments.
+
+Next we have walls sheathed with wood panelling. Then during the late
+Renaissance, painted portraits were let into these panels and became a
+part of the walls. Later, the upper half, or two-thirds of the
+panelling, was left off, and only a low panelling, or "dado,"
+remained. This, too, disappeared in time.
+
+Landscape paper was the bridge between the panelled walls with
+pictures built into them, and the painted or papered walls with
+pictures hung on them. The paper which we have already referred to, is
+one of the finest examples of its kind, and while there is only enough
+for one side of a room, it is valued at $5,000. The design is eight
+feet high, each strip 22 inches wide, and there are eighteen of the
+original twenty strips. Two breaks occur, numbers 16 and 18. The owner
+believes that the Puritan attitude of her ancestors caused them to
+destroy the panels which showed nude figures engaged in battle. This
+paper is now the property of Mrs. Eliza Brown of Salem, Massachusetts.
+It was found in her grandfather's attic in Gloucester, and was given
+to Mrs. Brown by her grandmother. It was in an army chest belonging to
+Judutham Baldwin, a Colonel of Engineers in the Revolutionary Army,
+who laid out the forts in Boston Harbour.
+
+Kate Sanborn, in her book on "Old Wall Papers" speaks of this
+particular paper. "Paper from the Ham House at Peabody, Massachusetts,
+now occupied by Dr. Worcester. Shows tropical scenes. These scenes are
+quite similar to those of the Pizarro paper and may have been the
+work of the same designer." (The so-called "Pizarro in Peru" paper is
+shown in plate 34 and 35 of the same book, and is in Duxbury, Mass.)
+Pizarro's invasion of Peru was in 1531. The colouring of Mrs. Brown's
+paper is white background with foliage in vivid greens, while figures
+of Peruvians wear costumes of brilliant blues and vermillion reds, a
+striking contrast to their soft, brown skins.
+
+This paper is now in the market, but let us hope it may finally rest
+in a museum.
+
+
+
+
+CHAPTER XXIII
+
+THE REVIVAL OF DIRECTOIRE AND EMPIRE FURNITURE
+
+
+The revival of Directoire and Empire furniture within the past few
+years, is attributed by some, to that highly artistic, and altogether
+illuminating publication, the _Gazette do Bon Ton_--Arts, Modes and
+Frivolities--published in Paris by the Librarie Centrale des Beaux
+Arts, 13 rue Lafayette and contributed to by the leading artists of
+Paris--the ultra moderns.
+
+There was a time, fifteen or twenty years ago, when one could buy
+Empire furniture at very low figures, for in those days there was many
+a chance to pick up such pieces. To-day, a genuine antique or a
+hand-made reproduction of an antique made sixty years ago, will
+command a large price, and even in Paris one has difficulty in finding
+them in the shops at any price.
+
+Empire furniture ceased to be admired in America when the public got
+"fed up" on this type by its indiscriminate use in hotels and other
+public buildings.
+
+The best designers of modern painted furniture are partly responsible
+for the revived interest in both Empire and Directoire. From their
+reproductions of the beautiful simple outlines, we, as a people, are
+once more beginning to _feel_ line and to recognise it as an intrinsic
+part of beauty.
+
+
+PLATE XXI
+
+     A Victorian group in a small portion of a very large parlour, 70
+     x 40 feet, one of the few remaining, if not the last, of the old
+     Victorian mansions in New York City, very interesting as a
+     specimen of the most elegant style of furnishing in the first
+     half of the nineteenth century.
+
+     We would call attention to the heavy moulding of ceilings, the
+     walls painted in panels (painted panels or wall paper to
+     represent panels, is a Victorian hallmark), beautifully
+     hand-carved woodwork, elaboration of design and colon carpet,
+     woven in one piece for the room; in fact the characteristic
+     richness of elaboration everywhere: Pictures in gilded carved
+     frames, hung on double silk cords with tassels, heavily carved
+     furniture made in England, showing fruits, flowers and medallion
+     heads, and a similar elaboration and combination of flora and
+     figures on bronze gas fixtures.
+
+     Heavy curtains of satin damask hung at the windows, held back by
+     great cords and tassels, from enormous brass cornices in the form
+     of gigantic flowers.
+
+     Also of the period is an immense glass case of stuffed birds,
+     standing in the corner of the large dining-room. This interior
+     was at the height of its glory at the time of the Civil War, and
+     one is told of wonderful parties when the uniforms of the
+     Northern officers decorated the stately rooms and large shaded
+     gardens adjoining the house.
+
+     As things go in New York it may be but a matter of months before
+     this picturesque landmark is swept away by relentless Progress.
+
+[Illustration: _Part of a Victorian Parlour in One of the Few
+Remaining New York Victorian Mansions_]
+
+
+
+
+CHAPTER XXIV
+
+THE VICTORIAN PERIOD
+
+
+Gradually architecture and interior decoration drew apart, becoming
+two distinct professions, until during the Victorian era the two were
+unrelated with the result that the period of Victorian furniture is
+one of the worst on record.
+
+There were two reasons for this divorce of the arts, which for
+centuries had been one in origin and spirit; first, the application of
+steam to machinery (1815) leading to machine-made furniture, and
+second, the invention of wall-paper which gradually took the place of
+wood panelling and shut off the architects from all jurisdiction over
+the decoration of the home.
+
+With the advent of machine-made furniture came cheap imitations of
+antiques and the rapid decadence of this art. Hand-made reproductions
+are quite another thing. Sir Richard Wallace (of the Wallace
+Collection, London) is said to have given $40,000 for a reproduction
+of the _bureau du Louvre_.
+
+Fortunately, of late years a tide has set in which favours simple,
+well made furniture, designed with fine lines and having special
+reference to the purposes for which each piece is intended, and to-day
+our houses can be beautiful even if only very simple and inexpensive
+furniture is used.
+
+In the Victorian prime, even the carved furniture, so much of which
+was made in England both for that country and the United States (see
+Plate XXI), was not of the finest workmanship, compared with carvings
+of the same time in Belgium, France, Germany and Austria.
+
+To-day Victorian cross-stitch and bead work in chairs, screens,
+footstools and bell-pulls, artificial flowers of wax and linen, and
+stuffed birds, as well as Bristol glass in blue, green and violet, are
+brought out from their hiding places and serve as touches of colour to
+give some of the notes of variety which good interior decoration
+demands.
+
+To be fascinating, a person must not be too rigidly one type. There
+must be moments of relaxation, of light and shade in mood, or one is
+not charmed even by great beauty. So your perfect room must not be
+kept too rigidly in one style. To have attraction it must have variety
+in both line and colour, and reflect the taste of generations of home
+lovers. The contents of dusty garrets may add piquancy to modern
+decorations, giving a touch of the unusual which is very charming.
+
+
+
+
+CHAPTER XXV
+
+PAINTED FURNITURE
+
+
+Painted furniture is, at present, the vogue, so if you own a piece
+made by the Adam brothers of England, decorated by the hand of
+Angelica Kauffman, or Pergolesi, from Greek designs, now is the moment
+to "star" it.
+
+Different in decoration, but equal in charm, is the seventeenth and
+eighteenth century painted lacquers of Italy, France, China and Japan.
+In those days great masters laboured at cabinetmaking and decorating,
+while distinguished artists carved the woodwork of rooms, and painted
+the ceilings and walls of even private dwellings.
+
+To-day we have reproductions (good and bad) of the veteran types, and
+some commendable inventions, more or less classic in line, and
+original in colouring and style of decoration. At times, one wishes
+there was less evident effort to be original. We long for the repose
+of classic colour schemes and classic line. In art, the line and the
+combination of colours which have continued most popular throughout
+the ages, are very apt to be those with which one can live longest and
+not tire. For this reason, a frank copy of an antique piece of painted
+furniture is generally more satisfactory than a modern original.
+
+If you are using dull coloured carpets and hangings, have your modern
+reproductions antiqued. If you prefer gay, cheering tones, let the
+painted furniture be bright. These schemes are equally interesting in
+different ways. It is stupid to decry new things, since every grey
+antique had its frivolous, vivid youth.
+
+One American decorator has succeeded in making the stolid,
+uncompromising squareness of mission furniture take on a certain
+lightness and charm by painting it black and discreetly lining it with
+yellow and red. Yellow velour is used for the seat pads and heavy
+hangings, thin yellow silk curtains are hung at the windows, and the
+black woodwork is set off by Japanese gold paper. In a large house, or
+in a summer home where there are young people coming and going, a
+room decorated in this fashion is both gay and charming and makes a
+pleasant contrast to darker rooms. Then, too, yellow is a lovely
+setting for all flowers, the effect being to intensify their beauty,
+as when flooded by sunshine.
+
+Another clever treatment of the mission type, which we include under
+the heading Painted Furniture, is to have it stained a rich dark
+brown, instead of the usual dark green. Give your dealer time to order
+your furniture unfinished from the factory, and have stained to your
+own liking; or, should you by any chance be planning to use mission in
+one of those cottages so often built in Maine, for summer occupancy,
+where the walls are of unplastered, unstained, dove-tailed boards, and
+the floors are unstained and covered with matting rugs, try using this
+furniture in its _natural_ colour--unfinished. The effect is
+delightfully harmonious and artistic and quite Japanese in feeling.
+
+In such a cottage, the living-room has a raftered ceiling, the
+sidewalls, woodwork, settles by the fireplaces, open bookcases and
+floor, are all stained dark walnut. The floor colour is very dark,
+the sidewalls, woodwork and book shelves are a trifle lighter, and the
+ceiling boards still lighter between the almost black, heavy rafters.
+The mission furniture is dark brown, the hangings and cushions are of
+mahogany-coloured corduroy, and the floor is strewn with skins of
+animals. There are no pictures, the idea being to avoid jarring notes
+in another key. Instead, copper and brass bowls contribute a note of
+variety, as well as large jars filled with great branches of flowers,
+gathered in the nearby woods. The chimney is exposed. It and the large
+open fireplace are of rough, dark mottled brick.
+
+A room of this character would be utterly spoiled by introducing white
+as ornaments, table covers, window curtains or picture-mats; it is a
+colour scheme of dull wood-browns, old reds and greens in various
+tones. If you want your friends' photographs about you in such a room,
+congregate them on one or two shelves above your books.
+
+
+
+
+CHAPTER XXVI
+
+TREATMENT OF AN INEXPENSIVE BEDROOM
+
+
+The experience of the author is that the most attractive, inexpensive
+furniture is that made by the Leavens factory in Boston. This
+furniture is so popular with all interior decorators that it needs no
+further advertising. Order for each single iron bed two _foot boards_,
+instead of a head and a footboard. This the factory will supply upon
+demand. Then have your bed painted one of the colours you have chosen
+as in the colour scheme for your room. Say, the prevailing note of
+your chintz. Have two rolls made, to use at the head and foot (which
+are now of equal height) and cover these and the bed with chintz, or,
+if preferred, with sun-proof material in one of the other colours in
+your chintz. By this treatment your cheap iron bed of ungainly
+proportions, has attained the quality of an interesting, as well as
+unique, "day-bed."
+
+
+PLATE XXII
+
+     Two designs for day-beds which are done in colours to suit the
+     scheme of any room.
+
+     These beds are fitted with box springs and a luxurious mattress
+     of feathers or down, covered with silk or chintz, coverlet and
+     cushions of similar material, in colours harmonising with beds.
+     If desired, these lounges can be made higher from the floor.
+
+[Illustration: _Two Styles of Day-beds_]
+
+
+The most attractive cheap bureau is one ordered "in the plain" from
+the factory, and painted like the bed. If you would entirely remove
+the factory look, have the mirror taken off the bureau and hang it on
+the wall over what, by your operation, has become a chest of drawers.
+If you want a long mirror in your rooms, the cheapest variety is
+mirror glass, fastened to the back of doors with picture moulding to
+match woodwork. This is also the cheapest variety of over-mantel
+mirrors. We have seen it used with great success, let into walls of
+narrow halls and bedrooms and framed with a dull-gold moulding in the
+style of room.
+
+For chairs, use the straight wooden ones which are made to match the
+bureau, and paint them like the bed and bureau.
+
+For comfortable arm-chairs, wicker ones with chintz-covered pads for
+seat and back are best for the price, and these can also be painted.
+
+Cheap tables, which match the bureau, when painted will do nicely as a
+small writing-table or a night-table for water, clock, book, etc.
+
+If the floors are new and of hard wood, wax them and use a square of
+plain velvet carpet in a dark tone of your dominant colour. Or if
+economy is your aim, use attractive rag rugs which are very cheap and
+will wash.
+
+If your floors are old and you intend using a large velvet square,
+paint the edges of the floor white, or some pale shade to match the
+colour of the walls. Or, use filling all over the floor. If you cannot
+afford either and must use small rugs, stain or paint your floors a
+dark colour, to be practical, and use only necessary rugs; that is,
+one before bed, bureau and fireplace.
+
+Sofas are always expensive. That is one reason for advising that beds
+be treated like "day-beds."
+
+Wall papers, at ten cents a roll, come in charming colours and
+designs, and with a few cheap French coloured prints, framed in
+passepartout, your room is attractive at once.
+
+If your prints are black and white use broad passepartout in same
+colour as the wall paper, only a tone deeper. If you use favourite
+photographs, suppress all margins and frame with narrow black
+passepartout.
+
+For curtains use one of the sixty-or seventy-cent chintzes which come
+in attractive designs and colours, or what is still cheaper,
+sun-proof material, fifty inches wide (from $1.10 to $1.50 a yard),
+and split it in half for curtains, edging them with a narrow fringe of
+a contrasting colour which appears in the chintz of chair-pads.
+Another variety of cheap curtains is heavy cream scrim with straps
+(for looping back) and valance of chintz. These come cheaper than all
+chintz curtains and are very effective, suggesting the now popular and
+expensive combination of plain toned taffetas combined with chintz.
+
+Use for sash curtains plain scrim or marquesette.
+
+Let your lamps be made of inexpensive one-toned pottery vases,
+choosing for these still another colour which appears in the chintz.
+The lamp shades can be made of a pretty near-silk, in a plain colour,
+with a fringe made up of one, two or three of the colours in the
+chintz.
+
+If you happen to have your heart set on deep rose walls and your
+bedroom furniture is mahogany, find a chintz with rose and French
+blue, and then cover your arm-chair pads and bed with chintz, but make
+your curtains of blue sun-proof material, having a narrow fringe of
+rose, and use a deep rose carpet, or rugs, or if preferred, a dull
+brown carpet to harmonise with the furniture. A plain red Wilton
+carpet will dye an artistic deep mulberry brown. They are often bought
+in the red and dyed to get this shade of brown.
+
+For attractive cheap dining-room furniture, buy simple shapes,
+unfinished, and have the table, sideboard and chairs painted dark or
+light, as you prefer.
+
+In your dining-room and halls, if the house is old and floors bad, and
+economy necessary, use a solid dark linoleum, either deep blue or red,
+and have it _waxed_, as an economical measure as well as to improve
+its appearance.
+
+In a small home, where no great formality is observed, well chosen
+doilies may be used on all occasions, instead of table cloths. By this
+expedient you suppress one large item on the laundry bill, the care of
+the doilies in such cases falling to the waitress.
+
+To make comfortable, convenient and therefore livable, a part of a
+house, formerly an attic, or an extension with small rooms and low
+ceilings, seems to be the special province of a certain type of mind,
+which works best when there is a tax on the imagination.
+
+When reclaiming attic rooms, one of the problems is how to get wall
+space, especially if there are dormer windows and very slanting
+ceilings. One way, is to place a dressing table _in_ the dormer, under
+windows, covering the sides of the dormer recess with mirror glass,
+edged with narrow moulding. The dressing-table is not stationary,
+therefore it can be easily moved by a maid, when the rooms are
+cleaned.
+
+
+
+
+CHAPTER XXVII
+
+TREATMENT OF A GUEST ROOM
+
+(Where economy is not an item of importance)
+
+
+Here we can indulge our tastes for beautiful quality of materials and
+fine workmanship, as well as good line and colour, so we describe a
+room which has elegant distinction and atmosphere, yet is not a
+so-called period room--rather a modern room, in the sense that it
+combines beautiful lines and exquisite colouring with every modern
+development for genuine comfort and convenience.
+
+The walls are panelled and painted a soft taupe--there are no
+pictures; simply one very beautiful mirror in a dull-gold frame, a
+Louis XVI reproduction.
+
+
+PLATE XXIII
+
+     In another suite we have a boudoir done in sage greens and soft
+     browns. The curtains of taffeta, in stripes of the two colours.
+     Two tiers of creme net form sash curtains.
+
+     The carpet is a rich mulberry brown, day-bed a reproduction of an
+     antique, painted in faded greens with _panier fleuri_ design on
+     back, in lovely faded colours, taffeta cushions of sage green and
+     an occasional note about the room of mulberry and dull blue.
+     Electric light shades are of decorated parchment paper.
+
+     Really an enchanting nest, and as it is in a New York apartment,
+     and occasionally used as a bedroom, a piece of furniture has been
+     designed for it similar to the wardrobe shown in picture, only
+     not so high. The glass door, when open, disclose a toilet table,
+     completely fitted out, the presence of which one would never
+     suspect.
+
+[Illustration: _Boudoir in New York Apartment. Painted Furniture,
+Antique and Reproductions._]
+
+
+The carpet made of dark taupe velvet covers the entire floor. The
+furniture is Louis XV, of the wonderful painted sort, the beautiful
+bed with its low head and foot boards exactly the same height, curving
+backward; the edges a waved line, the ground-colour a lovely
+pistache green, and the decoration gay old-fashioned garden flowers in
+every possible shade. The bureau has three or four drawers and a bowed
+front with clambering flowers. These two pieces, and a delightful
+night-table are exact copies of the Clyde Fitch set in the Cooper
+Hewitt Museum, at New York; the originals are genuine antiques, and
+their colour soft from age.
+
+A graceful dressing-table, with winged mirrors, has been designed to
+go with this set, and is painted like the bureau. The glass is a
+modern reproduction of the lovely old eighteenth century mirror glass
+which has designs cut into it, forming a frame.
+
+For chairs, all-over upholstered ones are used, of good lines and
+proportions; two or three for comfort, and a low slipper-chair for
+convenience. These are covered in a chintz with a light green ground,
+like the furniture, and flowered in roses and violets, green foliage
+and lovely blue sprays.
+
+The window curtains are of soft, apple-green taffeta, trimmed with a
+broad puffing of the same silk, edged on each side by black
+moss-trimming, two inches wide. These curtains hang from dull-gold
+cornices of wood, with open carving, through which one gets glimpses
+of the green taffeta of the curtains.
+
+The sash-curtains are of the very finest cream net, and the window
+shades are of glazed linen, a deep cream ground, with a pattern
+showing a green lattice over which climb pink roses. The shades are
+edged at the bottom with a narrow pink fringe.
+
+The bed has a cover of green taffeta exactly like curtains, with the
+same trimming of puffed taffeta, edged with a black moss-trimming.
+
+The mantelpiece is true to artistic standards and realises the
+responsibility of its position as keynote to the room. Placed upon it
+are a beautiful old clock and two vases, correct as to line and
+colour.
+
+Always be careful not to spoil a beautiful mantel or beautiful
+ornaments by having them out of proportion one with the other. Plate
+XXIV shows a mantel which fails as a composition because the bust, an
+original by Behnes, beautiful in itself, is too heavy for the mantel
+it stands on and too large for the mirror which reflects it and
+serves as its background.
+
+Keep everything in correct proportion to the whole. We have in mind
+the instance of some rarely beautiful walls taken from an ancient
+monastery in Parma, Italy. They were ideal in their original setting,
+but since they have been transported to America, no setting seems
+right. They belonged in a building where there were a succession of
+small rooms with low ceilings, each room perfect like so many pearls
+on a string. Here in America their only suitable place would be a
+museum, or to frame the tiny "devotional" of some précieuse Flower of
+Modernity.
+
+
+
+
+CHAPTER XXVIII
+
+A MODERN HOUSE IN WHICH GENUINE JACOBEAN FURNITURE IS APPROPRIATELY
+SET
+
+
+An original scheme for a dining-room was recently carried out in a
+country house in England by a woman whose hobby is illuminating. It
+will appeal to experts in the advance guard of interior decoration.
+The woman in question was stimulated for her task by coming into
+possession of some interesting Jacobean pieces of furniture, of oak,
+squarely and solidly made, with flat carvings, characteristic of the
+period.
+
+
+PLATE XXIV
+
+     A beautiful mantel, a beautiful mirror, beautiful ornaments, and
+     a rare and beautiful marble bust by Behnes, but because the bust
+     is too large for both mantel and reflecting mirror, the
+     composition is poor.
+
+[Illustration: _Example of Lack of Balance in Mantel Arrangement_]
+
+
+The large Jacobean chest happened to be lined, as many of those old
+chests were, with quaint figured paper, showing a coat-of-arms
+alternating with another design in large squares of black and grey.
+This paper, the owner had reproduced to cover the walls of her
+dining-room, and then she stained her woodwork black (giving the
+effect of old black oak), also, the four corner cupboards, but
+the _inside_ of these cupboards--doors and all--she made a rich
+Pompeian red and lackered it. The doors are left open and one sees on
+the shelves of the corner cupboards a wonderful collection of old
+china, much of it done in rich gold. At night the whole is illuminated
+with invisible electric bulbs. The gleaming effect is quite
+marvellous.
+
+The seat-pads on chairs, are made of hides, gilded all over, and on
+the gilt the owner has painted large baskets holding fruit and flowers
+done in gay colours. The long Jacobean bench has a golden cushion with
+baskets painted on it in gay colours.
+
+A part of the wonderful gold china is used at every meal, and the rest
+of it being left on the shelves of the four cupboards with their
+Pompeian red lining, when lit up, forms part of the glowing blaze of
+colour, concentrated in all four corners of this unique room.
+
+The Jacobean library in this house has the same black oak effect for
+panelling and at the windows, hang long, red silk curtains, with deep
+borders of gold on which are painted gay flowers. This blaze of colour
+is truly Jacobean and recalls the bedroom at Knole, occupied by James
+I where the bed-curtains were of red silk embroidered in gorgeous
+gold, and the high post bedstead heavily carved, covered with gold and
+silver tissue, lined with red silk, its head-board carved and gilded.
+
+Another room at Knole was known as the "Spangle" bedroom. James I gave
+the furniture in it to Lionel, Earl of Middlesex. Bed curtains, as
+well as the seats of chairs and stools, are of crimson, heavily
+embroidered in gold and silver.
+
+
+
+
+CHAPTER XXIX
+
+UNCONVENTIONAL BREAKFAST-ROOMS AND SPORTS BALCONIES
+
+
+"Sun-rooms" are now a feature of country and some town houses. One of
+the first we remember was in Madrid, at the home of Canovas del
+Castillo, Prime Minister during the Regency. Déjeuner used to be
+served at one end of the conservatory, in the shadow of tall palms,
+while fountains played, birds with gay plumage sang, and the air was
+as fragrant as the tropics. For comfort, deep red rugs were put down
+on the white marble floors. Which reminds us that in many Spanish
+hand-made rugs, what is known as "Isabella white" figures
+conspicuously. The term arises from the following story. It seems that
+Queen Isabella during the progress of some war, vowed she would not
+have her linen washed until her army returned victorious. The war was
+long, hence the term!
+
+In furnishing a conservatory or porch breakfast room, it is best to
+use some variety of informal tables and chairs, such as painted
+furniture, willow or bamboo, and coloured, not white, table cloths,
+doilies and napkins, to avoid the glare from the reflection of strong
+light. Also, informal china, glass, etc.
+
+Screens, if necessary, should have frames to accord with the
+furniture, and the panels should be of wood, or some simple material
+such as sacking or rough linen, which comes in lovely vivid,
+out-of-door colours.
+
+The bizarre and fascinating sports balconies overlooking squash
+courts, tennis courts, golf links, croquet grounds, etc., are among
+the newest inventions of the decorator. Furnished porches we have all
+grown accustomed to, and when made so as to be enclosed by glass, in
+inclement weather, they may be treated like inside rooms in the way of
+comforts and conveniences.
+
+The smart porch-room is furnished with only such chairs, tables, sofas
+and rugs as are appropriate to a place not thoroughly protected from
+the elements, for while glass is provided for protection, a summer
+shower can outstrip a slow-footed servant and valuable articles
+made for indoors cannot long brave the effect of rain and hot sun.
+
+
+PLATE XXV
+
+     In this case the house stood so near the road that there was no
+     privacy, so the ingenious architect-decorator became
+     landscape-gardener and by making a high but ornamental fence and
+     numerous arbours, carried the eye to the green trees beyond and
+     back to the refreshing tangle of shrubs and flowers in the
+     immediate foreground, until the illusion of being secluded was so
+     complete that the nearby road was forgotten.
+
+[Illustration: _Treatment of Ground Lying Between House and Much
+Travelled Country Road_]
+
+
+For this reason furnish your porch with colours which do not fade, and
+with wicker furniture which knows how to contract and expand to order!
+
+The same rule applies to rugs. Put your Oriental rugs indoors, and use
+inexpensive, effective porch rugs which, with a light heart, you can
+renew each season, if necessary.
+
+The sports balcony is fitted out with special reference to the comfort
+of those who figure as audience for sports, and as a lounge between
+games, and each hostess vies with her friends in the originality and
+completeness of equipment, as well as in the costumes she dons in her
+commendable desire to make of herself a part of her scheme of
+decoration.
+
+A country place which affords tennis courts, golf links, cricket and
+polo grounds or has made arrangements for the exercise of any sports,
+usually makes special provision for the comfort of those engaging in
+them, more or less as a country club does. There is a large porch for
+lounging and tea, and a kitchenette where tea, cooling drinks and
+sandwiches are easily and quickly prepared, without interfering with
+the routine of the kitchens. There are hot and cold plunge baths,
+showers, a swimming pool, dressing rooms with every convenience known
+to man or woman, and a room given over to racks which hold implements
+used in the various sports, as well as lockers for sweaters, change of
+linen, socks, etc., belonging to those stopping in the house.
+
+Where sports are a main issue, an entire building is often devoted to
+the comfort of the participants. We have in mind the commodious and
+exceptionally delightful arrangements made for the comfort and
+pleasure of those playing court tennis in a large and architecturally
+fine building erected for the purpose on the estate of the Neville
+Lyttons, Crabber Park, Poundhill, England.
+
+If sport balconies overlook tennis courts or golf links, they are
+fitted out with light-weight, easily moved, stiff chairs for the
+audience, and easy, cushioned arm-chairs and sofas of upholstered
+wicker, for the participants to lounge in between matches.
+
+Card tables are provided, as well as small tea tables, to seat two,
+three or four, while there is always one oblong table at which a
+sociable crowd of young people may gather for chatter and tea!
+
+If you use rail-boxes, or window-boxes, holding growing plants, be
+sure that the flowers are harmonious in colour when seen from the
+lawn, road or street, against their background of _house_ and the
+awnings and chintzes, used on the porch.
+
+The flowers in window-boxes and on porch-rails must first of all
+decorate the _outside_ of your house. Therefore, before you buy your
+chintz for porches, decide as to whether the colour of your house, and
+its awnings, demands red, pink, white, blue, yellow or mauve flowers,
+and then choose your chintz and porch rugs as well as porch
+table-linen, to harmonise.
+
+In selecting porch chairs remember that women want the backs of most
+of the chairs only as high as their shoulders, on account of wearing
+hats.
+
+
+
+
+CHAPTER XXX
+
+SUN-ROOMS
+
+
+There are countless fascinating schemes for arranging sun-rooms. One
+which we have recently seen near Philadelphia, was the result of
+enclosing a large piazza, projecting from an immense house situated in
+the midst of lawns and groves.
+
+The walls are painted orange and striped with pale yellow; the floors
+are covered with the new variety of matting which imitates tiles, and
+shows large squares of colour, blocked off by black. The chintzes used
+are in vivid orange, yellow and green, in a stunning design; the
+wicker chairs are painted orange and black, and from the immense
+iridescent globes of electric light hang long, orange silk tassels.
+
+
+PLATE XXVI
+
+     Shows how to utilise and make really very attractive an extension
+     roof, by converting it into a balcony.
+
+     An awning of broad green and white stripes protect this one in
+     winter as well as summer, and by using artificial ivy, made of
+     tin and painted to exactly imitate nature, one gets, as you see,
+     a charming effect.
+
+[Illustration: _An Extension Roof in New York Converted into a
+Balcony_]
+
+
+Iron fountains, wonderful designs in black and gold, throw water over
+gold and silver fish, or gay water plants; while, in black and gold
+cages, vivid parrots and orange-coloured canaries gleam through
+the bars. Iron vases of black and gold on tall pedestals, are filled
+with trailing ivy and bright coloured plants. Along the walls are
+wicker sofas, painted orange and black, luxuriously comfortable with
+down cushions covered, as are some of the chair cushions, in soft
+lemon, sun-proofed twills.
+
+Here one finds card-tables, tea-tables and smoking-tables, a
+writing-desk fully equipped, and at one end, a wardrobe of black and
+gold, hung with an assortment of silk wraps and "wooleys"--for an
+unprovided and chilly guest, in early spring, when the steam heat is
+off and the glass front open.
+
+Even on a grey, winter day, this orange and gold room seems flooded
+with sun, and gives one a distinctly cheerful sensation when entering
+it from the house.
+
+Of course, if your porch-room is mainly for mid-summer use and your
+house in a warm region, then we commend instead of sun-producing
+colours, cool tones of green, grey or blue. If your porch floor is
+bad, cover it with dark-red linoleum and wax it. The effect is like a
+cool, tiled floor. On this you can use a few porch rugs.
+
+Black and white awnings or awnings in broad, green-and-white stripes,
+or plain green awnings, are deliciously cool-looking, and rail-boxes
+filled with green and white or blue and pale pink flowers are
+refreshing on a summer day.
+
+By the sea, where the air is bracing, and it is not necessary to trick
+the senses with a pretence at coolness, nothing is more satisfactory
+or gay than scarlet geraniums; but if they are used, care must be
+taken that they harmonise with the colour of the awnings and the
+chintz on the porch.
+
+Speaking of rail-boxes reminds us that in making over a small summer
+house and converting a cheap affair into one of some pretensions,
+remember that one of the most telling points is the character of your
+porch railing. So at once remove the cheap one with its small, upright
+slats and the insignificant and frail top rail, and have a solid porch
+railing (or porch fence) built with broad, top rail. Then place all
+around porch, resting on iron brackets, rail-flower boxes, the tops of
+these level with the top of the rail, and paint the boxes the colour
+of the house trimmings. Filled with running vines and gay flowers,
+nothing could be more charming.
+
+Window-boxes make any house lovely and are a large part of that charm
+which appeals to us, whether the house be a mansion in Mayfair or a
+Bavarian farm house. Americans are learning this.
+
+The window and rail-boxes of a house look best when all are planted
+with the same variety of flowers.
+
+Having given a certain air of distinction to your porch-railing, add
+another touch to the appearance of your small, remodelled house by
+having the shutters hung from the top of the windows, instead of from
+the sides. A charming variety of awning or sun-shades, to keep the sun
+and glare out of rooms, is the old English idea of a straw-thatching,
+woven in and out until it makes a broad, long mat which is suspended
+from the top of windows, on the outside of the house, being held out
+and permanently in place, at the customary angle of awnings. We first
+saw this picturesque kind of rustic awnings used on little cottages of
+a large estate in Vermont, cottages once owned and lived in by
+labourers, but bought and put in comfortable condition to be used as
+overflow rooms for guests, in connection with the large family mansion
+(once the picturesque village inn).
+
+The art of making these straw awnings is not generally understood in
+America. In the case to which we refer, one of the gardeners employed
+on the estate, chanced to be an old Englishman who had woven the straw
+window awnings for farm houses in his own country.
+
+The straw awnings, with window-boxes planted with bright geraniums and
+vines, make an inland cottage delightfully picturesque and are
+practical, although by the sea the straw awnings might be destroyed by
+high winds.
+
+
+
+
+CHAPTER XXXI
+
+TREATMENT OF A WOMAN'S DRESSING-ROOM
+
+
+Every house, or flat, which is at all pretentious, should arrange a
+Vanity Room for the use of guests, in which there are full-length
+mirrors, a completely equipped dressing-table with every conceivable
+article to assist a lady in making her toilet, slipper-chairs and
+chairs to rest in, and a completely equipped lavatory adjoining.
+
+The woman who takes her personal appearance seriously, just as any
+artist takes her art (and when dressing is not an art it is not worth
+discussion) can have her dressing-room so arranged with mirrors, black
+walls and strong, cleverly reflected, electric lights, that she stands
+out with a cleancut outline, like a cameo, the minutest detail of her
+toilet disclosed. With such a dressing-room, it is quite impossible to
+suffer at the hands of a careless maid, and one can use the black
+walls as a background for vivid chair covers, sofa cushions and lamp
+shades.
+
+Off this dressing-room should be another, given over to clothes, with
+closets equipped with hooks and shelves, glass cabinets for shoes and
+slippers, and the "show-case" for jewels to be placed in by the maid
+that the owner may make her selection.
+
+At the time of the Louis, knights and courtiers had large rooms
+devoted to the care and display of their wardrobes, and even to-day
+there are men who are serious connoisseurs in the art of clothes.
+
+
+PLATE XXVII
+
+     Interior decoration not infrequently leads to a desire to chic
+     the appearance of one's "out-of-doors." We give an example of a
+     perfectly commonplace barn made interesting by adding green
+     latticework, a small iron balcony, ornamental gate and setting
+     out a few decorative evergreens. Behold a transformation!
+
+[Illustration: _A commonplace Barn Made Interesting_]
+
+
+The dressing-table should be constructed of material in harmony with
+the rest of your furniture. It may be of mahogany, walnut, rose wood,
+satin wood, or some painted variety, or, as is the fashion now, made
+of silk,--a seventeenth and eighteenth century style (in vogue during
+the time of the Louis). These are made of taffeta with lace covers on
+top, and in outline are exactly like the simple dotted-swiss
+dressing-tables with which every one is familiar,--the usual variety,
+so easily made by placing a wooden packing box on its side. In this
+case have your carpenter put shelves inside for boots, shoes and
+slippers. The entire top is covered with felt or flannel, over
+which is stretched silk or sateen, in any colour which may harmonise
+with the room. A flounce, as deep as the box is high, is made of the
+same material as the top, and tacked to the edges of the table-top.
+Cover the whole with dotted or plain swiss. A piece of glass, cut to
+exactly fit the top of the table, is a practical precaution. A large
+mirror, hung above yet resting on the table, is canopied in the old
+style, with the same material with which you cover your
+dressing-table.
+
+If the table is made of the beautiful taffeta, now so popular for this
+purpose, as well as for curtains, it is, of course, not covered with
+swiss or lace, except the top, on which is used a fine, hand-made
+cover, of real lace and hand embroidery, in soft creams,--cream from
+age, or a judicious bath in weak tea. The glass top laid over this
+cover protects the lace.
+
+If the table has drawers, each can be neatly covered with the taffeta,
+as can the frame of any table. A good, up-to-date cabinet-maker
+understands this work as so much of it is now done.
+
+
+
+
+CHAPTER XXXII
+
+THE TREATMENT OF CLOSETS
+
+
+The modern architect turns out his closets so complete as to comfort
+and convenience, that he leaves but little to be done by the
+professional or amateur decorator. Each perfectly equipped bedroom
+suite calls for, at least, two closets: one supplied with hooks,
+padded hangers for coats, and covered hangers for skirts, if the
+closet is for a woman; or, if it is for a man, with such special
+requirements as he may desire. In the case of a woman's suite, one
+closet should consist entirely of shelves. Paint all the closets to
+harmonise with the suite, and let the paint on the shelves have a
+second coat of enamel, so that they may be easily wiped off. Supply
+your shelves with large and small boxes for hats, blouses, laces,
+veils, etc., neatly covered with paper, or chintz, to harmonise with
+the room.
+
+Those who dislike too many mirrors in a room may have full length
+mirrors on the inside of the closet doors.
+
+Either devote certain shelves to your boots, shoes and slippers, or
+have a separate shallow closet for these-shallow because it is most
+convenient to have but one row on a shelf.
+
+Where economy is not an item of importance, see that electric lights
+are placed in all the closets, which are turned on with the action of
+opening the door.
+
+The elaboration of closets, those with drawers of all sizes and
+depths, cedar closets for furs, etc., is merely a matter of the
+architect's planning to meet the specific needs of the occupants of
+any house.
+
+
+
+
+CHAPTER XXXIII
+
+TREATMENT OF A NARROW HALL
+
+
+A long, narrow hall in a house, or apartment, is difficult to arrange,
+but there are methods of treating them which partially corrects their
+defects. One method is shown on Plate XIV.
+
+The best furnishing is a very narrow console (table) with a stiff,
+high-backed chair on either side of it, and on the wall, over console,
+a tapestry, an architectural picture or a family portrait. On the
+console is placed merely a silver card tray.
+
+Have a closet for wraps if possible, or arrange hooks and a table, out
+of right, for this purpose. Keep your walls and woodwork light in
+colour and in the same tone.
+
+
+PLATE XXVIII
+
+     An idea for treatment of a narrow hall, where the practical and
+     beautiful are combined. The hall table and candlesticks are an
+     example of the renaissance of iron, elaborately wrought after
+     classic designs.
+
+     The mirror over table is framed in green glass, the ornaments are
+     of dull gold (iron gilded).
+
+     The Venetian glass jar is in opalescent green, made to hold dried
+     rose leaves, and used here purely as an ornament which catches
+     and reflects the light, important, as the hall is dark.
+
+     The iron of table is black touched with gold, and the marble slab
+     dark-green veined with white.
+
+[Illustration: _Narrow Entrance Hall of a New York Antique Shop_]
+
+
+An interesting treatment of a long narrow hall is to break its length
+with lattice work, which has an open arch, wide enough for one or two
+people to pass through, the arch surmounted by an urn in which
+ivy is planted. The lattice work has lines running up and down--not
+crossed, as is the usual way. It is on hinges so that trunks or
+furniture may be carried through the hall, if necessary. The whole is
+kept in the same colour scheme as the hall.
+
+
+
+
+CHAPTER XXXIV
+
+TREATMENT OF A VERY SHADED LIVING-ROOM
+
+
+By introducing plenty of yellow and orange you can bring sunshine into
+a dark living-room. If your house is in a part of the country where
+the heat is great, a dark living-room in summer is sometimes a
+distinct advantage, so keep the colourings subdued in tone, and,
+therefore, cool looking. If, on the contrary, the living-room is in a
+cool house on the ocean, or a shaded mountainside, and the sun is cut
+off by broad porches, you will cheer up your room, and immensely
+improve it, by using sun-producing colours in chintzes and silks;
+while cut flowers or growing plants, which reproduce the same
+colouring, will intensify the illusion of sunshine.
+
+Sash curtains of thin silk, in bright yellows, are always
+sun-producing, but if you intend using yellows in a room, be careful
+to do so in combination with browns, greens, greys, or carefully
+chosen blues, not with reds or magentas.
+
+Try not to mix warm and cold colours when planning your walls. Grey
+walls call for dull blue or green curtains; white walls for red or
+green curtains; cream walls for yellow, brown buff or apple green
+curtains. If your room is too cold, warm it up by making your
+accessories, such as lamp shades, and sofa pillows, of rose or yellow
+material.
+
+
+
+
+CHAPTER XXXV
+
+SERVANTS' ROOMS
+
+
+Whether you expect to arrange for one servant or a dozen, keep in mind
+the fact that efficiency is dependent upon the conditions under which
+your manor maid-servant rests as well as works, and that it is as
+important that the bedroom be _attractive_ as that it be comfortable.
+
+For servants' rooms it is advised that the matter of furnishing and
+decorating be a scheme which includes comfort, daintiness and
+effectiveness on the simplest, least expensive basis, no matter how
+elaborate the house. There is a moral principle involved here. In the
+case of more than one servant the colour scheme alone needs to be
+varied, for similar furniture will prevent jealousy among the
+servants, while at the same time the task of inventing is reduced to
+the mere multiplying of one room; even the wall paper and chintz being
+alike in pattern, if different in colour.
+
+The simplest iron beds, or wooden furniture can be painted white or
+any colour which may be considered more durable.
+
+In maids' rooms for summer use, a vase provided for flowers is
+sometimes an incentive to personally contribute a touch of beauty.
+That sense of beauty once awakened in a maid does far more than any
+words on the subject of order and daintiness in her own room or in
+those of her employer.
+
+
+
+
+CHAPTER XXXVI
+
+TABLE DECORATION
+
+
+For the young and inexperienced we state a few rules for table
+decoration. If you have furnished your dining-room to accord not only
+with your taste, but the scale upon which you intend living, be
+careful that the dining-table never strikes a false note, never "gets
+out of the picture" by becoming too important as to setting or menu.
+You may live very formally in your town house and very simply, without
+any ostentation, in the country, but be sure that in all of your
+experimenting with table decoration you observe above all the law of
+appropriateness.
+
+Your decoration, flowers, fruit, character of bowl or dish which holds
+them, or _objet d'art_ used in place of either; linen or lace, china,
+glass and silver,--each and all must be in keeping. The money value
+has nothing whatever to do with this question of appropriateness, when
+considered by an artist decorator. Remember that in decorating,
+things are classified according to their colour value, their lines and
+the purpose for which they are intended. The dining-table is to eat
+at, therefore it should primarily hold only such things as are
+required for the serving of the meal. So your real decoration should
+be your silver, glass and china, with its background of linen or lace.
+The central decoration, if of flowers or fruit, must be in a bowl or
+dish decorative in the same sense that the rest of the tableware is.
+
+Flowers should be kept in the same key as your room. One may do this
+and yet have infinite variety. Tall stately lilies, American Beauty
+roses, great bowls of gardenias and orchids are for stately rooms.
+Your small house, flat or bungalow require modest garden flowers such
+as daffodils, jonquils, tulips, lilies-of-the-valley, snapdragons, one
+long-stemmed rose in a vase, or a cluster of shy moss-buds or nodding
+tea-roses.
+
+A table set with art in the key of a small menage and on a scale of
+simple living, often strikes the note of perfection from the expert's
+point of view because perfect of its kind and suitable for the
+occasion. This appropriateness is what makes your "smart" table quite
+as it makes your "smart" woman.
+
+Wedgwood cream colour ware "C.C." is beautiful and always good form.
+For those wanting colour, the same famous makers of England have an
+infinite variety, showing lovely designs.
+
+Unless you are a collector in the museum sense, press into service all
+of your beautiful possessions. If you have to go without them, let it
+be when you no longer own them, and not because they are hoarded out
+of sight. You know the story of the man who bought a barrel of apples
+and each day carefully selected and ate those that were rotten,
+feeling the necessity of not being wasteful. When the barrel was empty
+he realised that be had deliberately wasted all his good apples _by
+not eating one_! Let this be a warning to him who would save his
+treasures. If you love antiques and have joyously hunted them down
+and, perhaps, denied yourself other things to obtain them, you are the
+person to use them, even though the joy be transient and they perish
+at the hand of a careless man or maid-servant. Remember, posterity
+will have its own "fads" and prefer adding the pleasure of pursuit to
+that of mere ownership. So bring out your treasures and use them!
+
+As there are many kinds of dining-rooms, each good if planned and
+worked out with an art instinct, so there are many kinds of tables.
+The usual sort is the round, or square, extension table, laid with
+fine damask and set with conventional china, glass and silver, rare in
+quality and distinguished in design. For those who prefer the unusual
+there are oblong, squarely built Jacobean and Italian refectory
+tables. With these one makes a point of showing the rich colour of the
+time-worn wood and carving, for the old Italian tables often have the
+bevelled edge and legs carved. When this style of table is used, the
+wood instead of a cloth, is our background, and a "runner" with
+doilies of old Italian lace takes the place of linen.
+
+In Feudal Days, when an entire household, master and retainers, sat in
+the baronial hall "above and below the salt," tables were made of
+great length. When used out of their original setting, they must be
+cut down to suit modern conditions. In Krakau, Poland, the writer
+often dined at one of these feudal boards which had been in our
+hostess's family for several hundred years. To get it into her
+dining-room a large piece had been cut out at the centre and the two
+ends pushed together.
+
+       *       *       *       *       *
+
+For those who live informally, delightfully decorative china can be
+had at low prices. It was once made only for the peasants, and comes
+to us from Italy, France, Germany and England. This fact reminds us
+that when we were travelling in Southern Hungary and were asked to
+dine with a Magyar farmer, out on the windy Pasta, instead of their
+usual highly coloured pottery, gay with crude, but decorative flowers,
+they honoured us by covering the table with American ironstone china!
+The Hungarian crockery resembles the Brittany and Italian ware, and
+some of it is most attractive when rightly set.
+
+When once the passion to depart from beaten paths seizes us it is very
+easy to make mistakes. Therefore to the housekeeper, accustomed to
+conventional china, but weary of it, we would commend as a safe
+departure, modern Wedgwood and Italian reproductions of classic
+models, which come in exquisite shapes and in a delicious soft cream
+tone. If one prefers, it is possible to get these varieties decorated
+with charming designs in artistic colourings, as previously stated.
+
+For eating meals out of doors, or in "sun-rooms," where the light is
+strong, the dark peasant pottery, like Brittany, Italian and
+Hungarian, is very effective on dull-blue linen, heavy cream linen or
+coarse lace, such as the peasants make.
+
+Copper lustre, with its dark metallic surface; is enchanting on dark
+wood or coloured linen of the right tone.
+
+Your table must be a _picture_ composed on artistic lines. That is, it
+must combine harmony of line and colour and above all, appropriateness.
+Gradually one acquires skill in inventing unusual effects; but only
+the adept can go against established rules of art and yet produce a
+pleasing _ensemble_. We can all recall exceptions to this rule
+for simplicity, beautiful, artistic tables, covered with rare and
+entrancing objects,--irrelevant, but delighting the eye. Some will
+instantly recall Clyde Fitch's dinners in this connection, but here
+let us emphasise the dictum that for a great master of the art of
+decoration there need be no laws.
+
+A careful study of the Japanese principles of decoration is an ideal
+way of learning the art of simplicity. It is impossible to deny the
+immense decorative value of a single _objet d'art_, as one flower in a
+simple vase, provided it is given the correct background.
+
+Background in decoration is like a pedal-point in music; it must
+support the whole fabric, whether you are planning a house, a room or
+a table.
+
+
+PLATE XXIX
+
+     Shows how a too pronounced rug which is out of character, though
+     a valuable Chinese antique, can destroy the harmony of a
+     composition even where the stage is set with treasures; Louis XV
+     chairs, antique fount with growing plants, candelabra, rare
+     tapestry, reflected by mirror, and a graceful console and a
+     settee with grey-green brocade cushions.
+
+[Illustration: _Example of a Charming Hall Spoiled by Too Pronounced a
+Rug_]
+
+
+
+
+CHAPTER XXXVII
+
+WHAT TO AVOID IN INTERIOR DECORATION: RULES FOR BEGINNERS
+
+
+We all know the saying that it is only those who have mastered the
+steps in dancing who can afford to forget them. It is the same in
+every art. Therefore let us state at once, that all rules may be
+broken by the educated--the masters of their respective arts. For
+beginners we give the following rules as a guide, until they get their
+bearings in this fascinating game of making pictures by manipulating
+lines and colours, as expressed in necessary furnishings.
+
+       *       *       *       *       *
+
+Avoid crowding your rooms, walls or tables, for in creating a _home_
+one must produce the quality of restfulness by order and space.
+
+As to walls, do not use a cold colour in a north or shaded room. Make
+your ceilings lighter in tone than the side walls, using a very pale
+shade of the same colour as the side walls.
+
+Do not put a spotted (figured) surface on other spotted (figured)
+surfaces. A plain wall paper is the proper, because most effective,
+background for pictures.
+
+Avoid the mistake of forgetting that table decoration includes all
+china, glass, silver and linen used in serving any meal.
+
+In attempting the decoration of your dining-room table avoid anything
+inappropriate to the particular meal to be served and the scale of
+service. Do not have too many flowers on your table, or flowers not in
+harmony with the rest of the setting, in variety or colour.
+
+Do not use peasant china, no matter how decorative in itself, on fine
+damask or rare lace. By so doing you strike a false note. The
+background it demands is crash or peasant laces.
+
+Avoid crowding your dining-table or giving it an air of confusion by
+the number of things on it, thus destroying the laws of simplicity,
+line and balance in decoration.
+
+Avoid using on your walls as mere decorations articles such as rugs or
+priests' vestments primarily intended for other purposes.
+
+Avoid the misuse of anything in furnishing. It needs only knowledge
+and patience to find the correct thing for each need. Better do
+without than employ a makeshift in decorating.
+
+Inappropriateness and elaboration can defeat artistic beauty--but
+intelligent elimination never can.
+
+Beware of having about too many vases, or china meant for domestic
+use. The proper place for table china, no matter how rare it is, is in
+the dining-room. If very valuable, one can keep it in cabinets.
+
+Useless bric-à-brac in a dining-room looks worse than it does anywhere
+else.
+
+Your dining-room is the best place for any brasses, copper or pewter
+you may own.
+
+If sitting-room and dining-room connect by a wide opening, keep the
+same colour scheme in both, or, in any case, the same depth of colour.
+This gives an effect of space. It is not uncommon when a house is very
+small, to keep all of the walls and woodwork, and all of the carpets,
+in exactly the same colour and tone. If variety in the colour-scheme
+is desired, it may be introduced by means of cretonnes or silks used
+for hangings and furniture covers.
+
+Avoid the use of thin, old silks on sofas or chair seats.
+
+Avoid too cheap materials for curtains or chair covers, as they will
+surely fade.
+
+Avoid too many small rugs in a room. This gives an impression of
+restless disorder and interferes with the architect's lines. Do not
+place your rugs at strange angles; but let them follow the lines of
+the walls.
+
+Avoid placing ornaments or photographs on a piano which is in
+sufficiently good condition to be used.
+
+Avoid the chance of ludicrous effects. For example, keep a plain
+background behind your piano. Make sure that, when listening to music
+you are not distracted by seeing a bewildering section of a picture
+above the pianist's head, or a silly little vase dodging, as he moves,
+in front of, above, or below his nose!
+
+Avoid placing vases, or a clock, against a chimney piece already
+elaborately decorated by the architect, as a part of his scheme in
+using the moulding of panel to frame a painting over the mantel. In
+the old palaces one sees that a bit of undecorated background is
+provided between mantel and the architect's decoration.
+
+If your room has a long wall space, furnish it with a large cabinet or
+console, or a sofa and two chairs.
+
+Avoid blotting out your architect's cleverest points by thoughtlessly
+misplacing hangings. Whoever decorates should always keep the
+architect's intention in mind.
+
+Avoid having an antique clock which does not go, and is used merely as
+an ornament. Make your rooms _alive_ by having all the clocks running.
+This is one of the subtleties which marks the difference between an
+antique shop, or museum, and a home.
+
+Avoid the desecration of the few good antiques you own, by the use of
+a too modern colour scheme. Have the necessary modern pieces you have
+bought to supplement your treasures, stained or painted a dull dark
+colour in harmony with the antiques, and then use dull colours in the
+floor coverings, curtains and cushions. If you have no good _old_
+ornaments, try to get a few good shapes and colours in inexpensive
+reproductions of the period to which your antiques belong. Avoid the
+mistake of forgetting that every room is a "stage setting," and must
+be a becoming and harmonious background for its occupants.
+
+Avoid arranging a Louis XVI bedroom, with fragile antiques and
+delicate tones, for your husband of athletic proportions and elemental
+tastes. He will not only feel, but look out of place. If he happens to
+be fond of artistic things, give him these in durable shades and
+shapes.
+
+Avoid the omission of a thoroughly masculine sitting-room, library,
+smoking-room or billiard-room for the man, or men, of the house.
+
+Avoid the use of white linen when eating out of doors. Saxe-blue, red
+or taupe linen are restful to the eyes. In fact, after one has used
+coloured linen, white seems glaring and unsympathetic even indoors,
+and one instinctively chooses the old deep-cream laces. Granting this
+to be a bit précieuse, we must admit that the traditional white
+damask, under crystal and silver, or gold plate with rare porcelains,
+has its place and its distinction in certain houses, and with certain
+people.
+
+
+PLATE XXX
+
+     Shows a man's library, masculine gender written all over
+     it-strength, comfort, usefulness and simplicity.
+
+     The mantel is arranged in accordance with rules already stated.
+     It will be noticed that the ornaments on mantel in a way
+     interfere with design of the large architectural picture.
+
+[Illustration: _A Man's Library_]
+
+
+Avoid in a studio, bungalow or a small flat, where the living-room
+and dining-room are the same, all evidences of _dining-room_ (china,
+silver and glass for use). Let the table be covered with a piece of
+old or modern brocade when not set for use. A lamp and books further
+emphasises the note of living-room.
+
+Avoid the use of light-absorbing colours in wall papers if you are
+anxious to create sympathetic cheerfulness in your rooms, and an
+appearance of winning comfort. Almost all dark colours are
+light-absorbing; greens, dull reds, dark greys and mahogany browns
+will make a room dull in character no matter how much sunlight comes
+in, or how many electric lights you use. Perhaps the only dark colour
+which is not light-absorbing is a dark yellow.
+
+Avoid the permanent tea-table. We are glad to record that one seldom
+happens upon one, these days. How the English used to revile them! In
+the simplest homes it is always possible at the tea hour, to have a
+table placed before whoever is to "pour" and a tray on which are cups,
+tea, cream, sugar, lemon, toast, cake or what you will, brought in
+from the pantry or kitchen. There was a time when in America, one
+shuddered at the possibility of dusty cups and those countless faults
+of a seldom-rehearsed tea-table!
+
+Avoid serving a lunch in an artificially lighted room. This, like a
+permanent tea-table, is an almost extinct fashion. Neither was
+sensible, because inappropriate, and therefore bad form. The only
+possible reason for shutting out God's sunlight and using artificial
+lights, is when the function is to begin by daylight and continue
+until after nightfall.
+
+If in doubt as to what is _good_, go often to museums and compare what
+you own, or have seen and think of owning, with objects in museum
+collections.
+
+
+
+
+CHAPTER XXXVIII
+
+FADS IN COLLECTING
+
+
+In a New York home one room is devoted to a so-called _panier fleuri_
+collection which in this case means that each article shows the design
+of a basket holding flowers or fruit. The collection is to-day so
+unique and therefore so valuable, that it has been willed to a museum,
+but its creation as a collection, was entirely a chance occurrence.
+The design of a basket trimmed with flowers happened to appeal to the
+owner, and if we are not mistaken, the now large collection had its
+beginning in the casual purchase of a little old pendant found in a
+forgotten corner of Europe. The owner wore it, her friends saw it, and
+gradually associated the _panier fleuri_ with her, which resulted in
+many beautiful specimens of this design being sought out for her by
+wanderers at home and abroad. To-day this collection includes old
+silks, laces, jewellery, wax pictures, old prints, some pieces of
+antique furniture, snuffboxes and ornaments in glass, china, silver,
+etc.
+
+Every museum is the result of fads in collecting, and when one
+considers all that is meant by this heading, which sounds so trifling
+and unimportant to the layman, it will not seem strange that we
+strongly recommend it as a dissipation!
+
+At first, quite naturally, the collector makes mistakes; but it is
+through his mistakes that he learns, and absolutely nothing gives such
+a zest to a stroll in the city, a tramp in the country, or an
+unexpected delay in an out-of-the-way town, as to have this collecting
+bee in your bonnet. How often when travelling we have rejoiced when
+the loss of a train or a mistake in time-table, meant an unexpected
+opportunity to explore for junk in some old shop, or, perhaps, to
+bargain with a pretty peasant girl who hoarded a beloved heirloom, of
+entrancing interest to us (and worth a pile of money really), while
+she lived happily on cider and cheese!
+
+It is doubtless the experience of every lover of the old and the
+curious, that one never regrets the expenses incurred in this quest of
+the antique, but one does eternally regret one's economies. The
+writer suffers now, after years have elapsed, in some cases, at the
+memory of treasures resisted when chanced upon in Russia, Poland,
+Hungary, Bohemia--where not! Always one says, "Oh, well, I shall come
+back again!" But there are so many "pastures green," and it is often
+difficult to retrace one's steps.
+
+Then, too, these fads open our eyes and ears, so that in passing along
+a street on foot, in a cab or on a bus, or in glancing through a book,
+or, perhaps, in an odd corner of an otherwise colourless town, where
+fate has taken us, we find "grist for our mill"--just the right piece
+of furniture for the waiting place!
+
+Know what you want, _really want it_, and you will find it some time,
+somewhere, somehow!
+
+As a stimulus to beginners in collecting, as well as an illustration
+of that perseverance required of every keen collector, we cite the
+case of running down an Empire dressing-table.
+
+It was our desire to complete a small collection of Empire furniture
+for a suite of rooms, by adding to it as a supplement to the bureau, a
+certain type of Empire dressing-table. It is no exaggeration to say
+that Paris was dragged for what we wanted--the large well-known
+antique shops and the smaller ones of the Latin Quarter being both
+ransacked. Time was flying, the date of our sailing was approaching,
+and as yet the coveted piece had not been found. Three days before we
+left, a fat, red-faced, jolly cabby, after making a vain tour of the
+junk shops in his quarter, demanded to know exactly what it was we
+sought. When told, he looked triumphant, bade us get into his cab,
+lashed his horse and after several rapidly made turns, dashed into an
+out-of-the-way street and drew up before a sort of junk store-house,
+full of rickety, dusty odds and ends of furniture, presided over by a
+stupid old woman who sat outside the door, knitting,--wrapped head and
+all in a shawl. We entered and, there, to our immense relief, stood
+the dressing table! It was grey with dust, the original Empire green
+silk, a rusty grey and hanging in shreds on the back of the original
+glass. There was a marble top set into the wood and grooved in a
+curious way. The whole was intact except for a loose back leg, which
+gave it a swaying, tottering appearance. We passed it in
+silence--being experienced traders! Then, after buying several little
+old picture frames, while Madame continued her knitting, we wandered
+close to the coveted table and asked what was wanted for that broken
+bit "of no use as it stands."
+
+"Thirty francs" (six dollars) was the answer.
+
+Later a well-known New York dealer offered seventy-five dollars for
+the table in the condition in which we found it, and repaired as it is
+to-day it would easily bring a hundred and fifty, anywhere!
+
+As it happened, the money we went out with had been spent on
+unexpected finds, and neither we nor our good-natured cabby were in
+possession of thirty francs! In fact, cabby was rather staggered to
+hear the price, having offered to advance what we needed. He suggested
+sending it home "collect" but Madame would not even consider such an
+idea. However, at last our resourceful jehu came to the rescue. If the
+ladies would seat themselves in the cab, he could place the table in
+front of them, with the cover of the cab raised, and Madame of the
+shop could lock her door and mounting the box by the side of our
+_cocher_, she might drive with us to our destination and collect the
+money herself! He promised to bring her home safely again!
+
+As we had only the next day for boxing and shipping, there was no
+alternative. Before we had even taken in our grotesque appearance, the
+horse was galloping, as only a Paris cab horse can gallop, toward our
+abode in Avenue Henri Martin, past carriages and autos returning from
+the _Bois_, while inside the cab we sat, elated by our success and in
+that whirl of triumphant absorbing joy which only the real collector
+knows.
+
+This same modest little Empire collection had a treasure recently
+added to it, found by chance, in an antique shop in Pennsylvania. It
+was a mirror. The dealer, an Italian, said that he had got it from an
+old house in Bordentown, New Jersey.
+
+"It's genuine English," he said, certain he was playing his winning
+card.
+
+It has the original glass and a heavy, squarely made, mahogany frame.
+Strange to say it corresponds exactly with the bed and bureau in the
+collection, having pilasters surmounted by women's heads of
+gilded wood with small gilded feet showing at base.
+
+
+PLATE XXXI
+
+     An end of a room containing genuine Empire furniture, Empire
+     ornaments and a rare collection of Empire cups, which appear in a
+     _vitrine_ seen near the dull-blue brocade curtains drawn over
+     windows.
+
+     We would especially call attention to the mantelpiece, which was
+     originally the Empire frame of a mirror, and to a book shelf made
+     interesting by having the upper shelf supported by a charming
+     pair of antique bronze cupids.
+
+     This plate is reproduced to show as many Empire pieces as
+     possible; it is not an ideal example of arrangement, either as to
+     furniture in room or certain details. There is too much crowding.
+
+[Illustration: _A Collection of Empire Furniture, Ornaments and
+China_]
+
+
+As the brother of the great Napoleon, Joseph Bonaparte, king of Spain
+and Rome, passed many years of his self-imposed exile in Bordentown,
+in a house made beautiful with furnishings he brought from France, it
+is possible this old mirror has an interesting story, if only it could
+talk! Then, too, it was Bordentown that sheltered a Prince Murat, the
+relative of Joseph Bonaparte. If it was he who conveyed our mirror to
+these shores, a very different, but as highly romantic a tale might
+unfold!
+
+For fear the precious ancient glass should be broken or the frame
+destroyed, we bribed a Pullman-car porter to let us bring its six by
+four feet of antiquity with us, in the train!
+
+When you see a find always take it with you, or the next man may, and
+above all, always be on the lookout.
+
+It was from a French novel by one of the living French writers that we
+first got a clue to a certain obscure Etruscan museum, hidden away in
+the Carrara Mountains, in Italy. That wonderful little museum and its
+adjacent potteries, which cover the face of Italy like ant-hills, are
+to-day contributors to innumerable beautiful interiors in every part
+of America.
+
+We recall a dining-room in Grosvenor Square, London, where a
+world-renowned collection of "powder-blue" vases (the property of Mr.
+J.B. Joel) is made to contribute to a decorative scheme by placing the
+almost priceless vases of old Chinese blue and white porcelain, in
+niches made for them, high up on the black oak panelling. There are no
+pictures nor other decorations on the walls, hence each vase has the
+distinction it deserves, placed as it were, in a shrine.
+
+In the Peter Hewitt Museum, New York, you may see an antique Italian
+china cabinet, made of gilded carved wood, which shows on its
+undulating front, row after row of small niches, lined with red
+velvet. When each deep niche held its porcelain _chef d'oeuvre_, the
+effect must have been that of a gold screen set with gems!
+
+Speaking of red velvet backgrounds, in the same museum, standing near
+the Italian cabinet, is an ancient Spanish one; its elaborate steel
+hinges, locks and ornaments have each a bit of red velvet between
+them and the oak of the cabinet. One sees this on Gothic chests in
+England and occasionally on the antique furniture of other countries.
+The red material stretched back of the metal fret-work, is said to be
+a souvenir of the gruesome custom prevailing in ancient times, of
+warning off invaders by posting on the doors of public buildings, the
+skin of prisoners of war, and holding it in place with open-work
+metal, through which the red skin was plainly seen!
+
+At Cornwall Lodge, in Regents Park, London, the town house of Lady de
+Bathe (Lily Langtry) the dining-room ceiling is a deep sky-blue, while
+the sidewalls of black, serve as a background for her valuable
+collection of old, coloured glass, for the most part English. The
+collection is the result of the owner's eternal vigilance, when
+travelling or at home.
+
+A well-known Paris collector, now dead, found in Spain a bust which
+had been painted black. Its good lines led him to buy it, and, when
+cleaned, it proved to be a genuine Canova, and was sold by this
+dealer, a reliable expert, to an American for five thousand dollars!
+It had been painted during a Revolution, to save it from destruction.
+
+The same dealer on another occasion, when in Spain, found an old silk
+gown of lovely flowered brocade, but with one breadth missing. Several
+years later, in an antique shop in Italy, he found that missing gore
+and had it put back in the gown, thus completing the treasure which
+some ruthless hand had destroyed.
+
+
+
+
+CHAPTER XXXIX
+
+WEDGWOOD POTTERY, OLD AND MODERN
+
+
+Many of our museums have interesting collections of old Wedgwood.
+Altogether the most complete collection we have ever seen is in the
+museum adjoining the Wedgwood factories in Staffordshire, England. The
+curator there, an old man of about seventy, loves to tell the story of
+its founding and growth. He began as a labourer in the potteries and
+has worked his way up to be guardian of the veterans in perfected
+types. Many of the rare and beautiful specimens he has himself dug up
+in the grounds, where from time to time, since 1750, they were thrown
+out as broken, useless debris. The recovery of these bits, their
+preservation and classification, together with valuable donations made
+by English families who have inherited rare specimens, have not only
+placed at the disposal of those interested, the fascinating history of
+Wedgwood, in a thrilling object lesson, but has made the modern
+Wedgwood what it is:--one of the most beautiful varieties of tableware
+in the market to-day.
+
+Josiah Wedgwood is said to have been the first English potter,
+counting from the Roman time to the first quarter of the eighteenth
+century, who made vases to be used for _mere decoration_. Chelsea,
+Worcester and Derby were just then beginning to make fine porcelain.
+In Wedgwood's day it was the rule for young men of title and wealth to
+go abroad, and the souvenirs which they brought back with them, such
+as pictures and vases, helped to form a taste for the antique, in
+England. Then, too, books on Greek art were being written by English
+travellers. Josiah Wedgwood had a natural bent for the pure line and
+classic subjects, but he was, also, possessed with the keen
+businessman's intuition as to what his particular market demanded. So
+he sat about copying the line and decorations of the antique Greek
+vases. He reproduced lines and designs in decoration, but invented the
+"bodies," that is to say, the materials from which the potters moulded
+his wares. He is said to have invented in all, twenty varieties. We
+say that he reproduced Greek designs, and so he did, but John Flaxman,
+his chief decorator, who lived in Rome, where he had a studio and
+clever assistants, studied the classics, imbibed their spirit and
+originated the large majority of Wedgwood's so-called "Greek" designs,
+--those exquisite cameo-like compositions in white, on backgrounds of
+pastel colours, which appeared as miniatures mounted for jewellery,
+medallions let into wall panels, and on furniture and Carrara marble
+mantelpieces, wonderful works of art wrought of his "Jasper" paste,
+which make Josiah Wedgwood outrank any producer of ceramics who has
+ever lived in any age.
+
+Wedgwood's first vases were for use, although they were ornamental,
+too. Those were the pots he made in which to grow bulbs or roots, and
+the "bough pots" which were filled with cut flowers and used to
+ornament the hearth in summer.
+
+Mr. Frederick Rathbone, compiler of the Wedgwood catalogue in 1909, a
+memorial to Josiah Wedgwood made possible by his great-granddaughter,
+says that during his thirty-five years' study of Wedgwood's work, he
+had yet to learn of a single vase which was ever made by him, or sent
+out from his factory at Etruria, which was lacking in grace or beauty.
+
+The Etrurian Museum, Staffordshire, shows Josiah Wedgwood's life work
+from the early Whieldon ware to his perfected Jasper paste. Josiah's
+"trials" or experiments, are the most interesting specimens in the
+museum, and prove that the effort of his life was "converting a rude
+and inconsiderable manufactory into an elegant art and an important
+part of national commerce." Yet, although he is acknowledged by all
+the world to have been the greatest artist in ceramics of his or any
+period, remember pottery was only one of his interests. He was by no
+means a man who concentrated day and night on one line of production.
+He occupied himself with politics, and planned and carried through
+great engineering feats and was, also, deeply interested in the
+education of his children.
+
+When Wedgwood began his work, all tea and coffee pots were
+"salt-glazed," plain, or, if decorated, copies of Oriental patterns,
+which were the only available models, imported for the use of the
+rich. Wedgwood invented in turn his tortoise shell, agate, mottled
+and other coloured wares, and finally his beautiful pale-cream, known
+as "Queen's" ware, in honour of Queen Charlotte, his patron. It is the
+"C.C." (cream colour) which is so popular to-day, either plain or
+decorated. He invented colours, as well as bodies, for the manufacture
+of his earthenware, both for use and for decoration, and built up a
+business employing 15,000 persons in his factories,--and 30,000 in all
+the branches of his business.
+
+In 1896 the census showed 45,914 persons employed in the factories,
+and at that time the annual amount paid in wages was over two million
+pounds (ten million dollars).
+
+We must remember that in 1760, the only way of transporting goods to
+and from the Wedgwood factory was by means of pack-horses. Therefore
+Josiah Wedgwood had to turn his attention to the construction of roads
+and canals. As Mr. Gladstone put it in his address at the opening of
+the Wedgwood Institute at Burslem, Staffordshire, "Wedgwood made the
+raw material of his industry abundant and cheap, which supplied a vent
+for the manufactured article and which opened for it materially a way
+to what we may term the conquest of the outer world." Yet he never
+travelled outside his own country; always employed English workmen to
+carry out his ideas, and succeeded entirely by his own efforts,
+unaided by the state. His first patroness was Catherine II of Russia,
+for whom he made a wonderful table service, and his best customers
+were the court and aristocracy of France, during that country's
+greatest art periods (Louis XV and XVI). In fact Wedgwood ware became
+so fashionable in Paris that the Sèvres, Royal Porcelain factory,
+copied the colour and relief of his Jasper plaques and vases. It is
+claimed by connoisseurs, that the Wedgwood useful decorative pottery
+is the only ceramic art in which England is supreme and unassailable.
+
+It has been said at the Wedgwood works, and with great pride, that the
+copying of Wedgwood by the Sèvres factories, and the preservation of
+many rare examples of his work to-day, in French museums, to serve as
+models for French designers and craftsman, is a neat compliment to the
+English--"those rude islanders with three hundred religions and only
+one _sauce_"!
+
+
+PLATE XXXII
+
+     In the illustration five of the four vases, four with covers and
+     one without, are reproductions of old pharmacy jars, once used by
+     all Italian druggists to keep their drugs in.
+
+     The really old ones with artistic worth are vanishing from the
+     open market into knowing dealers' or collectors' hands, or the
+     museums have them, but with true Latin perspicuity, when the
+     supply ceased to meet the demand, the great modern Italian
+     potters turned out lovely reproductions, so lovely that they
+     bring high prices in Italy as well as abroad, and are frequently
+     offered to collectors when in Italy as genuine antiques.
+
+[Illustration: _Italian Reproductions in Pottery after Classic Models_]
+
+
+
+
+CHAPTER XL
+
+ITALIAN POTTERY
+
+
+About nine years ago, an American connoisseur, automobiling from Paris
+to Vienna, the route which lies through Northern Italy, quite by
+chance, happened to see some statuettes in the window of a hopeful,
+but unknown, potter's little shop, on a wonderful, ancient, covered
+bridge. You, too, may have seen that rarely beautiful bridge spanning
+the River Brenta, and have looked out through broad arches which occur
+at intervals, on views, so extraordinary that one feels they must be
+on a Gothic tapestry, or the journey just a dream! One cannot forget
+the wild, rushing river of purplish-blues, and the pines, in deep
+greens, which climb up, past ruined castles, perched on jutting rocks,
+toward snow-capped mountain peaks. The views were beautiful, but so
+were the statuettes which had caught our collector's eye. He bought
+some, made inquiries as to facilities for reproduction at these
+potteries, and exchanged addresses. The result was that to-day, that
+humble potter directs several large factories, which are busy reviving
+classic designs, which may be found on sale everywhere in Italy and in
+many other countries as well as America.
+
+
+
+
+CHAPTER XLI
+
+VENETIAN GLASS, OLD AND MODERN
+
+
+If you have been in Venice then you know the Murano Museum and its
+beguiling collection of Venetian glass, that old glass so vastly more
+beautiful in line and decoration than the modern type of, say, fifteen
+years ago, when colours had become bad mixtures, and decorations
+meaningless excrescences.
+
+A bit of inside information given out to some one really interested,
+led to a revival of pure line and lovely, simple colouring, with
+appropriate decorations or none at all. You may already know that
+romantic bit of history. It seems that when the museum was first
+started, about four hundred years ago, the glass blowers agreed to
+donate specimens of their work, provided their descendants should be
+allowed access to the museum for models. This contract made it a
+simple matter for a connoisseur to get reproduced exactly what was
+wanted, and what was not in the market. Elegance, distinguished
+simplicity in shapes, done in glass of a single colour, or in one
+colour with a simple edge in a contrasting shade, or in one colour
+with a whole nosegay of colours to set it off, appearing literally as
+flowers or fruit to surmount the stopper of a bottle, the top of a
+jar, or as decorations on candlesticks.
+
+It was in the Museo Civico of Venice that we saw and fell victims to
+an enchanting antique table decoration--a formal Italian garden, in
+blown glass, once the property of a great Venetian family and redolent
+of those golden days when Venice was the playground of princes, and
+feasting their especial joy; days when visiting royalty and the
+world's greatest folk could have no higher honour bestowed upon them
+than a gift of Venetian glass, often real marvels mounted in silver
+and gold.
+
+We never tired of looking at that fairy garden with its delicate
+copings, balustrades and vases of glass, all abloom with exquisite
+posies in every conceivable shade, wrought of glass--a veritable dream
+thing! Finally, nothing would do but we must know if it had ever been
+copied. The curator said that he believed it had, and an address was
+given us. How it all comes back! We arose at dawn, as time was
+precious, took our coffee in haste and then came that gliding trip in
+the gondola, through countless canals, to a quarter quite unknown to
+us, where at work in a small room, we came upon our glass blower and
+the coveted copy of that lovely table-garden. This man had made four,
+and one was still in his possession. We brought it back to America, a
+gleaming jewelled cobweb, and what happened was that the very ethereal
+quality of its beauty made the average taste ignore it! However, a few
+years have made a vast difference in table, as well as all other
+decorations, and to-day the same Venetian gardens have their faithful
+devotees, as is proved by the continuous procession of the dainty
+wonders, ever moving toward our sturdy shores.
+
+
+
+
+IN CONCLUSION
+
+In bringing our book to an end we would reiterate four fundamental
+principles of Interior Decoration (and all decoration):
+
+Good lines.
+
+Correct proportions.
+
+Harmonious colour scheme (which includes the question of background)
+and
+
+Appropriateness.
+
+Observe these four laws and any house, all interior decoration, and
+any lawn or garden, will be beautiful and satisfying, regardless of
+type and choice of colours.
+
+Whether or not you remain content with your achievement depends upon
+your mental makeup. Really know what you want as a home, _want it_,
+and you can work out any scheme, provided you have intelligence,
+patience and perseverance.
+
+To learn what is meant by _good line_, one must educate oneself by
+making a point of seeing beautiful furniture and furnishings. Visit
+museums, all collections which boast the stamp of approval of experts;
+buy at the best modern and antique shops, and compare what you get
+with the finest examples in the museums. This is the way that
+_connaisseurs_ are made.
+
+
+
+
+INDEX
+
+Acanthus leaf
+Accessories
+Adam, James and Robert
+Alhambra
+Amateur
+Andirons
+Angelo, Michael (See Michelangelo)
+Antique
+"Antiqued"
+Apelles
+Applique
+Appropriate
+Arabesques
+Architectural picture
+Architrave
+Arras
+Assyria
+Athenian
+Attic rooms
+Awnings
+
+Background
+Bakst
+Balance
+Barrocco
+Bathroom
+Beauvais
+Behnes
+Belgium
+Benares
+"Bodies"
+Bohemian glass
+Boucher François
+Boudoir
+Boule, André Charles
+Bric-à-brac
+Bristol glass
+Brocotello
+Byzantine
+
+Cabriole
+Cæsar, Augustus
+Carlovingian
+Carpets (_See_ Floor)
+Ceiling
+Cellini, Benvenuto
+Charlemagne
+Charles I
+Charles II
+Charles V
+Chares VIII
+Charts
+_Chef d'oeuvre_
+Chimney-pieces
+Chinese
+"Chinese Craze"
+Chintz
+Chippendale
+Cipriani, Giovanni Battista
+Classic
+Clocks
+Closets
+Cold Colours
+Collecting
+Colonial
+Colour
+Commode
+Composition
+Connoisseur
+Console
+Correggio, Antonio Allegri
+Cretonne (_See_ Chintz)
+Cross-stitch
+
+Dado
+Dark Ages
+Day-bed
+Decoration
+Decorative
+Dining-tables
+Directoire
+Distinction
+Dressing-room
+Dressing-table
+Du Barry, Madame
+Du Barry rose
+Dürer, Albrecht
+Dutch
+
+Egypt
+Elimination
+Elizabethan
+Empire
+England
+_Ensemble_
+
+Fads
+Feudal
+Fire-dogs (_See_ Andirons)
+Fireplace
+Fixtures
+Flaxman, John
+Floors (_See_ Carpets)
+Flower-pictures
+Flowers
+Fontainebleau
+France
+Francis I
+Franklin Stoves
+French
+Frieze
+
+Georgian
+Germany
+Gibbons, Grinling
+Gimp
+Glass
+Glazed Linen
+Gobelin
+Gothic
+Greek
+Gubbio
+
+Hallmark
+Hangings
+Henry II
+Henry III
+Henry IV
+Henry VIII
+Heppelwhite
+Holland
+Homes
+Hungarian
+
+Inappropriateness
+Iron Work
+Italian
+Italian Louis XVI
+Ivy
+
+Jacobean
+James I
+James II
+James VI
+Japan
+Japanese
+
+Kauffman, Angelica
+Key
+Key Note
+Knife-boxes
+
+Lacquer
+Lamp Shades
+Landscape Paper
+Library, a Man's
+Light-absorbing colours
+Light-producing
+Lines
+Living-room
+Louis XIII
+Louis XIV
+Louis XV
+Louis XVI
+Lustre copper
+
+Mahogany Period
+Majolica
+Man's Room (_See_ Men's Rooms)
+Mantel
+Marie Antoinette
+Marquetry
+Mediæval Art
+Medici
+Medici, Catherine de
+Medicine jars
+Men's Rooms
+Metal Work
+Michelangelo
+Middle Ages
+Mirrors
+Mission Furniture
+Moors
+Morris, William
+Mouldings
+Mounts
+
+Napoleon I
+Narrow halls
+New England
+
+Oak Period
+_Objets d'art_
+Oriental
+Ormolu
+Outline
+Over-doors
+
+Painted Furniture
+Painted Tapestry
+Palladio, Andrea
+Panelling
+Panier fleuri
+Parchment Paper Shades for Lights
+Passepartout
+Peasant China
+Peasant Lace
+Pergolese, Michael Angelo
+Pericles
+Period Rooms
+Pesaro
+Pharmacy Jars (_See_ Medicine Jars)
+Phidias
+Photographs
+Picture Frames
+Pictures
+_Pietra-dura_
+Pilasters
+Poitiers, Diane de
+Poland
+Pomegranate Pattern
+Porcelain
+Porch-room
+Portuguese
+"Powder-Blue" Vases
+Praxiteles
+Pre-Raphaelites
+Proportion
+Pseudo-Classic
+Puritan
+
+Queen Anne
+Queen Elizabeth
+
+Rail-boxes
+Raphael
+Refectory Tables
+Renaissance
+Reproductions
+Rocaille (_See_ Shell Design)
+Rococo
+Rolls, Empire
+Rome
+
+Sarto, Andrea del
+Sash-curtains
+Servants'-rooms
+Sèvres porcelain
+Shades for Lights
+Shell Design (_See_ Rocaille)
+Sheraton
+Silks
+Slipper-chairs
+Sofa cushions
+Spain
+Sports Balconies
+Stained Glass
+Straw Awnings
+Stuart
+Sun-producing
+Sun-proof
+Sun-rooms
+
+Table decoration
+Table-garden
+Tables
+Tableware
+Taffeta
+Tapestry
+Tea-tables
+Textiles
+Titian
+Tone-on-tone
+Tudor
+Twin beds
+
+Urbino
+
+Valance
+Values
+Van Eyck
+Vanity-room
+_"Vargueos"_
+"Vase pattern"
+Vases
+Venetian Glass
+Venice
+Vernis Martin
+Victorian Period
+Vinci, Leonardo da
+Virginia Homes
+Vitrine
+
+Wainscoting
+Wall-papers
+Walls
+Warm colours
+Wedgewood
+Wicker Furniture
+William and Mary Period
+Window-boxes
+Wren, Sir Christopher
+
+
+THE END
+
+
+
+
+
+
+
+
+
+
+
+
+
+End of Project Gutenberg's The Art of Interior Decoration, by Grace Wood
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+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<html>
+  <head>
+    <meta http-equiv="Content-Type" content=
+    "text/html; charset=iso-8859-1">
+    <title>
+      The Project Gutenberg eBook of The Art Of Interior Decoration, by Grace Wood.
+    </title>
+    <style type="text/css">
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+<body>
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+
+<pre>
+
+The Project Gutenberg EBook of The Art of Interior Decoration, by Grace Wood
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art of Interior Decoration
+
+Author: Grace Wood
+
+Release Date: December 8, 2004 [EBook #14298]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF INTERIOR DECORATION ***
+
+
+
+
+Produced by Stan Goodman, Karen Dalrymple, and the Online Distributed
+Proofreading Team
+
+
+
+
+
+</pre>
+
+<h1><a name='Page_i'></a>THE ART OF INTERIOR DECORATION</h1>
+<a name='Page_ii'></a>
+<hr style='width: 65%;' />
+<a name='Page_iii'></a><h4>PLATE I</h4>
+<a name='Page_iv'></a>
+<div class='blkquot'><p>There is something unusually exquisite about this composition.
+     You will discover at a glance perfect balance, repose&mdash;line,
+     everywhere, yet with it infinite grace and a winning charm. One
+     can imagine a tea tray brought in, a table placed and those two
+     attractive chairs drawn together so that my lady and a friend may
+     chat over the tea cups.</p>
+
+<p>     The mirror is an Italian Louis XVI.</p>
+
+<p>     The sconces, table and chairs, French.</p>
+
+<p>     The vases, Italian, all antiques.</p>
+
+<p>     A becoming mellow light comes through the shade of deep cream
+     Italian parchment paper with Louis XVI decorations.</p>
+
+<p>     It should be said that the vases are Italian medicine
+     jars&mdash;literally that. They were once used by the Italian
+     chemists, for their drugs, and some are of astonishing
+     workmanship and have great intrinsic value, as well as the added
+     value of age and uniqueness.</p>
+
+<p>     The colour scheme is as attractive as the lines. The walls are
+     grey, curtains of green and grey, antique taffeta being used,
+     while the chairs have green silk on their seats and the table is
+     of green and faded gold. The green used is a wonderfully
+     beautiful shade.</p></div>
+
+<a name='Page_v'></a>
+<a name='Page_vi'></a>
+<div class="figure">
+<a name='PLATE_I'></a><img src="images/plate01.jpg" alt="Photo of a drawing room">
+</div>
+<div class="subhead">
+<i>Portion of a Drawing Room, Perfect in Composition and Detail</i>
+</div>
+<hr style='width: 65%;' />
+<a name='Page_vii'></a>
+<h1>THE ART OF INTERIOR<br />
+DECORATION</h1>
+<br /><br />
+<h3>BY</h3>
+<h2>GRACE WOOD</h2>
+<h3>AND</h3>
+<h2>EMILY BURBANK</h2>
+<br /><br />
+<h4><i>ILLUSTRATED</i></h4>
+<br /><br />
+<h3>NEW YORK<br />
+DODD, MEAD AND COMPANY<br />
+1917</h3>
+<br /><br /><br />
+<a name='Page_viii'></a>
+<a name='Page_ix'></a>
+<div class="subhead">
+DEDICATED<br />
+TO<br />
+A.M.M.<br />
+</div>
+<div class='narrowblk'><p><i>At the age of eighty, an inspiration to all who meet her, because she
+is the embodiment of what this book stands for; namely, fidelity to
+the principles of Classic Art and watchfulness for the vital new note
+struck in the cause of the Beautiful.</i></p>
+</div>
+<a name='Page_x'></a>
+<hr style='width: 65%;' />
+<a name='Page_xi'></a><a name='FOREWORD'></a><h2>FOREWORD</h2>
+<br />
+
+<p>If you would have your rooms interesting as well as beautiful, make
+them say something, give them a spinal column by keeping all
+ornamentation subservient to line.</p>
+
+<p>Before you buy anything, try to imagine how you want each room to look
+when completed; get the picture well in your mind, as a painter would;
+think out the main features, for the details all depend upon these and
+will quickly suggest themselves. This is, in the long run, the
+quickest and the most economical method of furnishing.</p>
+
+<p>There is a theory that no room can be created all at once, that it
+must grow gradually. In a sense this is a fact, so far as it refers to
+the amateur. The professional is always occupied with creating and
+recreating rooms and can instantly summon to mind complete schemes of
+decoration. The amateur can also learn to mentally furnish rooms. It
+is a fascinating pastime when one gets the knack of it.</p>
+
+<a name='Page_xii'></a><p>Beautiful things can be obtained anywhere and for the minimum price,
+if one has a feeling for line and colour, or for either. If the lover
+of the beautiful was not born with this art instinct, it may be
+quickly acquired. A decorator creates or rearranges one room; the
+owner does the next, alone, or with assistance, and in a season or two
+has spread his or her own wings and worked out legitimate schemes,
+teeming with individuality. One observes, is pleased with results and
+asks oneself why. This is the birth of <i>Good Taste</i>. Next, one
+experiments, makes mistakes, rights them, masters a period, outgrows
+or wearies of it, and takes up another.</p>
+
+<p>Progress is rapid and certain in this fascinating
+amusement,&mdash;study&mdash;call it what you will, if a few of the laws
+underlying all successful interior decoration are kept in mind.</p>
+
+<p>These are:</p>
+
+<div class='blkquot'><p>HARMONY</p></div>
+
+<p>in line and colour scheme;</p>
+
+<div class='blkquot'><p>SIMPLICITY</p></div>
+
+<p>in decoration and number of objects in room, which is to be dictated
+by usefulness of said objects; and insistence upon</p>
+<a name='Page_xiii'></a>
+<div class='blkquot'><p>SPACES</p></div>
+
+<p>which, like rests in music, have as much value as the objects
+dispersed about the room.</p>
+
+<p>Treat your rooms like &quot;still life,&quot; see to it that each group, such as
+a table, sofa, and one or two chairs make a &quot;composition,&quot; suggesting
+comfort as well as beauty. Never have an isolated chair, unless it is
+placed against the wall, as part of the decorative scheme.</p>
+
+<p>In preparing this book the chief aim has been clearness and brevity,
+the slogan of our day!</p>
+
+<p>We give a broad outline of the historical periods in furnishing, with
+a view to quick reference work.</p>
+
+<p>The thirty-two illustrations will be analysed for the practical
+instruction of the reader who may want to furnish a house and is in
+search of definite ideas as to lines of furniture, colour schemes for
+upholstery and hangings, and the placing of furniture and ornaments in
+such a way as to make the composition of rooms appear harmonious from
+the artist's point of view.</p>
+
+<p>The index will render possible a quick reference to illustrations and
+explanatory text, so that the book may be a guide for those ambitious to
+<a name='Page_xiv'></a>try their hand at the art of interior decoration.</p>
+
+<p>The manner of presentation is consciously didactic, the authors
+believing that this is the simplest method by which such a book can
+offer clear, terse suggestions. They have aimed at keeping &quot;near to
+the bone of fact&quot; and when the brief statements of the fundamental
+laws of interior decoration give way to narrative, it is with the hope
+of opening up vistas of personal application to embryo collectors or
+students of periods.</p>
+
+
+<hr style='width: 65%;' />
+<a name='Page_xv'></a><a name='CONTENTS'></a><h2>CONTENTS</h2>
+<br />
+
+<a href='#FOREWORD'><b>FOREWORD</b></a><br />
+<br />
+
+<a href='#ILLUSTRATIONS'><b>ILLUSTRATIONS</b></a><br />
+<br />
+
+<p><b><a href='#CHAPTER_I'>CHAPTER I</a>&nbsp;&nbsp;&nbsp;HOW TO REARRANGE A ROOM</b></p>
+
+<p>Method of procedure.&mdash;Inherited eyesores.&mdash;Line.&mdash;Colour.&mdash;Treatment
+of small rooms and suites.&mdash;Old ceilings.&mdash;Old floors.&mdash;To paint brass
+bedsteads.&mdash;Hangings.&mdash;Owning two or three antique pieces of
+furniture, how proceed.&mdash;Appropriateness to setting.&mdash;How to give your
+home a personal quality.</p>
+<br />
+<p><b><a href='#CHAPTER_II'>CHAPTER II</a>&nbsp;&nbsp;&nbsp;HOW TO CREATE A ROOM</b></p>
+
+<p>Mere comfort.&mdash;Period rooms.&mdash;Starting a collection of antique
+furniture.&mdash;Reproductions.&mdash;Painted furniture.&mdash;Order of procedure in
+creating a room.&mdash;How to decide upon colour scheme.&mdash;Study
+values.&mdash;Period ballroom.&mdash;A distinguished room.&mdash;Each room a
+stage &quot;set.&quot;&mdash;Background.&mdash;Flowers as decoration.&mdash;Placing
+ornaments.&mdash;Tapestry.&mdash;Tendency to antique tempered by vivid Bakst
+colours.</p>
+<br />
+
+<p><b><a href='#CHAPTER_III'>CHAPTER III</a>&nbsp;&nbsp;&nbsp;HOW TO DETERMINE CHARACTER OF HANGINGS AND
+FURNITURE-COVERING FOR A GIVEN ROOM</b></p>
+
+<p>Silk, velvet, corduroy, rep, leather, use of antique silks,
+chintz.&mdash;When and how used.</p>
+<br />
+<a name='Page_xvi'></a>
+<p><b><a href='#CHAPTER_IV'>CHAPTER IV</a>&nbsp;&nbsp;&nbsp;THE STORY OF TEXTILES</b></p>
+
+<p>Materials woven by hand and machine, embroidered, or the combination
+of the two known as Tapestry.&mdash;Painted tapestry.&mdash;Art fostered by the
+Church.&mdash;Decorated walls and ceilings, 13th century, England.</p>
+<br />
+
+<p><b><a href='#CHAPTER_V'>CHAPTER V</a>&nbsp;&nbsp;&nbsp;CANDLESTICKS, LAMPS, FIXTURES FOR GAS AND ELECTRICITY, AND
+SHADES</b></p>
+
+<p>Fixtures, as well as mantelpiece, must follow architect's
+scheme.&mdash;Plan wall space for furniture.&mdash;Shades for lights.&mdash;Important
+as to line and colour.</p>
+<br />
+
+<p><b><a href='#CHAPTER_VI'>CHAPTER VI</a>&nbsp;&nbsp;&nbsp;WINDOW SHADES AND AWNINGS</b></p>
+
+<p>Coloured gauze sash-curtains.&mdash;Window shades of glazed linen, with
+design in colours.&mdash;Striped canvas awnings.</p>
+<br />
+
+<p><b><a href='#CHAPTER_VII'>CHAPTER VII</a>&nbsp;&nbsp;&nbsp;TREATMENT OF PICTURES AND PICTURE FRAMES</b></p>
+
+<p>Selecting pictures.&mdash;Pictures as pure decoration.&mdash;&quot;Staring&quot; a
+picture.&mdash;Restraint necessary in hanging pictures.&mdash;Hanging
+miniatures.</p>
+<br />
+
+<p><b><a href='#CHAPTER_VIII'>CHAPTER VIII</a>&nbsp;&nbsp;&nbsp;TREATMENT OF PIANO CASES</b></p>
+
+<p>Where interest centres abound piano.&mdash;Where piano is part of ensemble.</p>
+<br />
+
+<p><b><a href='#CHAPTER_IX'>CHAPTER IX</a>&nbsp;&nbsp;&nbsp;TREATMENT OF DINING-ROOM BUFFETS AND DRESSING-TABLES</b></p>
+
+<p>Articles placed upon them.</p>
+<br />
+<a name='Page_xvii'></a>
+<p><b><a href='#CHAPTER_X'>CHAPTER X</a>&nbsp;&nbsp;&nbsp;TREATMENT OF WORK TABLES, BIRD CAGES, DOG BASKETS, AND
+FISH GLOBES</b></p>
+
+<p>Value as colour notes.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XI'>CHAPTER XI</a>&nbsp;&nbsp;&nbsp;TREATMENT OF FIREPLACES</b></p>
+
+<p>Proportions, tiles, andirons, grates.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XII'>CHAPTER XII</a>&nbsp;&nbsp;&nbsp;TREATMENT OF BATHROOMS</b></p>
+
+<p>A man's bathroom.&mdash;A woman's bathroom.&mdash;Bathroom fixtures.&mdash;Bathroom
+glassware.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XIII'>CHAPTER XIII</a>&nbsp;&nbsp;&nbsp;PERIOD ROOMS</b></p>
+
+<p>Chiselling of
+metals.&mdash;Ormoulu.&mdash;Chippendale.&mdash;Colonial.&mdash;Victorian.&mdash;The art of
+furniture making.&mdash;How to hang a mirror.&mdash;Appropriate furniture.&mdash;A
+home must have human quality, a personal note.&mdash;Mrs. John L.
+Gardner's Italian Palace in Boston.&mdash;The study of colour
+schemes.&mdash;Tapestries.&mdash;A narrow hall.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XIV'>CHAPTER XIV</a>&nbsp;&nbsp;&nbsp;PERIODS IN FURNITURE</b></p>
+
+<p>The story of the evolution of periods.&mdash;
+Assyria.&mdash;Egypt.&mdash;Greece.&mdash;Rome.&mdash;France.
+&mdash;England.&mdash;America.&mdash;Epoch-making styles.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XV'>CHAPTER XV</a>&nbsp;&nbsp;&nbsp;CONTINUATION OF PERIODS IN FURNITURE</b></p>
+
+<p>Greece.&mdash;Rome.&mdash;Byzantium.&mdash;Dark Ages.&mdash;Middle
+Ages.&mdash;Gothic.&mdash;Moorish.&mdash;Spanish.&mdash;Anglo-Saxon.&mdash;C&aelig;sar's
+Table.&mdash;Charlemagne's Chair.&mdash;Venice.</p>
+<br />
+<a name='Page_xviii'></a>
+<p><b><a href='#CHAPTER_XVI'>CHAPTER XVI</a>&nbsp;&nbsp;&nbsp;THE GOTHIC PERIOD</b></p>
+
+<p>Interior decoration of Feudal Castle.&mdash;Tapestry.&mdash;Hallmarks of Gothic
+oak carving.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XVII'>CHAPTER XVII</a>&nbsp;&nbsp;&nbsp;THE RENAISSANCE</b></p>
+
+<p>Italy.&mdash;The Medici.&mdash;Great architects, painters, designers, and workers
+in metals.&mdash;Marvellous pottery.&mdash;Furniture inlaying.&mdash;Hallmarks
+of Renaissance.&mdash;Oak carving.&mdash;Metal work.&mdash;Renaissance in Germany
+and Spain.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XVIII'>CHAPTER XVIII</a>&nbsp;&nbsp;&nbsp;FRENCH FURNITURE</b></p>
+
+<p>Renaissance of classic period.&mdash;Francis I, Henry II, and the
+Louis.&mdash;Architecture, mural decoration, tapestry, furniture, wrought
+metals, ormoulu, silks, velvets, porcelains.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XIX'>CHAPTER XIX</a>&nbsp;&nbsp;&nbsp;THE PERIODS OF THE THREE LOUIS</b></p>
+
+<p>How to distinguish them.&mdash;Louis XIV.&mdash;Louis XV.&mdash;Louis
+XVI.&mdash;Outline.&mdash;Decoration.&mdash;Colouring.&mdash;Mural Decoration.&mdash;Tapestry.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XX'>CHAPTER XX</a>&nbsp;&nbsp;&nbsp;CHARTS SHOWING HISTORICAL EVOLUTION OF FURNITURE</b></p>
+
+<p>French and English.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXI'>CHAPTER XXI</a>&nbsp;&nbsp;&nbsp;THE MAHOGANY PERIOD</b></p>
+
+<p>Chippendale.&mdash;Heppelwhite.&mdash;Sheraton.&mdash;The Adam
+Brothers.&mdash;Characteristics of these and the preceding English periods;
+Gothic, Elizabethan, Jacobean, William and Mary, Queen Anne.&mdash;William
+Morris.&mdash;Pre-Raphaelites.</p>
+<br />
+<a name='Page_xix'></a>
+<p><b><a href='#CHAPTER_XXII'>CHAPTER XXIII</a>&nbsp;&nbsp;&nbsp;THE COLONIAL PERIOD</b></p>
+
+<p>Furniture.&mdash;Landscape paper.&mdash;The story of the evolution of wall
+decoration.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXIII'>CHAPTER XXII</a>&nbsp;&nbsp;&nbsp;THE REVIVAL OF DIRECTOIRE AND EMPIRE FURNITURE</b></p>
+
+<p>Shown in modern painted furniture.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXIV'>CHAPTER XXIV</a>&nbsp;&nbsp;&nbsp;THE VICTORIAN PERIOD</b></p>
+
+<p>Architecture and interior decoration become unrelated.&mdash;Machine-made
+furniture.&mdash;Victorian cross-stitch, beadwork, wax and linen
+flowers.&mdash;Bristol glass.&mdash;Value to-day as notes of variety.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXV'>CHAPTER XXV</a>&nbsp;&nbsp;&nbsp;PAINTED FURNITURE</b></p>
+
+<p>Including &quot;mission&quot; furniture.&mdash;Treatment of an unplastered
+cottage.&mdash;Furniture, colour-scheme.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXVI'>CHAPTER XXVI</a>&nbsp;&nbsp;&nbsp;TREATMENT OF AN INEXPENSIVE BEDROOM</b></p>
+
+<p>Factory furniture.&mdash;Chintz.&mdash;The cheapest
+mirrors.&mdash;Floors.&mdash;Walls.&mdash;Pictures.&mdash;Treatment of old floors.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXVII'>CHAPTER XXVII</a>&nbsp;&nbsp;&nbsp;TREATMENT OF A GUEST ROOM</b></p>
+
+<p>Where economy is not a matter of importance.&mdash;Panelled walls.&mdash;Louis
+XV painted furniture.&mdash;Taffeta curtains and bed-cover.&mdash;Chintz
+chair-covers.&mdash;Cream net sash-curtains.&mdash;Figured linen window-shades.</p>
+<br />
+<a name='Page_xx'></a>
+<p><b><a href='#CHAPTER_XXVIII'>CHAPTER XXVIII</a>&nbsp;&nbsp;&nbsp;A MODERN HOUSE IN WHICH GENUINE JACOBEAN FURNITURE Is
+APPROPRIATELY SET</b></p>
+
+<p>Traditional colour-scheme of crimson and gold.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXIX'>CHAPTER XXIX</a>&nbsp;&nbsp;&nbsp;UNCONVENTIONAL BREAKFAST-ROOMS AND SPORTS BALCONIES</b></p>
+
+<p>Porch-rooms.&mdash;Appropriate furnishings.&mdash;Colour schemes.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXX'>CHAPTER XXX</a>&nbsp;&nbsp;&nbsp;SUN-ROOMS</b></p>
+
+<p>Colour schemes according to climate and season.&mdash;A small, cheap,
+summer house converted into one of some pretentions by altering vital
+details.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXXI'>CHAPTER XXXI</a>&nbsp;&nbsp;&nbsp;TREATMENT OF A WOMAN'S DRESSING-ROOM</b></p>
+
+<p>Solving problems of the toilet.&mdash;Shoe cabinets.&mdash;Jewel
+cabinets.&mdash;Dressing tables.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXXII'>CHAPTER XXXII</a>&nbsp;&nbsp;&nbsp;THE TREATMENT OF CLOSETS</b></p>
+
+<p>Variety of closets.&mdash;Colour scheme.&mdash;Chintz covered boxes.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXXIII'>CHAPTER XXXIII</a>&nbsp;&nbsp;&nbsp;TREATMENT OF A NARROW HALL</b></p>
+
+<p>Furniture.&mdash;Device for breaking length of hall.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXXIV'>CHAPTER XXXIV</a>&nbsp;&nbsp;&nbsp;TREATMENT OF A VERY SHADED LIVING-ROOM</b></p>
+
+<p>In a warm climate.&mdash;In a cool climate.&mdash;Warm and cold colours.</p>
+<br />
+<a name='Page_xxi'></a>
+<p><b><a href='#CHAPTER_XXXV'>CHAPTER XXXV</a>&nbsp;&nbsp;&nbsp;SERVANTS' ROOMS</b></p>
+
+<p>Practical and suitable attractiveness.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXXVI'>CHAPTER XXXVI</a>&nbsp;&nbsp;&nbsp;TABLE DECORATION</b></p>
+
+<p>Appropriateness the keynote.&mdash;Tableware.&mdash;Linen, lace, and
+flowers.&mdash;Japanese simplicity.&mdash;Background.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXXVII'>CHAPTER XXXVII</a>&nbsp;&nbsp;&nbsp;WHAT TO AVOID IN INTERIOR DECORATION: RULES FOR
+BEGINNERS</b></p>
+
+<p>Appropriateness.&mdash;Intelligent elimination.&mdash;Furnishings.&mdash;Colour
+scheme.&mdash;Small suites.&mdash;Background.&mdash;Placing rugs and hangings.&mdash;Treatment
+of long wall-space.&mdash;Men's rooms.&mdash;Table decoration.&mdash;Tea table.&mdash;How
+to train the taste, eye, and judgment.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XXXVIII'>CHAPTER XXXVIII</a>&nbsp;&nbsp;&nbsp;FADS IN COLLECTING</b></p>
+
+<p>A panier fleuri collection.&mdash;A typical experience in collecting.&mdash;A
+&quot;find&quot; in an obscure American junk-shop.&mdash;Getting on the track of some
+Italian pottery.&mdash;Collections used as decoration.&mdash;A &quot;find&quot; in Spain.</p>
+
+<p><b><a href='#CHAPTER_XXXIX'>CHAPTER XXXIX</a>&nbsp;&nbsp;&nbsp;WEDGWOOD POTTERY, OLD AND MODERN</b></p>
+
+<p>The history of Wedgwood.&mdash;Josiah Wedgwood, the founder.</p>
+<br />
+
+<p><b><a href='#CHAPTER_XL'>CHAPTER XL</a>&nbsp;&nbsp;&nbsp;ITALIAN POTTERY</b></p>
+
+<p>Statuettes.</p>
+<br />
+<a name='Page_xxii'></a>
+<p><b><a href='#CHAPTER_XLI'>CHAPTER XLI</a>&nbsp;&nbsp;&nbsp;VENETIAN GLASS, OLD AND MODERN</b></p>
+
+<p>Murano Museum collection.&mdash;Table-gardens in Venetian glass.</p>
+<br />
+
+<p><b><a href='#IN_CONCLUSION'>IN CONCLUSION</a></b></p>
+
+<p>Four Fundamental Principles of Interior Decoration Re-stated.</p>
+
+<a href='#INDEX'><b>INDEX</b></a><br />
+
+<hr style='width: 65%;' />
+<a name='ILLUSTRATIONS'></a><h2><a name='Page_xxiii'></a>ILLUSTRATIONS</h2>
+<br />
+
+<p><b><a href='#PLATE_I'>PLATE I</a></b>&nbsp;&nbsp;&nbsp;Portion of a Drawing-room, Perfect in Composition and Detail.</p>
+
+<p><b><a href='#PLATE_II'>PLATE II</a></b>&nbsp;&nbsp;&nbsp;Bedroom in Country House. Modern Painted Furniture.</p>
+
+<p><b><a href='#PLATE_III'>PLATE III</a></b>&nbsp;&nbsp;&nbsp;Suggestion for Treatment of a Very Small Bedroom.</p>
+
+<p><b><a href='#PLATE_IV'>PLATE IV</a></b>&nbsp;&nbsp;&nbsp;A Man's Office in Wall Street.</p>
+
+<p><b><a href='#PLATE_V'>PLATE V</a></b>&nbsp;&nbsp;&nbsp;A Corner of the Same Office.</p>
+
+<p><b><a href='#PLATE_VI'>PLATE VI</a></b>&nbsp;&nbsp;&nbsp;Another View of the Same Office.</p>
+
+<p><b><a href='#PLATE_VII'>PLATE VII</a></b>&nbsp;&nbsp;&nbsp;Corner of a Room, Showing Painted Furniture, Antique and
+Modern.</p>
+
+<p><b><a href='#PLATE_VIII'>PLATE VIII</a></b>&nbsp;&nbsp;&nbsp;Example of a Perfect Mantel, Ornaments and Mirror.</p>
+
+<p><b><a href='#PLATE_IX'>PLATE IX</a></b>&nbsp;&nbsp;&nbsp;Dining-room in Country House, Showing Modern Painted
+Furniture.</p>
+
+<p><b><a href='#PLATE_X'>PLATE X</a></b>&nbsp;&nbsp;&nbsp;Dining-room Furniture, Italian Renaissance, Antique.</p>
+
+<p><b><a href='#PLATE_XI'>PLATE XI</a></b>&nbsp;&nbsp;&nbsp;Corner of Dining-room in New York Apartment, Showing Section
+of Italian Refectory Table and Italian Chairs, both Antique and
+Renaissance in Style.</p>
+
+<p><b><a href='#PLATE_XII'>PLATE XII</a></b>&nbsp;&nbsp;&nbsp;An Italian Louis XVI Salon in a New York Apartment.</p>
+
+<p><b><a href='#PLATE_XIII'>PLATE XIII</a></b>&nbsp;&nbsp;&nbsp;Another Side of the Same Italian Louis XVI Salon.</p>
+
+<p><b><a href='#PLATE_XIV'>PLATE XIV</a></b>&nbsp;&nbsp;&nbsp;A Narrow Hall Where Effect of Width is Attained by Use of
+Tapestry with Vista.</p>
+
+<p><b><a href='#PLATE_XV'>PLATE XV</a></b>&nbsp;&nbsp;&nbsp;Venetian Glass, Antique and Modern.</p>
+
+<p><b><a href='#PLATE_XVI'>PLATE XVI</a></b>&nbsp;&nbsp;&nbsp;Corner of a Room in a Small Empire Suite.</p>
+<a name='Page_xxiv'></a>
+<p><b><a href='#PLATE_XVII'>PLATE XVII</a></b>&nbsp;&nbsp;&nbsp;An Example of Perfect Balance and Beauty in Mantel
+Arrangement.</p>
+
+<p><b><a href='#PLATE_XVIII'>PLATE XVIII</a></b>&nbsp;&nbsp;&nbsp;Corner of a Drawing-room, Furniture Showing Directoire
+Influence.</p>
+
+<p><b><a href='#PLATE_XIX'>PLATE XIX</a></b>&nbsp;&nbsp;&nbsp;Entrance Hall in New York Duplex Apartment. Italian
+Furniture.</p>
+
+<p><b><a href='#PLATE_XX'>PLATE XX</a></b>&nbsp;&nbsp;&nbsp;Combination of Studio and Living-room in New York Duplex
+Apartment.</p>
+
+<p><b><a href='#PLATE_XXI'>PLATE XXI</a></b>&nbsp;&nbsp;&nbsp;Part of a Victorian Parlour in One of the Few Remaining New
+York Victorian Mansions.</p>
+
+<p><b><a href='#PLATE_XXII'>PLATE XXII</a></b>&nbsp;&nbsp;&nbsp;Two Styles of Day-beds, Modern Painted.</p>
+
+<p><b><a href='#PLATE_XXIII'>PLATE XXIII</a></b>&nbsp;&nbsp;&nbsp;Boudoir in New York Apartment. Painted Furniture, Antique
+and Reproductions.</p>
+
+<p><b><a href='#PLATE_XXIV'>PLATE XXIV</a></b>&nbsp;&nbsp;&nbsp;Example of Lack of Balance in Mantel Arrangement.</p>
+
+<p><b><a href='#PLATE_XXV'>PLATE XXV</a></b>&nbsp;&nbsp;&nbsp;Treatment of Ground Lying Between House and Much Travelled
+Country Road.</p>
+
+<p><b><a href='#PLATE_XXVI'>PLATE XXVI</a></b>&nbsp;&nbsp;&nbsp;An Extension Roof in New York Converted into a Balcony.</p>
+
+<p><b><a href='#PLATE_XXVII'>PLATE XXVII</a></b>&nbsp;&nbsp;&nbsp;A Common-place Barn Made Interesting.</p>
+
+<p><b><a href='#PLATE_XXVIII'>PLATE XXVIII</a></b>&nbsp;&nbsp;&nbsp;Narrow Entrance Hall of a New York Antique Shop.</p>
+
+<p><b><a href='#PLATE_XXIX'>PLATE XXIX</a></b>&nbsp;&nbsp;&nbsp;Example of a Charming Hall Spoiled by Too Pronounced a Rug.</p>
+
+<p><b><a href='#PLATE_XXX'>PLATE XXX</a></b>&nbsp;&nbsp;&nbsp;A Man's Library.</p>
+
+<p><b><a href='#PLATE_XXXI'>PLATE XXXI</a></b>&nbsp;&nbsp;&nbsp;A Collection of Empire Furniture, Ornaments, and China.</p>
+
+<p><b><a href='#PLATE_XXXII'>PLATE XXXII</a></b>&nbsp;&nbsp;&nbsp;Italian Reproductions in Pottery After Classic Models.</p>
+<hr style='width: 65%;' />
+<a name='Page_xxv'></a>
+<div class='blkquot'><p>&quot;Those who duly consider the influence of the <i>fine-arts</i> on the
+     <i>human mind</i>, will not think it a small benefit to the world, to
+     diffuse their productions as wide, and preserve them as long as
+     possible. The multiplying of copies of fine work, in beautiful
+     and durable materials, must obviously have the same effect in
+     respect to the arts as the invention of printing has upon
+     literature and the sciences: by their means the principal
+     productions of both kinds will be forever preserved, and will
+     effectually prevent the return of ignorant and barbarous ages.&quot;</p>
+
+<p>     JOSIAH WEDGWOOD: Catalogue of 1787.</p></div>
+
+<p>One of the most joyful obligations in life should be the planning and
+executing of BEAUTIFUL HOMES, keeping ever in mind that distinction is
+not a matter of scale, since a vast palace may find its rival in the
+smallest group of rooms, provided the latter obeys the law of <i>good
+line, correct proportions, harmonious colour scheme and
+appropriateness</i>: a law insisting that all useful things be beautiful
+things.</p>
+
+<br />
+<hr style='width: 65%;' />
+<h1><a name='Page_1'></a><b>THE ART OF INTERIOR DECORATION</b></h1>
+<br /><br />
+
+<a name='CHAPTER_I'></a><h2>CHAPTER I</h2>
+
+<h3>HOW TO REARRANGE A ROOM</h3>
+<br />
+
+<p>Lucky is the man or woman of taste who has no inherited eyesores
+which, because of association, must not be banished! When these exist
+in large numbers one thing only remains to be done: look them over,
+see to what period the majority belong, and proceed as if you <i>wanted</i>
+a mid-Victorian, late Colonial or brass-bedstead room.</p>
+
+<p>To rearrange a room successfully, begin by taking everything out of it
+(in reality or in your mind), then decide how you want it to look, or
+how, owing to what you own and must retain, you are obliged to have it
+look. Design and colour of wall decorations, hangings, carpets,
+lighting fixtures, lamps and ornaments on mantel, depend upon the
+character of your furniture.</p>
+
+<p>It is the mantel and its arrangement of <a name='Page_2'></a>ornaments that sound the
+keynote upon first entering a room.</p>
+
+<p>Conventional simplicity in number and arrangement of ornaments gives
+balance and repose, hence dignity. Dignity once established, one can
+afford to be individual, and introduce a riot of colours, provided
+they are all in the same key. Luxurious cushions, soft rugs and a
+hundred and one feminine touches will create atmosphere and knit
+together the austere scheme of line&mdash;the anatomy of your room. Colour
+and textiles are the flesh of interior decoration.</p>
+
+<p>In furnishing a small room you can add greatly to its apparent size by
+using plain paper and making the woodwork the same colour, or slightly
+darker in tone. If you cannot find wall paper of exactly the colour
+and shade you wish, it is often possible to use the wrong side of a
+paper and produce exactly the desired effect.</p>
+
+<p>In repapering old rooms with imperfect ceilings it is easy to disguise
+this by using a paper with a small design in the same tone. A
+perfectly plain ceiling paper will show every defect in the surface of
+the ceiling.</p>
+
+<p><a name='Page_3'></a>If your house or flat is small you can gain a great effect of space
+by keeping the same colour scheme throughout&mdash;that is, the same colour
+or related colours. To make a small hall and each of several small
+rooms on the same floor different in any pronounced way, is to cut up
+your home into a restless, unmeaning checkerboard, where one feels
+conscious of the walls and all limitations. The effect of restful
+spaciousness may be obtained by taking the same small suite and
+treating its walls, floors and draperies, as has been suggested, in
+the same colour scheme or a scheme of related keys in colour. That is,
+wood browns, beiges and yellows; violets, mauves and pinks; different
+tones of greys; different tones of yellows, greens and blues.</p>
+
+<p>Now having established your suite and hall all in one key, so that
+there is absolutely no jarring note as one passes from room to room,
+you may be sure of having achieved that most desirable of all
+qualities in interior decoration&mdash;repose. We have seen the idea here
+suggested carried out in small summer homes with most successful
+results; the same colour used on walls and furniture, while exactly
+the same chintz was<a name='Page_4'></a> employed in every bedroom, opening out of one
+hall. By this means it was possible to give to a small, unimportant
+cottage, a note of distinction otherwise quite impossible. Here,
+however, let us say that, if the same chintz is to be used in every
+room, it must be neutral in colour&mdash;a chintz in which the colour
+scheme is, say, yellows in different tones, browns in different tones,
+or greens or greys. To vary the character of each room, introduce
+different colours in the furniture covers, the sofa-cushions and
+lamp-shades. Our point is to urge the repetition of a main background
+in a small group of rooms; but to escape monotony by planning that the
+accessories in each room shall strike individual notes of decorative,
+contrasting colour.</p>
+<br />
+<br />
+<a name='Page_5'></a><h4>PLATE II</h4><br />
+<a name='Page_6'></a>
+<div class='blkquot'><p>A room with modern painted furniture is shown here. Lines and
+decorations Empire.</p>
+<p>Note the lyre backs of chairs and head board in day-bed.
+Treatment of this bed is that suggested where twin beds are used
+and room affords wall space for but one of them.</p>
+</div>
+
+<a name='Page_7'></a>
+<div class="figure">
+<a name='PLATE_II'></a><img src="images/plate02.jpg" alt="Photo of a bedroom">
+</div>
+<div class="subhead">
+<i>Bedroom in Country House. Modern Painted Furniture.</i>
+</div>
+<a name='Page_8'></a>
+
+<hr style='width: 45%;' />
+
+<p>What to do with old floors is a question many of us have faced. If
+your house has been built with floors of wide, common boards which
+have become rough and separated by age, in some cases allowing dust to
+sift through from the cellar, and you do not wish to go to the expense
+of all-over carpets, you have the choice of several methods. The
+simplest and least expensive is to paint or stain the floors. In this
+case <a name='Page_9'></a>employ a floor painter and begin by removing all old paint.
+Paint removers come for the purpose. Then have the floors planed to
+make them even. Next, fill the cracks with putty. The most practical
+method is to stain the floors some dark colour; mahogany, walnut,
+weathered oak, black, green or any colour you may prefer, and then wax
+them. This protects the colour. In a room where daintiness is desired,
+and economy is not important, as for instance in a room with white
+painted furniture, you may have white floors and a square carpet rug
+of some plain dark toned velvet; or, if preferred, the painted border
+may be in come delicate colour to match the wall paper. To resume, if
+you like a dull finish, have the wax rubbed in at intervals, but if
+you like a glossy background for rugs, use a heavy varnish after the
+floors are coloured. This treatment we suggest for more or less formal
+rooms. In bedrooms, put down an inexpensive filling as a background
+for rugs, or should yours be a summer home, use straw matting.</p>
+
+<p>For halls and dining-rooms a plain dark-coloured linoleum, costing not
+less than two dollars a yard makes and inexpensive floor covering.
+<a name='Page_10'></a>If it is waxed it becomes not only very durable but, also, extremely
+effective, suggesting the dark tiles in Italian houses. We do not
+advise the purchase of the linoleums which represent inlaid floors, as
+they are invariably unsuccessful imitations.</p>
+
+<p>If it is necessary to economise and your brass bedstead must be used
+even though you dislike it, you can have it painted the colour of your
+walls. It requires a number of coats. A soft pearl grey is good. Then
+use a colour, or colours, in your silk or chintz bedspread. Sun-proof
+material in a solid colour makes an attractive cover, with a narrow
+fringe in several colours straight around the edges and also, forming
+a circle or square on the top of the bed-cover.</p>
+
+<hr style='width: 45%;' />
+
+<p>If your gas or electric fixtures are ugly and you cannot afford more
+attractive ones, buy very cheap, perfectly plain, ones and paint them
+to match the walls, giving decorative value to them with coloured silk
+shades.</p>
+<br /><br />
+<a name='Page_11'></a><h4>PLATE III</h4><br />
+<a name='Page_12'></a>
+<div class='blkquot'><p>Shows one end of a very small bedroom with modern painted
+     furniture, so simple in line and decoration that it would be
+     equally appropriate either for a young man or for a young woman.
+     We say &quot;young,&quot; because there is something charmingly fresh and
+     youthful about this type of furniture.</p>
+
+<p>     The colour is pale pistache green, with mulberry lines, the same
+     combination of colours being repeated in painting the walls which
+     have a grey background lined with mulberry&mdash;the broad stripe&mdash;and
+     a narrow green line. The bed cover is mulberry, the lamp shade is
+     green with mulberry and grey in the fringe.</p>
+
+<p>     On the walls are delightful old prints framed in black glass with
+     gold lines, and a narrow moulding of gilded oak, an old style
+     revived.</p>
+
+<p>     A square of antique silk covers the night table, and the floor is
+     polished hard wood.</p>
+
+<p>     Here is your hall bedroom, the wee guest room in a flat, or the
+     extra guest room under the eaves of your country house, made
+     equally beguiling. The result of this artistic simplicity is a
+     restful sense of space.</p></div>
+
+<a name='Page_13'></a>
+<div class="figure">
+<a name='PLATE_III'></a><img src="images/plate03.jpg" alt="Photo of a very small bedroom">
+</div>
+<div class="subhead">
+<i>Suggestion for Treatment of a Very Small Bedroom</i>
+</div>
+<br /><a name='Page_14'></a>
+
+<p>If you wish to use twin beds and have not wall space for them, treat
+one like a couch or day-bed. See <a href='#PLATE_II'>Plate II</a>. Your cabinet-maker <a name='Page_15'></a>can
+remove the footboard, then draw the bed out into the room, place in a
+position convenient to the light either by day or night, after which
+put a cover of cretonne or silk over it and cushions of the same.
+Never put a spotted material on a spotted material. If your couch or
+sofa is done in a figured material of different colours, make your
+sofa cushions of plain material to tone down the sofa. If the sofa is
+a plain colour, then tone it up&mdash;make it more decorative by using
+cushions of several colours.</p>
+
+<p>If you like your room, but find it cold in atmosphere, try deep cream
+gauze for sash curtains. They are wonderful atmosphere producers. The
+advantage of two tiers of sash curtains (see <a href='#PLATE_IX'>Plate IX</a>) is that one can
+part and push back one tier for air, light or looking out, and still
+use the other tier to modify the light in the room.</p>
+
+<p>Another way to produce atmosphere in a cold room is to use a
+tone-on-tone paper. That is, a paper striped in two depths of the same
+colour. In choosing any wall paper it is imperative that you try a
+large sample of it in the room for which it is intended, as the
+reflection from a <a name='Page_16'></a>nearby building or brick wall can entirely change a
+beautiful yellow into a thick mustard colour. How a wall paper looks
+in the shop is no criterion. As stated sometimes the <i>wrong side</i> of
+wall paper gives you the tone you desire.</p>
+
+<p>When rearranging your room do not desecrate the few good antiques you
+happen to own by the use of a too modern colour scheme. Have the
+necessary modern pieces you have bought to supplement your treasures
+stained or painted in a dull, dark colour in harmony with the
+antiques, and then use subdued colours in the floor coverings,
+curtains and cushions.</p>
+
+<p>If you own no good old ornaments, try to get a few good shapes and
+colours in inexpensive reproductions of the desired period.</p>
+
+<p>If your room is small, and the bathroom opens out of it, add to the
+size of the room by using the same colour scheme in the bathroom, and
+conceal the plumbing and fixtures by a low screen. If the connecting
+door is kept open, the effect is to enlarge greatly the appearance of
+the small bedroom, whereas if the bedroom decorations are dark and the
+bathroom has a light floor <a name='Page_17'></a>and walls, it abruptly cuts itself off and
+emphasises the smallness of the bedroom.</p>
+
+<p>Everything depends upon the appropriateness of the furniture to its
+setting. We recall some much admired dining-room chairs in the home of
+the Maclaines of Lochbuie in Argyleshire, west coast of Scotland. The
+chairs in question are covered with sealskin from the seals caught off
+that rugged coast. They are quite delightful in a remote country
+house; but they would not be tolerated in London.</p>
+
+<p>The question of placing photographs is not one to be treated lightly.
+Remember, intimate photographs should be placed in intimate rooms,
+while photographs of artists and all celebrities are appropriate for
+the living room or library. It is extremely seldom that a photograph
+unless of public interest is not out of place in a formal room.</p>
+
+<p>To repeat, never forget that your house or flat is <i>your</i> home, and,
+that to have any charm whatever of a personal sort, it must suggest
+<i>you</i>&mdash;not simply the taste of a professional decorator. So work with
+your decorator (if you prefer <a name='Page_18'></a>to employ one) by giving your personal
+attention to styles and colours, and selecting those most sympathetic
+to your own nature. Your architect will be grateful if you will show
+the same interest in the details of building your home, rather than
+assuming the attitude that you have engaged him in order to rid
+yourself of such bother.</p>
+
+<p>If you are building a pretentious house and decide upon some clearly
+defined period of architecture, let us say, Georgian (English
+eighteenth century) we would advise keeping your first floor mainly in
+that period as to furniture and hangings, but upstairs let yourself
+go, that is, make your rooms any style you like. Go in for a gay riot
+of colour, such combinations as are known as Bakst colouring,&mdash;if that
+happens to be your fancy. This Russian painter and designer was
+fortunate in having the theatre in which to demonstrate his
+experiments in vivid colour combinations, and sometimes we quite
+forget that he was but one of many who have used sunset palettes.</p>
+<br />
+
+<br /><a name='Page_19'></a><h4>PLATE IV</h4><br />
+<a name='Page_20'></a>
+<div class='blkquot'><p>Here we have a man's office in Wall Street, New York, showing how
+     a lawyer with large interests surrounds himself with necessities
+     which contribute to his comfort, sense of beauty and art
+     instincts.</p>
+
+<p>     The desk is big, solid and commodious, yet artistically unusual.</p></div>
+
+<a name='Page_21'></a>
+<div class="figure">
+<a name='PLATE_IV'></a><img src="images/plate04.jpg" alt="Photo of a man's office">
+</div>
+<div class="subhead">
+<i>A Man's Office in Wall Street</i>
+</div>
+<br /><a name='Page_22'></a>
+
+<p>Recently the fair butterfly daughters of a mother whose taste has
+<a name='Page_23'></a>grown sophisticated, complained&mdash;&quot;But, Mother, we dislike
+<i>periods</i>, and here you are building a Tudor house!&quot; forgetting, by
+the way, that the so-called Bakst interiors, adored by them, are
+equally a <i>period</i>.</p>
+
+<p>This home, a very wonderful one, is being worked out on the plan
+suggested, that is, the first floor is decorated in the period of the
+exterior of the house, while the personal rooms on the upper floors
+reflect, to a certain extent, the personality of their occupants.
+Remember there must always be a certain relationship between all the
+rooms in one suite, the relationship indicated by lines and a
+background of the same, or a harmonising colour-scheme.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_II'></a><h2><a name='Page_24'></a>CHAPTER II</h2>
+
+<h3>HOW TO CREATE A ROOM</h3>
+<br />
+
+<p>One so often hears the complaint, &quot;I could not possibly set out alone
+to furnish a room! I don't know anything about <i>periods</i>. Why, a Louis
+XVI chair and an Empire chair are quite the same to me. Then the
+question of antiques and reproductions&mdash;why any one could mislead me!&quot;</p>
+
+<p>If you have absolutely no interest in the arranging or rearranging of
+your rooms, house or houses, of course, leave it to a decorator and
+give your attention to whatever does interest you. On the other hand,
+as with bridge, if you really want to play the game, you can learn it.
+The first rule is to determine the actual use to which you intend
+putting the room. Is it to be a bedroom merely, or a combination of
+bedroom and boudoir? Is it to be a formal reception-room, or a
+living-room? Is it to be a family library, or a man's study? If it is
+a small flat, do you aim <a name='Page_25'></a>at absolute comfort, artistically achieved,
+or do you aim at formality at the expense of comfort?</p>
+
+<p>If you lean toward both comfort and formality, and own a country house
+and a city abode, there will be no difficulty in solving the problem.
+Formality may be left to the town house or flat, while during
+week-ends, holidays and summers you can revel in supreme comfort.</p>
+
+<p>Every man or woman is capable of creating comfort. It is a question of
+those deep chairs with wide seats and backs, soft springs, thick,
+downy cushions, of tables and bookcases conveniently placed, lights
+where you want them, beds to the individual taste,&mdash;double, single, or
+twins!</p>
+
+<p>The getting together of a period room, one period or periods in
+combination, is difficult, especially if you are entirely ignorant of
+the subject. However, here is your cue. Let us suppose you need, or
+want, a desk&mdash;an antique desk. Go about from one dealer to the other
+until you find the very piece you have dreamed of; one that gives
+pleasure to you, as well as to the dealer. Then take an experienced
+friend to look at it. If you have every reason to suppose that the
+desk is genuine, buy it. Next, read up on the furniture <a name='Page_26'></a>of the
+particular period to which your desk belongs, in as serious a manner
+as you do when you buy a prize dog at the show. Now you have made an
+intelligent beginning as a collector. Reading informs you, but you
+must buy old furniture to be educated on that subject. Be eternally on
+the lookout; the really good pieces, veritable antiques, are rare;
+most of them are in museums, in private collections or in the hands of
+the most expensive dealers. I refer to those unique pieces, many of
+them signed by the maker and in perfect condition because during all
+their existence they have been jealously preserved, often by the very
+family and in the very house for which they were made. Our chances for
+picking up antiques are reduced to pieces which on account of reversed
+circumstances have been turned out of house and home, and, as with
+human wanderers, much jolting about has told upon them. Most of these
+are fortified in various directions, but they are treasures all the
+same, and have a beauty value in line colour and workmanship and a
+wonderful fitness for the purposes for which they were intended.</p>
+
+<p>&quot;Surely we are many men of many minds!&quot;</p>
+<br />
+
+<br /><a name='Page_27'></a><h4>PLATE V</h4><br />
+<a name='Page_28'></a>
+<div class='blkquot'><p>The sofa large, strong and luxuriously comfortable; the curtains
+     simple, durable and masculine in gender. The tapestry and
+     architectural picture, decorative and appropriately impersonal,
+     as the wall decorations should be in a room used merely for
+     transacting business.</p></div>
+
+<a name='Page_29'></a>
+<div class="figure">
+<a name='PLATE_V'></a><img src="images/plate05.jpg" alt="Photo of an office">
+</div>
+<div class="subhead">
+<i>A Corner of the Same Office</i>
+</div>
+<br /><a name='Page_30'></a>
+
+<p><a name='Page_31'></a>Some prefer antiques a bit dilapidated; a missing detail serving as a
+hallmark to calm doubts; others insist upon completeness to the eye
+and solidity for use; while the connoisseur, with unlimited means,
+recognises nothing less than signed sofas and chairs, and other
+<i>objets d'art</i>. To repeat:&mdash;be always on the lookout, remembering that
+it is the man who knows the points of a good dog, horse or car who can
+pick a winner.</p>
+
+<p>Wonderful reproductions are made in New York City and other cities,
+and thousands bought every day. They are beautiful and desirable
+pieces of furniture, ornaments or silks; but the lover of the <i>vrai
+antique</i> learns to detect, almost at a glance, the lack of that
+quality which a fine <i>old</i> piece has. It is not alone that the
+materials must be old. There is a certain quality gained from the long
+association of its parts. One knows when a piece has &quot;found itself,&quot;
+as Kipling would put it. Time gives an inimitable finish to any
+surface.</p>
+
+<p>If you are young in years, immature in taste, and limited as to bank
+account, you will doubtless go in for a frankly modern room, with
+cheerful <a name='Page_32'></a>painted furniture, gay or soft-toned chintzes, and
+inexpensive smart floor coverings. To begin this way and gradually to
+collect what you want, piece by piece, is to get the most amusement
+possible out of furnishing. When you have the essential pieces for any
+one room, you can undertake an <i>ensemble</i>. Some of the rarest
+collections have been got together in this way, and, if one's fortune
+expands instead of contracting, old pieces may be always replaced by
+those still more desirable, more rare, more in keeping with your
+original scheme.</p>
+
+<p>To buy expensive furnishings in haste and without knowledge, and
+within a year or two discover everything to be in bad taste, is a
+tragedy to a person with an instinctive aversion to waste. Antique or
+modern, every beautiful thing bought is a cherished heirloom in
+embryo. Remember, we may inherit a good antique or <i>objet d'art</i>, buy
+one, or bequeath one. Let us never be guilty of the reverse,&mdash;a
+bar-sinister piece of furniture! Sympathy with unborn posterity should
+make us careful.</p>
+
+<p>It is always excusable to retain an ugly, inartistic thing&mdash;if it is
+<i>useful</i>; but an ornament <a name='Page_33'></a>must be beautiful in line or in colour, or
+it belies its name. Practise that genuine, obvious loyalty which hides
+away on a safe, but invisible shelf, the bad taste of our ancestors
+and friends.</p>
+
+<p>Having settled upon a type of furniture, turn your attention to the
+walls. Always let the location of your room decide the colour of its
+walls. The room with a sunny exposure may have any colour you like,
+warm or cold, but your north room or any room more or less sunless,
+requires the warm, sun-producing yellows, pinks, apple-greens, beige
+and wood-colours, never the cold colours, such as greys, mauves,
+violets and blues, unless in combination with the warm tones. If it is
+your intention to hang pictures on the walls, use plain papers.
+Remember you must never put a spot on a spot! The colour of your walls
+once established, keep in mind two things: that to be agreeable to the
+artistic eye your ceilings must be lighter than your sidewalls, and
+your floors darker. Broadly speaking, it is Nature's own arrangement,
+green trees and hillsides, the sky above, and the dark earth beneath
+our feet. A ceiling, if lighter in tone than the walls, gives <a name='Page_34'></a>a sense
+of airiness to a room. Floors, whether of exposed wood, completely
+carpeted, or covered by rugs, must be enough darker than your
+sidewalls to &quot;hold down your room,&quot; as the decorators say.</p>
+
+<p>If colour is to play a conspicuous part, brightly figured silks and
+cretonnes being used for hangings and upholstery, the floor covering
+should be indefinite both as to colour and design. On the other hand,
+when rugs or carpets are of a definite design in pronounced colours,
+particularly if you are arranging a living-room, make your walls,
+draperies and chair-covers plain, and observe great restraint in the
+use of colour. Those who work with them know that there is no such
+thing as an ugly colour, for all colours are beautiful. Whether a
+colour makes a beautiful or an ugly effect depends entirely upon its
+juxtaposition to other tones. How well French milliners and
+dressmakers understand this! To make the point quite clear, let us
+take magenta. Used alone, nothing has more style, more beautiful
+distinction, but in wrong combination magenta can be amazingly,
+depressingly ugly. Magenta with blue is ravishing, beautiful in
+the subtle way old tapestries are: it touches the imagination whenever
+that combination is found.</p>
+<br />
+
+<br /><a name='Page_35'></a><h4>PLATE VI</h4><br />
+<a name='Page_36'></a>
+<div class='blkquot'><p>The table is modern, but made on the lines of a refectory table,
+     well suited in length, width and solidity for board meetings,
+     etc.</p>
+
+<p>     The chairs are Italian in style.</p></div>
+
+<a name='Page_37'></a>
+<div class="figure">
+<a name='PLATE_VI'></a><img src="images/plate06.jpg" alt="Photo of an office">
+</div>
+<div class="subhead">
+<i>Another View of the Same Office</i>
+</div>
+<br /><a name='Page_38'></a>
+
+<p><a name='Page_39'></a>We grow up to, into, and out of colour schemes. Each of the Seven Ages
+of Man has its appropriate setting in colour as in line. One learns
+the dexterous manipulation of colour from furnishing, as an artist
+learns from painting.</p>
+
+<p>Refuse to accept a colour scheme, unless it appeals to your individual
+taste&mdash;no matter who suggests it. To one not very sensitive to colour
+here is a valuable suggestion. Find a bit of beautiful old silk
+brocade, or a cretonne you especially like, and use its colour
+combinations for your room&mdash;a usual device of decorators. Let us
+suppose your silk or cretonne to have a deep-cream background, and
+scattered on it green foliage, faded salmon-pink roses and little,
+fine blue flowers. Use its prevailing colour, the deep cream, for
+walls and possibly woodwork; make the draperies of taffeta or rep in
+soft apple-greens; use the same colour for upholstery, make shades for
+lamp and electric lights of salmon-pink, then bring in a touch of blue
+<a name='Page_40'></a>in a sofa cushion, a footstool or small chair, or in a beautiful vase
+which charms by its shape as well by reproducing the exact tone of
+blue you desire. There are some who insist no room is complete without
+its note of blue. Many a room has been built up around some highly
+prized treasure,&mdash;lovely vase or an old Japanese print.</p>
+
+<p>A thing always to be avoided is monotony in colour. Who can not recall
+barren rooms, without a spark of attraction despite priceless
+treasures, dispersed in a meaningless way? That sort of setting puts a
+blight on any gathering. &quot;Well,&quot; you will ask, &quot;given the task of
+converting such a sterile stretch of monotony into a blooming joy, how
+should one begin?&quot; It is quite simple. Picture to yourself how the
+room would look if you scattered flowers about it, roses, tulips,
+mignonette, flowers of yellow and blue, in the pell-mell confusion of
+a blooming garden. Now imitate the flower colours by <i>objets d'art</i> so
+judiciously placed that in a trice you will admire what you once found
+cold. As if by magic, a white, cream, beige or grey room may be
+transformed into a smiling bower, teeming with personality, a room
+where wit and wisdom are spontaneously let loose.</p>
+
+<p><a name='Page_41'></a>If your taste be for chintzes and figured silks, take it as a safe
+rule, that given a material with a light background, it should be the
+same in tone as your walls; the idea being that by this method you get
+the full decorative value of the pattern on chintz or silk.</p>
+
+<p>Figured materials can increase or diminish the size of a room, open up
+vistas, push back your walls, or block the vision. For this reason it
+is unsafe to buy material before trying the effect of it in its
+destined abode.</p>
+
+<p>Remember that the matter of <i>background</i> is of the greatest importance
+when arranging your furniture and ornaments. See that your piano is so
+placed that the pianist has an unbroken background, of wall, tapestry,
+a large piece of rare old sills, or a mirror. Clyde Fitch, past-master
+at interior decoration, placed his piano in front of broad windows,
+across which at night were drawn crimson damask curtains. Some of us
+will never forget Geraldine Farrar, as she sat against that background
+wearing a dull, clinging blue-green gown, going over the score,&mdash;from
+memory,&mdash;of &quot;Salom&eacute;.&quot;</p>
+
+<p>The aim is to make the performer at the piano <a name='Page_42'></a>the object of interest,
+therefore place no diverting objects, such as pictures or ornaments,
+on a line with the listener's eye, except as a vague background.</p>
+
+<p>There can be no more becoming setting for a group of people dining by
+candle or electric light, than walls panelled with dark wood to the
+ceiling, or a high wainscoting.</p>
+
+<p>A beautiful sitting-room, not to be forgotten, had light violet walls,
+dull-gold frames on the furniture which was covered in deep-cream
+brocades, bits of old purple velvets and violet silks on the tables,
+under large bowls of Benares bronze filled with violets. The grand
+piano was protected by a piece of old brocade in faded yellows, and
+our hostess, a well-known singer, usually wore a simple Florentine
+tea-gown of soft violet velvet, which together with the lighter violet
+walls, set off her fair skin and black hair to beautiful advantage.</p>
+
+<p>Put a figured, many-coloured sofa cushion behind the head of a pretty
+woman, and if the dominating colour is becoming to her, she is still
+pretty, but change it to a solid black, purple or dull-gold and see
+how instantly the degree of her beauty is enhanced by being
+thrown into relief.</p>
+<br />
+
+<p><br /><a name='Page_43'></a><h4>PLATE VII</h4><br />
+<a name='Page_44'></a>
+<div class='blkquot'><p>Gives attractive corner by a window, the heavy silk brocade
+     curtains of which are drawn. A standard electric lamp lights the
+     desk, both modern-painted pieces, and the beautiful old flower
+     picture, black background with a profusion of colours in lovely
+     soft tones, is framed by a dull-gold moulding and gives immense
+     distinction. The chair is Venetian Louis XV, the same period as
+     desk in style.</p>
+
+<p>     Not to be ignored in this picture is a tin scrap basket
+     beautifully proportioned and painted a vivid emerald green; a
+     valuable addition a note of cheerful colour. The desk and wooden
+     standard of lamp are painted a deep blue-plum colour, touched
+     with gold, and the silk curtains are soft mulberry, in two tones.</p></div>
+
+<a name='Page_45'></a>
+<div class="figure">
+<a name='PLATE_VII'></a><img src="images/plate07.jpg" alt="Photo of painted furniture">
+</div>
+<div class="subhead">
+<i>Corner of Room, Showing Painted Furniture, Antique and
+Modern</i>
+</div>
+<br /><a name='Page_46'></a>
+
+<p><a name='Page_47'></a>Study values&mdash;just why and how much any decorative article decorates,
+and remember in furnishing a room, decorating a wall or dining-room
+table, it is not the intrinsic value or individual beauty of any one
+article which counts. Each picture on the wall, each piece of
+furniture, each bit of silver, glass, china, linen or lace, each yard
+of chintz or silk, every carpet or rug must be beautiful and effective
+<i>in relation to the others used</i>, for the <i>art</i> of interior decoration
+lies in this subtle, or obvious, relationship of furnishings.</p>
+
+<p>We acknowledge as legitimate all schemes of interior decoration and
+insist that what makes any scheme good or bad, successful, or
+unsuccessful presuming a knowledge of the fundamentals of the art, is
+the fact that it is planned in reference to the type of man or woman
+who is to live in it.</p>
+
+<p>A new note has been struck of late in the arranging of bizarre,
+delightful rooms which on entering we pronounce &quot;very amusing.&quot;</p>
+
+<p>Original they certainly are, in colour combinations, <a name='Page_48'></a>tropical in the
+impression they make,&mdash;or should we say Oriental?</p>
+
+<p>They have come to us via Russia, Bakst, Munich and Martine of Paris.
+Like Rheinhardt's staging of &quot;Sumurun,&quot; because these blazing interiors
+strike us at an unaccustomed angle, some are merely astonished, others
+charmed as well. There are temperaments ideally set in these interiors,
+and there are houses where they are in place. We cannot regard them as
+epoch-making, but granted that there is no attempt to conform to two of
+the rules for furnishing,&mdash;<i>appropriateness</i> and <i>practicality</i>,
+the results are refreshingly new and entertaining. This is one of the
+instances where exaggeration has served as a healthy antidote to the
+tendency toward extreme dinginess rampant about ten years ago, resulting
+from an obsession to antique everything. The reaction from this, a flaming
+rainbow of colours, struck a blow to the artistic sense, drew
+attention back to the value of colour and started the creative impulse
+along the line of a happy medium.</p>
+
+<p>Whether it be a furnished porch, personal suite (as bedroom, boudoir
+and bath), a family <a name='Page_49'></a>living-room, dining-room, formal reception-room,
+or period ballroom, never allow members of your household or servants
+to destroy the effect you have achieved with careful thought and
+outlay of money, by ruthlessly moving chairs and tables from one room
+to another. Keep your wicker furniture on the porch, for which it was
+intended. If it strays into the adjacent living-room, done in quite
+another scheme, it will absolutely thwart your efforts at harmony,
+while your porch-room done in wicker and gay chintzes, striped awnings
+and geranium rail-boxes, cries out against the intrusion of a chair
+dragged out from the house. Remember that should you intend using your
+period ballroom from time to time as an audience room for concerts and
+lectures, you must provide a complete equipment of small, very light
+(so as to be quickly moved) chairs, in your &quot;period,&quot; as a necessary
+part of your decoration.</p>
+
+<p>The current idea that a distinguished room remains distinguished
+because costly tapestries and old masters hang on its walls, even when
+the floor is strewn with vulgar, hired chairs, is an absurd mistake.
+Each room from kitchen to <a name='Page_50'></a>ballroom is a stage &quot;set,&quot;&mdash;a harmonious
+background for certain scenes in life's drama. It is the man or woman
+who grasps this principle of a distinguished home who can create an
+interior which endures, one which will hold its own despite the ebb
+and flow of fashion. Imposing dimensions and great outlay of money do
+not necessarily imply distinction, a quality depending upon unerring
+good taste in the minutest details, one which may be achieved equally
+in a stately mansion, in a city flat, or in a cottage by the sea.</p>
+
+<p>The question of background is absorbingly interesting. A vase, with or
+without flowers, to add to the composition of your room, that is, to
+make &quot;a good picture,&quot; must be placed so that its background sets it
+off. Let the Venetian glass vase holding one rose stand in such a
+position that your green curtain is its background, and not a
+photograph or other picture. One flower, carefully placed in a room,
+will have more real decorative value than dozens of costly roses
+strewn about in the wrong vases, against mottled, line-destroying
+backgrounds.</p>
+
+<p><a name='Page_51'></a>Flowers are always more beautiful in a plain vase, whether of glass,
+pottery, porcelain or silver. If a vase chances to have a decoration
+in colour, then make a point of having the flowers it holds accord in
+colour, if not in shade, with the colour or colours in the vase.</p>
+
+<p>There is a general rule that no ornament should ever be placed in
+front of a picture. The exception to this rule occurs when the picture
+is one of the large, architectural variety, whose purpose is primarily
+mural decoration,&mdash;an intentional background, as tapestries often are,
+serving its purpose as nature does when a vase or statue is placed in
+a park or garden. One sees in portraits by some of the old masters
+this idea of landscape used as background. Bear in mind, however, that
+if there is a central design&mdash;a definite composition in the picture,
+or tapestry, no ornament should ever be so placed as to interfere with
+it. If you happen to own a tapestry which is not large enough for your
+space by one, two or three feet, frame it with a plain border of
+velvet or velveteen, to match the dominating colour, and a shade
+darker than it appears in the tapestry. This expedient heightens the
+decorative effect of the tapestry.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_III'></a><h2><a name='Page_52'></a>CHAPTER III</h2>
+
+<h3>HOW TO DETERMINE CHARACTER OF HANGINGS AND FURNITURE-COVERING FOR A
+GIVEN ROOM</h3>
+<br />
+
+<p>In a measure, the materials for hangings and furniture-coverings are
+determined more or less by the amount one wishes to spend in this
+direction. For choice, one would say silk or velvet for formal rooms;
+velvets, corduroys or chintz for living-rooms; leather and corduroy
+with rep hangings for a man's study or smoking-room; thin silks and
+chintz for bedrooms; chintz for nurseries, breakfast-rooms and
+porches.</p>
+
+<p>In England, slip-covers of chintz (glazed cretonne) appear, also, in
+formal rooms; but are removed when the owner is entertaining. If the
+permanent upholstery is of chintz, then at once your room becomes
+informal. If you are planning the living-room for a small house or
+apartment, which must serve as reception-room <a name='Page_53'></a>during the winter
+months, far more dignity, and some elegance can be obtained for the
+same expenditure, by using plain velveteen, modern silk brocades in
+one colour, or some of the modern reps to be had in very smart shades
+of all colours.</p>
+
+<p>If your furniture is choice, rarely beautiful in quality, line and
+colour, hangings and covers must accord. Genuine antiques demand
+antique silks for hangings and table covers; but no decorator, if at
+all practical, will cover a chair or sofa in the frail old silks, for
+they go to pieces almost in the mounting. Waive sentiment in this
+case, for the modern reproductions are satisfactory to the eye and
+improve in tone with age.</p>
+
+<p>If you own only a small piece of antique silk, make a square of it for
+the centre of the table, or cleverly combine several small bits, if
+these are all you have, into an interesting cover or cushion. Nothing
+in the world gives such a note of distinction to a room as the use of
+rare, old silks, properly placed.</p>
+
+<p>The fashion for cretonne and chintz has led to their indiscriminate
+use by professionals as well as amateurs, and this craze has caused a
+prejudice <a name='Page_54'></a>against them. Chintz used with judgment can be most
+attractive. In America the term chintz includes cretonne and stamped
+linen. If you are planning for them, put together, for consideration,
+all your bright coloured chintz, and in quite another part of your
+room, or decorator's shop, the chintz of dull, faded colours, as they
+require different treatment. A general rule for this material&mdash;bright
+or dull&mdash;is that if you would have your chintz <i>decorate</i>, be careful
+not to use it too lavishly. If it is intended for curtains, then cover
+only one chair with it and cover the rest in a solid colour. If you
+want chintz for all of your chairs and sofa, make your curtains, sofa
+cushions and lamp shades of a solid colour, and be sure that you take
+one of the leading colours in the chintz. Next indicate your intention
+at harmony, by &quot;bringing together&quot; the plain curtains or chairs, and
+your chintz, with a narrow fringe or border of still another colour,
+which figures in the chintz. Let us suppose chintz to be black with a
+design in greens, mulberry and buff. Make your curtains plain
+mulberry, edged with narrow pale green fringe with black and buff
+in it, or should your chintz be grey with a design in faded blues and
+violets and a touch of black, make curtains of the chintz, and cover
+one large chair, keeping the sofa and the remaining chairs grey, with
+the bordering fringe, or gimp, in one or two of the other shades, sofa
+cushions and the lamp shades in blues and violets (lining lamp shades
+with thin pink silk), and use a little black in the bordering fringe.</p>
+<br />
+
+<p><br /><a name='Page_55'></a><h4>PLATE VIII</h4><br />
+<a name='Page_56'></a>
+<div class='blkquot'><p>Shows an ideal mantel arrangement, faultless as a composition and
+     beautiful and rare in detail. The exquisite white marble mantel
+     is Italian, not French, of the time of Louis XVI.</p>
+
+<p>     Though the designs of this period are almost identical, one
+     quickly learns to detect the difference in feeling between the
+     work of the two countries. The Italians are freer, broader in
+     their treatment, show more movement and in a way more grace,
+     where the French work is more detailed and precise, hence at
+     times, by contrast, seems stilted and rigid.</p>
+
+<p>     Enchantingly graceful are the two candelabra, also Louis XVI,
+     while the central ornament is ideally chosen for size and design.</p>
+
+<p>     The dull gold frame of the mirror is very beautiful, and the
+     painting above the glass interesting and unusual as to subject
+     and execution.</p>
+
+<p>     The chair is a good example of Italian Louis XV.</p></div>
+
+<a name='Page_57'></a>
+<div class="figure">
+<a name='PLATE_VIII'></a><img src="images/plate08.jpg" alt="Photo of a mantel">
+</div>
+<div class="subhead">
+<i>Example of a Perfect Mantel, Ornaments and Mirror</i>
+</div>
+<br /><a name='Page_58'></a>
+
+<p><a name='Page_59'></a>If you decide upon a very brilliant chintz use it only in one chair, a
+screen, or in a valance over plain curtains with straps to hold them
+back, or perhaps a sofa cushion. Whether a chintz is bright or dull,
+its pattern is important. As with silks, brocaded in different
+colours, therefore never use chintz where a chair or sofa calls for
+tufting. A tufted piece of furniture always looks best done in plain
+materials.</p>
+
+<p>In using a chintz in which both colour and design are indefinite, the
+kind which gives more or less an impression of faded tapestry, you
+will find that the very indefiniteness of the pattern makes it
+possible to use the chintz with more freedom, being always sure of a
+harmonious <a name='Page_60'></a>background. The one thing to guard against is that on
+entering a room you must not be conscious either of several colours,
+or of any set design.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_IV'></a><h2><a name='Page_61'></a>CHAPTER IV</h2>
+
+<h3>THE STORY OF TEXTILES</h3>
+<br />
+
+<p>The story of the evolution of textiles (any woven material) is
+fascinating, and like the history of every art, runs parallel with the
+history of culture and progress in the art of living,&mdash;physical,
+mental and spiritual.</p>
+
+<p>To those who feel they would enjoy an exhaustive history of textiles
+we recommend a descriptive catalogue relating to the collection of
+textiles in the South Kensington Museum, prepared by the Very Rev.
+Daniel Rock, D.D. (1870).</p>
+
+<p>In the introduction to that catalogue one gets the story of woven
+linens, cottons, silks, paper, gold and silver threads, interspersed
+with precious jewels and glass beads&mdash;all materials woven by hand or
+machine.</p>
+
+<p>The story of textiles includes: 1st, woven materials; 2nd, embroidered
+materials; 3rd, <a name='Page_62'></a>a combination of the two, known as &quot;tapestry.&quot; If one
+reads their wonderful story, starting in Assyria, then progressing to
+Egypt, the Orient, Greece, Rome and Western Europe, in any history of
+textiles, one may obtain quickly and easily a clear idea of this
+department of interior decoration from the very earliest times.</p>
+
+<p>The first European silk is said to have been in the form of
+transparent gauze, dyed lovely tones for women of the Greek islands, a
+form of costume later condemned by Greek philosophers.</p>
+
+<p>We know that embroidery was an art three thousand years ago, in fact
+the figured garments seen on the Assyrian and Egyptian bas-reliefs are
+supposed to represent materials with embroidered figures&mdash;not woven
+patterns&mdash;whereas in the Bible, when we read of embroidery, according
+to the translators, this sometimes means woven stripes.</p>
+<br />
+
+<p><br /><a name='Page_63'></a><h4>PLATE IX</h4><br />
+<a name='Page_64'></a>
+<div class='blkquot'><p>An ideal dining-room of its kind, modern painted furniture,
+     Empire in design. In this case yellow with decoration in white.
+     Curtains, thin yellow silk.</p>
+
+<p>     Note the Empire electric light fixtures in hand-carved gilded
+     wood, reproductions of an antique silver applique. Even the steam
+     radiators are here cleverly concealed by wooden cases made after
+     Empire designs.</p>
+
+<p>     The walls are white and panelled in wood also white.</p></div>
+
+<a name='Page_65'></a>
+<div class="figure">
+<a name='PLATE_IX'></a><img src="images/plate09.jpg" alt="Photo of a dining room">
+</div>
+<div class="subhead">
+<i>Dining-room in Country House, Showing Modern Painted
+Furniture. Style Directoire.</i>
+</div>
+<br /><a name='Page_66'></a>
+
+<p><a name='Page_67'></a>The earliest garments of Egypt were of cotton and hemp, or mallow,
+resembling flax. The older Egyptians never knew silks in any form, nor
+did the Israelites, nor any of the ancients. The earliest account of
+this material is given by Aristotle (fourth century). It was
+brought into Western Europe from China, via India, the Red Sea
+and Persia, and the first to weave it outside the Orient was a maiden
+on the Isle of Cos, off the coast of Asia Minor, producing a thin
+gauze-like tissue worn by herself and companions, the material
+resembling the Seven Veils of Salome. To-day those tiny bits of gauze
+one sees laid in between the leaves of old manuscript to protect the
+illuminations, as our publishers use sheets of tissue paper, are said
+to be examples of this earliest form of woven silk.</p>
+
+<p>The Romans used silk at first only for their women, as it was
+considered not a masculine material, but gradually they adopted it for
+the festival robes of men, Titus and Vespasian being among those said
+to have worn it.</p>
+
+<p>The first silk looms were set up in the royal palaces of the Roman
+kings in the year 533 A.D. The raw material was brought from the East
+for a long time but in the sixth century two Greek monks, while in
+China, studied the method of rearing silk worms and obtaining the
+silk, and on their departure are said to have concealed the eggs of
+silk worms in their staves. They are accredited with introducing the
+<a name='Page_68'></a>manufacture of silk into Greece and hence into Western Europe. After
+that Greece, Persia and Asia Minor made this material, and Byzantium
+was famed for its silks, the actual making of which got into the hands
+of the Jews and was for a long time controlled by them.</p>
+
+<p>Metals (gold, silver and copper) were flattened out and cut into
+narrow strips for winding around cotton twists. These were the gold
+and silver threads used in weaving. The Moors and Spaniards instead of
+metals used strips of gilded parchment for weaving with the silk.</p>
+
+<p>We know that England was weaving silk in the thirteenth century, and
+velvets seem to have been used at a very early date. The introduction
+of silk and velvet into different countries had an immediate and
+much-needed influence in civilising the manners of society. It is hard
+to realise that in the thirteenth century when Edward I married
+Eleanor of Castile, the highest nobles of England when resting at
+their ease, stretched at full length on the straw-covered floors of
+baronial halls, and jeered at the Spanish courtiers who hung the walls
+and <a name='Page_69'></a>stretched the floors of Edward's castle with silks in preparation
+for his Spanish bride.</p>
+
+<p>The progress of art and culture was always from the East and moved
+slowly. Do not go so far back as the thirteenth century. James I of
+England owned no stockings when he was James VI of Scotland, and had
+to borrow a pair in which to receive the English ambassador.</p>
+
+<p>In the eleventh century Italy manufactured her own silks, and into
+them were woven precious stones, corals, seed pearls and coloured
+glass beads which were made in Greece and Venice, as well as gold and
+silver spangles (twelfth and thirteenth centuries).</p>
+
+<p>Here is an item on interior decorations from Proverbs vii, 16; &quot;I have
+woven my bed with cords, I have covered it with painted tapestry
+brought from Egypt.&quot; There were painted tapestries made in Western
+Europe at a very early date, and collectors eagerly seek them (see
+<a href='#PLATE_XIV'>Plate XIV</a>). In the fourteenth century these painted tapestries were
+referred to as &quot;Stained Cloth.&quot;</p>
+
+<p>Embroidery as an art, as we have already <a name='Page_70'></a>seen, antedates silk
+weaving. The youngest of the three arts is tapestry. The oldest
+embroidery stitches are: &quot;the feather stitch,&quot; so called because they
+all took one direction, the stitches over-lapping, like the feathers
+of a bird; and &quot;cross-stitch&quot; or &quot;cushion&quot; style, because used on
+church cushions, made for kneeling when at prayer or to hold the Mass
+book.</p>
+
+<p>Hand-woven tapestries are called &quot;comb-wrought&quot; because the instrument
+used in weaving was comb-like.</p>
+
+<p>&quot;Cut-work&quot; is embroidery that is cut out and appliqued, or sewed on
+another material.</p>
+
+<p>Carpets which were used in Western Europe in the Middle Ages are
+seldom seen. The Kensington Museum owns two specimens, both of them
+Spanish, one of the fourteenth and one of the fifteenth century.</p>
+
+<p>In speaking of Gothic art we called attention to the fostering of art
+by the Church during the Dark Ages. This continued, and we find that
+in Henry VIII's time those who visited monasteries and afterward wrote
+accounts of them call attention to the fact that each monk was
+<a name='Page_71'></a>occupied either with painting, carving, modelling, embroidering or
+writing. They worked primarily for the Church, decorating it for the
+glory of God, but the homes of the rich and powerful laity, even so
+early as the reign of Henry III (1216-1272), boasted some very
+beautiful interior decorations, tapestries, painted ceilings and
+stained glass, as well as carved panelling.</p>
+
+<p>Bostwick Castle, Scotland, had its vaulted ceiling painted with
+towers, battlements and pinnacles, a style of mural decoration which
+one sees in the oldest castles of Germany. It recalls the illumination
+in old manuscripts.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_V'></a><h2><a name='Page_72'></a>CHAPTER V</h2>
+
+<h3>CANDLESTICKS, LAMPS, FIXTURES FOR GAS AND ELECTRICITY, AND SHADES</h3>
+<br />
+
+<p>Candlesticks, lamps, and fixtures for gas and electricity must accord
+with the lines of your architecture and furniture. The mantelpiece is
+the connecting link between the architecture and the furnishing of a
+room. It is the architect's contribution to the furnishing, and for
+this reason the keynote for the decorator.</p>
+
+<p>In the same way lighting fixtures are links between the construction
+and decoration of a room, and can contribute to, or seriously divert
+from, the decorator's design.</p>
+
+<p>It is important that fixtures be so placed as to appear a part of the
+decoration and not merely to illuminate conveniently a corner of the
+room, a writing-desk, table or piano.</p>
+<br />
+
+<p><br /><a name='Page_73'></a><h4>PLATE X</h4><br />
+<a name='Page_74'></a>
+<div class='blkquot'><p>The dining-room of this apartment is Italian Renaissance&mdash;oak,
+     almost black from age, and carved.</p>
+
+<p>     The seat pads and lambrequin over window are of deep red velvet.
+     The walls are stretched with dull red <i>brocotello</i> (a combination
+     of silk and linen), very old and valuable. The chandelier is
+     Italian carved wood, gilded.</p>
+
+<p>     Attention is called to the treatment of the windows. No curtains
+     are used, instead, boxes are planted with ivy which is trained to
+     climb the green lattice and helps to temper the light, while the
+     window shades themselves are of a fascinating glazed linen,
+     having a soft yellow background and design of fruit and vines in
+     brilliant colours.</p></div>
+
+<a name='Page_75'></a>
+<div class="figure">
+<a name='PLATE_X'></a><img src="images/plate10.jpg" alt="Photo of a dining room">
+</div>
+<div class="subhead">
+<i>Dining-room Furniture, Italian Renaissance</i>
+</div>
+<br /><a name='Page_76'></a>
+
+<p><a name='Page_77'></a>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.</p>
+
+<p>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&mdash;brass, gilded wood, glass or wrought
+iron&mdash;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 <i>light</i> note of colour, not one of the
+<i>dark</i> notes when illuminated.</p>
+
+<p>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 <a name='Page_78'></a>is, equally great, <i>even if different</i>. 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&mdash;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.</p>
+
+<p>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.</p>
+
+<p>It is because Italian parchment-paper produces <a name='Page_79'></a>the desired <i>glow</i> 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.</p>
+
+<p>Figured Italian papers are equally popular for shades, but their
+characteristic is to decorate the room by daylight only, and to impart
+no <i>quality</i> 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.</p>
+
+<p>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.</p>
+
+<p>The &quot;umbrella&quot; shades with long chiffon curtains reaching to the
+<a name='Page_80'></a>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.</p>
+
+<p>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.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_VI'></a><h2><a name='Page_81'></a>CHAPTER VI</h2>
+
+<h3>WINDOW SHADES AND AWNINGS</h3>
+<br />
+
+<p>The first thing to consider in selecting window shades when furnishing
+a <i>house</i>, 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.</p>
+
+<p>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 <a name='Page_82'></a>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.</p>
+
+<p>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.
+<a href='#PLATE_X'>Plate X</a> 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 <a href='#PLATE_X'>Plate X</a>,
+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.</p>
+
+<p>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 &quot;in the hand,&quot; 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.</p>
+<br />
+
+<br /><a name='Page_83'></a><h4>PLATE XI</h4><br />
+<a name='Page_84'></a>
+<div class='blkquot'><p>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.</p>
+
+<p>     The standard electric lamps throw the light <i>up</i> only. There are
+     four, one in each corner of the room, and candles light the
+     table.</p>
+
+<p>     The wall decoration here is a flower picture.</p></div>
+
+<a name='Page_85'></a>
+<div class="figure">
+<a name='PLATE_XI'></a><img src="images/plate11.jpg" alt="Photo of a dining room">
+</div>
+<div class="subhead">
+<i>Corner of Dining-room in New York Apartment, Showing
+Section of Italian Refectory Table and Italian Chairs, Both Antique
+and Renaissance</i>
+</div>
+<br /><a name='Page_86'></a>
+
+<p><a name='Page_87'></a><i>All awnings fade</i>, 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.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_VII'></a><h2><a name='Page_88'></a>CHAPTER VII</h2>
+
+<h3>TREATMENT OF PICTURES AND PICTURE FRAMES</h3>
+<br />
+
+<p>Strive to have the subject of your pictures appropriate to the room in
+which they are to be hung.</p>
+
+<p>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
+<a name='Page_89'></a>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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).</p>
+
+<p>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.</p>
+
+<p><a name='Page_90'></a>Never use white margins on any pictures unless your walls are white.</p>
+
+<p>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&mdash;that is, their subjects, colour and line.</p>
+
+<p>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
+<i>decoration</i>; that is, to ask yourself if in colour, period and
+subject it carries out the idea of your room.</p>
+
+<p>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.</p>
+
+<p>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 &quot;star&quot; it,&mdash;build
+your room up to it? If you decide to do this, see that everything else
+representing <i>colour</i> is either subservient to the picture, or if
+of equal value as to colour, that they harmonise perfectly with the
+picture in mind.</p>
+<br />
+
+<br /><a name='Page_91'></a><h4>PLATE XII</h4><br />
+<a name='Page_92'></a>
+<div class='blkquot'><p>From a studio one enters a smaller room, one side of which is
+     shown here, a veritable Italian Louis XVI salon.</p></div>
+
+<a name='Page_93'></a>
+<div class="figure">
+<a name='PLATE_XII'></a><img src="images/plate12.jpg" alt="Photo of an Italian Louis XVI Salon">
+</div>
+<div class="subhead">
+<i>An Italian Louis XVI Salon in a New York Apartment</i>
+</div>
+<br /><a name='Page_94'></a>
+
+<p><a name='Page_95'></a>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.</p>
+
+<p>Etchings are at their best with other etchings, engravings or water
+colours, and should be hung in rooms flooded with light and delicately
+furnished.</p>
+
+<p>The crowding of walls with pictures is always bad; hang only as many
+as <i>furnish</i> 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,&mdash;that is, an
+equal distance from floor or ceiling. If this rule is observed <a name='Page_96'></a>a
+sense of order and restfulness is communicated to the observer.</p>
+
+<p>If one picture is hung over the other uniformity and balance must be
+preserved.</p>
+
+<p>One large picture may be balanced by two smaller ones.</p>
+
+<p>Hang your miniatures in a straight line across your wall, under a
+large picture or in a straight line&mdash;one under the other, down a
+narrow wall panel.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_VIII'></a><h2><a name='Page_97'></a>CHAPTER VIII</h2>
+
+<h3>TREATMENT OF PIANO CASES</h3>
+<br />
+
+<p>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.</p>
+
+<p>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
+<a name='Page_98'></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.</p>
+
+<p>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.</p>
+<br />
+
+<br /><a name='Page_99'></a><h4>PLATE XIII</h4><br />
+<a name='Page_100'></a>
+<div class='blkquot'><p>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.</p></div>
+
+<a name='Page_101'></a>
+<div class="figure">
+<a name='PLATE_XIII'></a><img src="images/plate13.jpg" alt="Photo of an Italian Louis XVI Salon">
+</div>
+<div class="subhead">
+<i>Another Side of Same Italian Louis XVI Salon</i>
+</div>
+<a name='Page_102'></a>
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_IX'></a><h2><a name='Page_103'></a>CHAPTER IX</h2>
+
+<h3>TREATMENT OF DINING-ROOM BUFFETS AND DRESSING-TABLES</h3>
+<br />
+
+<p>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.</p>
+
+<p>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.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_X'></a><h2><a name='Page_104'></a>CHAPTER X</h2>
+
+<h3>TREATMENT OF WORK TABLES, BIRD CAGES, DOG BASKETS AND FISH GLOBES</h3>
+<br />
+
+<p>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 &quot;flowers&quot; 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&mdash;and, incidentally, its
+inmates! Apropos of this, it was only the other day that some one
+remarked in our hearing, &quot;This room is so blooming with lovely bits of
+colour in lamp shades, pillows, and <i>objets d'art</i>, that I no longer
+spend money on cut flowers.&quot; 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
+<a name='Page_105'></a>or work-bag, represent one, two or three of the colours in your room.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>See to it that cage and basket set off your bird, dog or cat; but
+don't let them become too conspicuous <a name='Page_106'></a>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.</p>
+
+<p>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&mdash;not a superfluous&mdash;tone of colour in a room or on a
+porch.</p>
+<br />
+
+<br /><a name='Page_107'></a><h4>PLATE XIV</h4><br />
+<a name='Page_108'></a>
+<div class='blkquot'><p>Shows narrow hall in an old country house, thought impossible as
+     to appearance, but made charming by &quot;pushing out&quot; the wall with
+     an antique painted tapestry and keeping all woodwork and carpets
+     the same delicate dove grey.</p></div>
+
+<a name='Page_109'></a><div class="figure">
+<a name='PLATE_XIV'></a><img src="images/plate14.jpg" alt="Photo of a narrow hall">
+</div>
+<div class="subhead">
+<i>A Narrow Hall Where Effect of Width Is Attained by
+Use of Tapestry with Vista</i></div>
+<a name='Page_110'></a>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XI'></a><h2><a name='Page_111'></a>CHAPTER XI</h2>
+
+<h3>TREATMENT OF FIREPLACES</h3>
+<br />
+
+<p>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
+<i>period</i> 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.</p>
+
+<p>Many otherwise attractive fireplaces are spoiled by using the wrong
+kind of tiles to frame them. Shiny, enamelled tiles in any colour, are
+<a name='Page_112'></a>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. <i>Well designed</i> 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.</p>
+
+<p>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 <i>old</i>, one can find this
+variety of grate in antique shops as well as &quot;Franklin stoves&quot;
+(portable open fireplaces).</p>
+
+<p>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 <a href='#PLATE_XIX'>Plate XIX</a>.</p>
+
+<p><a name='Page_113'></a>Let the fireplace be the centre of attraction in your room and draw
+about it comfortable chairs, sofas and settles,&mdash;make it easy to enjoy
+its hospitable blaze.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XII'></a><h2><a name='Page_114'></a>CHAPTER XII</h2>
+
+<h3>TREATMENT OF BATHROOMS</h3>
+<br />
+
+<p>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.</p>
+
+<p>The treatment of bathrooms has become an interesting branch of
+interior decoration, whereas once it was left entirely to the
+architect and plumber.</p>
+
+<p>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.</p>
+<br />
+
+<br /><a name='Page_115'></a><h4>PLATE XV</h4><br />
+<a name='Page_116'></a>
+<div class='blkquot'><p>This illustration speaks for itself&mdash;fruit dishes and fruit,
+     candlesticks, covered jars for dried rose leaves, finger bowls,
+     powder boxes, flower vase, and scent bottles&mdash;all of Venetian
+     Glass in exquisite shades.</p></div>
+
+<a name='Page_117'></a>
+<div class="figure">
+<a name='PLATE_XV'></a><img src="images/plate15.jpg" alt="Photo of Venetian glass">
+</div>
+<div class="subhead">
+<i>Venetian Glass, Antique and Modern</i></div>
+<br /><a name='Page_118'></a>
+
+<p><a name='Page_119'></a>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.</p>
+
+<p>The criticism that mirrors in men's bathrooms are necessarily an
+effeminate touch, can be refuted by the statement that so sturdy a
+<a name='Page_120'></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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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 <a name='Page_121'></a>of your rooms, and by following it out, the general
+appearance of your suite is immensely improved.</p>
+
+<p>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 <a href='#PLATE_XI'>Plate XI</a>. 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.</p>
+<br />
+
+<br /><a name='Page_122'></a><h4>PLATE XVI</h4><br />
+<a name='Page_123'></a>
+<div class='blkquot'><p>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, &quot;Geib &amp; Walker, 23 Maiden Lane,
+    N.Y.&quot; The date of piano is about 1830.</p>
+
+<p>    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.</p>
+
+<p>    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.</p>
+
+<p>    The vase on the piano is Empire and antique, decoration of green
+    and gold. The flowers on table are artificial, a quaint Victorian
+    contrast.</p>
+
+<p>    Through the doorway one sees the end of an Empire bed which came
+    from an old ch&acirc;teau 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.</p>
+
+<p>    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.</p>
+
+<p>    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.</p></div>
+
+<a name='Page_124'></a><div class="figure">
+<a name='PLATE_XVI'></a><img src="images/plate16.jpg" alt="Photo of a corner of a room">
+</div>
+<div class="subhead">
+<i>Corner of a Room in a Small Empire Suite</i></div>
+<br /><a name='Page_125'></a>
+
+<p><a name='Page_126'></a>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 na&iuml;ve statement
+concerning warm baths, which is meant in all seriousness. It refers to
+the &quot;Arcade Bath&quot; at 32 Chambers Street, New York City.</p>
+
+<hr style='width: 45%;' />
+
+<div class='blkquot'><p>&quot;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:</p>
+
+<p>     &quot;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, <a name='Page_127'></a>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.'</p>
+
+<p>     &quot;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.</p>
+
+<p>     &quot;Strangers will recognise the Bathing House from the front being
+     extended over two lots of <a name='Page_128'></a>ground, and the centre basement being
+     of free-stone.&quot;</p></div>
+
+<hr style='width: 45%;' />
+
+<p>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 &quot;showers,&quot; 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!</p>
+
+<p>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 <a name='Page_129'></a>civic
+reforms. There is a large monument erected to the memory of Count
+Rumford in Munich. He died at Auteuil, France, in 1814.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XIII'></a><h2><a name='Page_130'></a>CHAPTER XIII</h2>
+
+<h3>PERIOD ROOMS</h3>
+<br />
+
+<p>We use the term &quot;period rooms&quot; 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 <i>new</i> 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.</p>
+
+<p>One fascinating way of becoming familiar with history, is to delve
+into the origin and development of periods in furniture. The story <a name='Page_131'></a>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.</p>
+
+<p>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 &quot;made in Germany.&quot; 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 <a name='Page_132'></a>the standard attained during the Louis&nbsp;<a name='FNanchor_1_1'></a><a href='#Footnote_1_1'><sup>[1]</sup></a>
+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.</p>
+
+<p>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.</p>
+
+<p>To take one case in point, we glibly speak of &quot;Colonial&quot; 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 <a name='Page_133'></a>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 <a name='Page_134'></a>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.</p>
+
+<p>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 <i>reflect</i>. 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.</p>
+
+<p><a name='Page_135'></a>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
+<i>homes</i>, 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 <i>objet d'art</i> as a delightful, because harmonious
+note of contrast.</p>
+
+<p>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.</p>
+
+<p>Every one understands and feels deeply the difference between the
+museum palace or the period rooms of the commonplace decorator, <a name='Page_136'></a>and
+such a marvellous, living, breathing, palatial home as that &quot;Italian
+palace&quot; 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 <i>home-like</i> and like <i>you</i>, 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,&mdash;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 <a name='Page_137'></a>countries. One is surprised to note how
+perfectly at home even the modern paintings appear in this version of
+an old Italian palace.</p>
+
+<p>Be sure that you aim at the same combination of beauty, usefulness,
+and harmony between colour scheme and <i>objets d'art</i>. 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 <i>you</i>. 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
+<a name='Page_138'></a>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 <i>knowing, loving</i> and <i>demanding beautiful things</i>, 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 <a name='Page_139'></a>faded colours with old furniture and tapestry. Your grandmother
+wears mauves and greys&mdash;not bright red.</p>
+
+<p>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. <a href='#PLATE_XIV'>Plate XIV</a> 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.</p>
+
+<p>FOOTNOTES:</p>
+
+<a name='Footnote_1_1'></a><a href='#FNanchor_1_1'>[1]</a><div class='note'><p> Louis XIV, XV, and XVI.</p></div>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XIV'></a><h2><a name='Page_140'></a>CHAPTER XIV</h2>
+
+<h3>PERIODS IN FURNITURE</h3>
+<br />
+
+<p>Periods in furniture are amazingly interesting if one plunges into the
+story, not with tense nerves, but gaily, for mere amusement, and then
+floats gently, in a drifting mood. One gathers in this way many
+sparkling historical anecdotes, and much substantial data really not
+so cumbersome as some imagine!</p>
+
+<p>To know anything at all about a subject one must begin at the
+beginning, and to make the long run seems a mere spin in an auto, let
+us at once remind you that the whole fascinating tale lies between the
+covers of one delightful book, the &quot;Illustrated History of Furniture,&quot;
+by Frederick Litchfield, published by Truslove &amp; Hanson, London, and
+by John Lane, New York. There are other books&mdash;many of them&mdash;but first
+exhaust Litchfield and apply what he tells you as you wander through
+public and private collections of furniture.</p>
+
+<p><a name='Page_141'></a>If you care for furniture at all, this book, which tells all that is
+known of its history, will prove highly instructive.</p>
+
+<p>One cannot speak of the gradual development of furniture and
+furnishing; it is more a case of <i>waves of types</i>, and the story
+begins on the crest of a wave in Assyria, about 3000 years before
+Christ! Yes, seriously, interior decoration was an art back in that
+period and can be traced without any lost links in the chain of
+evidence.</p>
+
+<p>From Assyria we turn to Egypt and learn from the frescoes and
+bas-reliefs on walls of ruined tombs, that about that same time, 3000
+B.C., rooms on the banks of the Nile were decorated more or less as
+they are to-day. The cultured classes had beautiful ceilings, gilded
+furniture, cushions and mattresses of dyed linen and wools, stuffed
+with downy feathers taken from water fowl, curtains that were
+suspended between columns, and, what is still more interesting to the
+lover of furniture, we find that the style known as Empire when
+revived by Napoleon I was at that time in vogue. Even more remarkable
+is the fact that parts of legs and rails of furniture were turned as
+perfectly (I quote Litchfield) as <a name='Page_142'></a>if by a modern lathe. The variety
+of beautiful woods used by the Egyptians for furniture included ebony,
+cedar, sycamore and acacia. Marquetry was employed as well as
+wonderful inlaying with ivory, from both the elephant and
+hippopotamus. Footstools had little feet made like lion's claws or
+bull's hoofs. According to Austin Leyard, the very earliest Assyrian
+chairs, as well as those of Egypt, had the legs terminating in the
+same lion's feet or bull's hoofs, which reappear in the Greek, Roman,
+Empire and even Sheraton furniture of England (eighteenth century).</p>
+
+<p>The first Assyrian chairs were made without backs and of beautifully
+wrought gold and bronze, an art highly developed at that time. In
+Egypt we find the heads of animals capping the backs of chairs in the
+way that we now see done on Spanish chairs.</p>
+
+<p>The pilasters shown on the Empire furniture, <a href='#PLATE_XVI'>Plate XVI</a>, capped by
+women's heads with little gold feet at base, and caryatides of a kind,
+were souvenirs of the Egyptian throne seats which rested on the backs
+of slaves&mdash;possibly prisoners of war. These chairs were wonderful
+works of <a name='Page_143'></a>art in gold or bronze. We fancy we can see those interiors,
+the chairs and beds covered with woven materials in rich colours and
+leopard skins thrown over chairs, the carpets of a woven palm-fibre
+and mats of the same, which were used as seats.</p>
+
+<p>Early Egyptian rooms were beautiful in line because simple; never
+crowded with superfluous furnishings. It is amusing to see on the very
+earliest bas-reliefs Egyptian belles and beaux reclining against what
+we know to-day as Empire rolls,&mdash;seen also on beds in old French
+prints of the fourteenth century. Who knows, even with the Egyptians
+this may have been a revived style!</p>
+
+<p>One talks of new notes in colour scheme. The Bakst thing was being
+done in Assyria, 700 B.C.! Sir George Green proved it when he opened
+up six rooms of a king's palace and found the walls all done in
+horizontal stripes of red, yellow and green! Also, he states that each
+entrance had the same number of pilasters. Oh wise Assyrian King and
+truly neutral, if as is supposed, those rooms were for his six wives!</p>
+
+<p>In furniture, the epoch-making styles have <a name='Page_144'></a>been those showing <i>line</i>,
+and if decorated, then only with such decorations as were subservient
+to line; pure Greek and purest Roman, Gothic and early Renaissance,
+the best of the Louis, Directoire and First Empire, Chippendale, Adam,
+Sheraton and Heppelwhite.</p>
+
+<p>The bad styles are those where ornamentations envelop and conceal line
+as in late Renaissance, the Italian Rococo, the Portuguese Barrocco
+(baroque), the curving and contorted degenerate forms of Louis XIV and
+XV and the Victorian&mdash;all examples of the same thing, <i>i.e.</i>: perfect
+line achieved, acclaimed, flattered, losing its head and going to the
+bad in extravagant exuberance of over-ornamentation.</p>
+
+<p>There is a psychic connection between the <i>outline</i> of furniture and
+the <i>inline</i> of man.</p>
+
+<p>Perfect line, chaste ornamentation, the elimination of the superfluous
+was the result of the Greek idea of restraint&mdash;self-control in all
+things and in all expression. The immense authority of the law-makers
+enforced simple austerity as the right and only setting for the daily
+life of an Athenian, worthy of the name. There were exceptions, but as
+<a name='Page_145'></a>a rule all citizens, regardless of their wealth and station, had
+impressed upon them the civic obligation to express their taste for
+the beautiful, in the erecting of public buildings in their city of
+Athens, monuments of perfect art, by God-like artists, Phidias,
+Apelles, and Praxiteles.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XV'></a><h2><a name='Page_146'></a>CHAPTER XV</h2>
+
+<h3>CONTINUATION OF PERIODS IN FURNITURE</h3>
+<br />
+
+<p>From Greece, culture, borne on the wings of the arts, moved on to
+Rome, and at first, Roman architecture and decoration reproduced only
+the classic Greek types; but, as Rome grew, her arts took on another
+and very different outline, showing how the history of decorative art
+is to a fascinating degree the history of customs and manners.</p>
+
+<p>Rome became prosperous, greedy, powerful and imperious, enslaving the
+civilised world, and, not having the restraining laws of Greece, waxed
+luxurious and licentious, and chafed, in consequence, at the austere
+rigidity of the Greek style of furnishing.</p>
+
+<p>We know that in the time of Augustus C&aelig;sar the Romans had wonderful
+furniture of the most costly kind, made from cedar, pine, elm, olive,
+ash, ilex, beach and maple, carved to represent the legs, feet, hoofs
+and heads of animals, as in earlier days was the fashion in Assyria,
+Egypt <a name='Page_147'></a>and Greece, while intricate carvings in relief, showed Greek
+subjects taken from mythology and legend. C&aelig;sar, it is related, owned
+a table costing a million sesterces ($40,000).</p>
+
+<p>But gradually the pure line swerved, ever more and more influenced by
+the Orient, for Rome, always successful in war, had established
+colonies in the East. Soon Byzantine art reached Rome, bringing its
+arabesques and geometrical designs, its warm, glowing colours, soft
+cushions, gorgeous hangings, embroideries, and rich carpets. In fact
+all the glowing luxury that the <i>new</i> Roman craved.</p>
+
+<p>The effect of this <i>m&eacute;salliance</i> upon all Art, including interior
+decoration, was to cause its immediate decline. Elaboration and
+<i>banal</i> designs, too much splendour of gold and silver and ivory
+inlaid with gold, resulted in a decadent art which reflected a
+decadent race and Rome fell! Not all at once; it took five hundred
+years for the neighbouring races to crush her power, but continuous
+hectoring did it, in 476 A.D. Then began the Dark Ages merging into
+the Middle Ages (fifth to fifteenth centuries).</p>
+
+<p><a name='Page_148'></a>Dark they were, but what picturesque and productive darkness! Rome
+fell, but the Carlovingian family arose, and with it the great nations
+of Western Europe, to give us, especially in France, another supreme
+flowering of interior decoration. Britain was torn from the grasp of
+Rome by the Saxons, Danes and Normans, and as a result the great
+Anglo-Saxon race was born to create art periods. Mahomet appeared and
+scored as an epoch-maker, recording a remarkable life and a spiritual
+cycle. The Moors conquered Spain, but in so doing enriched her arts a
+thousandfold, leaving the Alhambra as a beacon-light through the ages.
+Finally the crusades united all warring races against the infidels.
+Blood was shed, but at the same time routes were opened up, by which
+the arts, as well as the commerce, of the Orient, reached Europe. And
+so the Byzantine continued to contend with Gothic art&mdash;that art which
+preceded from the Christian Church and stretched like a canopy over
+Western Europe, all through the Middle Ages. It was in the churches
+and monasteries that Christian art, driven from pillar to post by
+<a name='Page_149'></a>wars, was obliged to take refuge, and there produced that marvellous
+development known as the Gothic style,&mdash;of the Church, for the Church,
+by the Church, perfected in countless Gothic cathedrals,&mdash;crystallised
+glorias lifting their manifold spires to heaven,&mdash;ethereal monuments
+of an intrepid Faith which gave material form to its adoration, its
+fasting and prayer, in an unrivalled art.</p>
+
+<p>There is one early Gothic chair which has come down to us,
+Charlemagne's, made of gilt-bronze and preserved in the Louvre, at
+Paris. Any knowledge beyond this one piece, as to what Carlovingian
+furniture was like (the eighth century) we get only from old
+manuscripts which show it to have been the pseudo-classic, that is,
+the classic modified by Byzantine influence, and very like the Empire
+style of Napoleon I. Here is the reason for the type. Constantinople
+was the capital of the Eastern Empire, when in 726 A.D., Emperor Leo
+III prohibited image worship, and the artists and artisans of his part
+of the world, in order to earn a livelihood, scattered over Europe,
+settling in the various capitals, where they were eagerly welcomed and
+employed.</p>
+
+<p><a name='Page_150'></a>Even so late as the tenth to fourteenth centuries the knowledge we
+have of Gothic furniture still comes from illustrated manuscripts and
+missals preserved in museums or in the national libraries.</p>
+
+<p>Rome fell as an empire in the fifth century. In the eighth century,
+Venice asserted herself, later becoming the great, wealthy, Merchant
+City of Eastern Europe, the golden gate between Byzantium and the West
+(eleventh to fifteenth centuries). Her merchants visiting every
+country naturally carried home all art expressions, but, so far as we
+know, her own chief artistic output in very early days, was in the
+nature of richly carved wooden furniture, no specimens of which
+remain.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XVI'></a><h2><a name='Page_151'></a>CHAPTER XVI</h2>
+
+<h3>THE GOTHIC PERIOD</h3>
+<br />
+
+<p>The Gothic Period is the pointed period, and dominated the art of
+Europe from about the tenth to the fifteenth century. Its origin was
+Teutonic, its development and perfection French.</p>
+
+<p>At first, the house of a feudal lord meant one large hall with a
+raised dais, curtained off for him and his immediate family, and
+subdivided into sleeping apartments for the women. On this dais a
+table ran crossways, at which the lord and his family with their
+guests, ate, while a few steps lower, at a long table running
+lengthwise of the hall, sat the retainers. The hall was, also, the
+living-room for all within the walls of the castle. Sand was strewn on
+the stone floor and the dogs of the knights ate what was thrown to
+them, gnawing the bones at their leisure. This rude scene was
+surrounded by wonderful tapestries <a name='Page_152'></a>hung from the walls:&mdash;woman's
+record of man's deeds.</p>
+
+<p>Later, we read of stairs and of another room known as the <i>Parloir</i> or
+talking-room, and here begins the sub-division of homes, which in
+democratic America has arrived at a point where more than 200 rooms
+are often sheltered under one private roof!</p>
+
+<p>Oak chests figured prominently among the furnishings of a Gothic home,
+because the possessions of those feudal lords, who were constantly at
+war with one another, often had to be moved in haste. As men's lives
+became more settled, their possessions gradually multiplied; but even
+at the end of the eleventh century bedsteads were provided only for
+the nobility, probably on account of expense, as they were very grand
+affairs, carved and draped. To that time and later belong the
+wonderfully carved presses or wardrobes.</p>
+
+<p>Carved wood panelling was an important addition to interior decoration
+during the reign of Henry III (1216-72).</p>
+
+<p>In the thirteenth and fourteenth centuries <a name='Page_153'></a>England with Flanders led
+in the production of medi&aelig;val art.</p>
+
+<p>Hallmarks of the Gothic period are animals and reptiles carved to
+ornament the structural parts of furniture and to ornament panels.
+Favourite subjects with the wood carvers of that time were scenes from
+the lives of the saints (the Church dominated the State) and from the
+romances, chanted by the minstrels.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XVII'></a><h2><a name='Page_154'></a>CHAPTER XVII</h2>
+
+<h3>THE RENAISSANCE</h3>
+<br />
+
+<p>Following the Gothic Period came the Renaissance of Greek art which
+began in Italy under the leadership of Leonardo Da Vinci and Raphael,
+who, rejecting the existing types of degraded decorative art, in Italy
+a combination of the Byzantine and Gothic&mdash;turned to the antique, the
+purest Greek styles of Pericles' time. The result was another period
+of perfect line and proportion, called the Italian Renaissance, a
+great wave of art which swept over all Europe, gaining impetus from
+the wise patronage of the ruling Medicis. One of them (Pope Leo X with
+the co-operation of Italy's reigning dukes and princes) employed and
+so developed the extraordinary powers of Michael Angelo, Titian,
+Raphael, Andrea del Sarto and Correggio.</p>
+
+<p>By the end of the fifteenth century, Classic Greek art was engrossing
+<a name='Page_155'></a>the mind of Western Europe, classical literature was becoming the
+fashion and there was even an attempt to make Latin the popular
+language.</p>
+
+<p>It was during the Renaissance that Palladio rebuilt the palaces of
+Italy,&mdash;beautiful beyond words, and that Benvenuto Cellini designed in
+gold, silver and bronze in a manner never since equalled. From that
+same period dates the world-famous Majolica of Urbino, Pesaro and
+Gubbio, shown in our museums. So far as house-furnishing went, aside
+from palaces, there was but little that was appropriate for intimate
+domestic life. The early Renaissance furniture was palatial,
+architectural in outline and, one might almost say, in proportions.
+The tables were impossibly high, the chairs were stiff, and the
+cabinets immense and formal in outline. It had, however, much stately
+beauty, and very lovely are certain old pieces of carved and gilded
+wood where the gilt, put on over a red preparation and highly
+burnished, has rubbed off with time, and shows a soft glow of colour
+through the gold.</p>
+
+<p>But as always, the curse of over-elaboration to please perverted
+minds, was resorted to by cabinet-makers who <a name='Page_156'></a>copied mosaics with their
+inlaying, and invented that form known as <i>pietra-dura</i>&mdash;polished
+bits of marble, agates, pebbles and lapis lazuli. Ivory was carved
+and used as bas-reliefs and ivory and tortoise shell, brass and
+mother-of-pearl used as inlay. Elaborate Arabesque designs inlaid
+were souvenirs of the Orient, and where the cabinetmaker's saw left
+a line, the cuts were filled in with black wood or stained glue, which
+brought out the design and so gave an added decorative effect. Skilled
+artisans had other designs bitten into wood by acids, and shading was
+managed by pouring hot sand on the surface of the wood. Hallmarks of
+the Renaissance are designs which were taken from Greek and Roman
+mythology, and allegories representing the elements, seasons, months
+and virtues. Also, battle scenes and triumphal marches.</p>
+
+<p>The insatiable love for decoration found still another expression in
+silver and gold plaques of the highest artistic quality, embossed and
+engraved for those princes of Florence, Urbino, Ferrara, Rome, Venice
+and Naples, who vied with one another in extravagance until the
+inevitable reaction came.</p>
+<br />
+
+<br /><a name='Page_157'></a><h4>PLATE XVII</h4><br />
+<a name='Page_158'></a>
+<div class='blkquot'><p>An example of good mantel decoration. The vases and clock are
+     Empire, the chairs Directoire, and footstools Louis XV.</p>
+
+<p>     A low bowl of modern green Venetian glass holds flowers.</p></div>
+
+<a name='Page_159'></a><div class="figure">
+<a name='PLATE_XVII'></a><img src="images/plate17.jpg" alt="Photo of a mantel arrangement">
+</div>
+<div class="subhead">
+<i>An Example of Perfect Balance and Beauty in Mantel
+Arrangement</i></div>
+<br /><a name='Page_160'></a>
+
+<p><a name='Page_161'></a>Edmund Bonneff&eacute; says that in the latter part of the Renaissance,
+while the effort of the Italians seems to have been to disguise wood,
+French cabinet-makers emphasised its value&mdash;an interesting point to
+bear in mind.</p>
+
+<hr style='width: 45%;' />
+
+<p>If we trace the Renaissance movement in Germany we find that it was
+Albrecht D&uuml;rer who led it. Then, as always, the Germans were foremost
+in wood carving; with Holland and Belgium they are responsible for
+much of the antique oak furniture on Renaissance lines. The
+Scandinavians have also done wonderful wood carving, which is easily
+confused with the early wood carving of the Russians, for the reason
+that the Swedes settled Finland, and Russia's Ruric rulers (before the
+Romanoff house,&mdash;sixteenth century) were from Finland.</p>
+
+<p>In the sixteenth century metal work in steel, iron and brass reached
+its height in Germany and Italy. It is supposed that the elaborate
+mounts in furniture which were later perfected in France had their
+origin in iron corners and hinge-plates used, at first, merely to
+strengthen, but as the men who worked in metals became <a name='Page_162'></a>more and more
+skilful, the mounts were made with the intent of mere decoration and
+to draw attention to the beauty of the wood itself.</p>
+
+<p>Before D&uuml;rer turned Germany's mind toward the Greek revival of Art,
+the craftsmen of his country had been following Dutch models. This was
+natural enough, for Charles V was king at that time, of Holland,
+Germany and Spain, and the arts of the three countries, as well as
+their commerce were interchangeable. In fact it was the Dutch painter,
+Van Eyck, who took the Renaissance into Spain when called thereto
+paint royalty. Sculptors, tapestry weavers, books on art, etc.,
+followed.</p>
+
+<p>That was the Spanish awakening, but the art of Spain during the
+sixteenth century shows that the two most powerful influences were
+Moorish and Italian. The most characteristically Spanish furniture of
+that period are those cabinets,&mdash;&quot;<i>Vargueos</i>,&quot; made of wood ornamented
+on the outside with wrought iron, while inside are little columns made
+of fine bone, painted and gilded. Much of the old Spanish furniture
+reproduces German and Italian styles. Embossed leather put on with
+heavy nails has always been <a name='Page_163'></a>characteristic of Spain, and in the
+seventeenth century very fine Spanish mahogany and chestnut were
+decorated with tortoise-shell inlaid with ivory, so as to make
+elaborate pictures in the Italian style. (See Baron Davillier on
+Spanish Furniture.).</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XVIII'></a><h2><a name='Page_164'></a>CHAPTER XVIII</h2>
+
+<h3>FRENCH FURNITURE</h3>
+<br />
+
+<p>The classic periods in French furniture were those known as Francis I,
+Henry II and the three Louis,&mdash;XIV, XV, and XVI. One can get an idea
+of all French periods in furnishing by visiting the collection in
+Paris belonging to the government, &quot;Mobilier National,&quot; in the new
+wing of the Louvre.</p>
+
+<p>It is always necessary to consult political history in order to
+understand artistic invasions. Turn to it now and you will find that
+Charles VIII of France held Naples for two years (1495-6), and when he
+went home took with him Italian artists to decorate his palaces. Read
+on and find that later Henry II married Catherine de Medici and loved
+Diane de Poitiers, and that, fortunately for France, both his queen
+and his mistress were patronesses of the arts. So France bloomed in
+the sunshine of royal favour and Greek influence, as few countries
+ever had. <a name='Page_165'></a>Fontainebleau (begun by Francis I) was the first of a chain
+of French royal palaces, all monuments without and within, to a
+picturesque system of monarchy,&mdash;Kings who could do no wrong, wafting
+sceptres over powerless subjects, whose toil produced Art in the form
+of architecture, cabinetmaking, tapestry weaving, mural decoration,
+unrivalled porcelain, exquisitely wrought silver and gold plate,
+silks, lovely as flower gardens (showing the &quot;pomegranate&quot; and &quot;vase&quot;
+patterns) and velvets like the skies! And for what? Did these things
+represent the wise planning of wise monarchs for dependent subjects?
+We know better, for it is only in modern times that simple living and
+small incomes have achieved surroundings of artistic beauty and
+comfort.</p>
+
+<p>The marvels of interior decoration during the classic French periods
+were created for kings and their queens, mistresses and favoured
+courtiers. Diane de Poitiers wished&mdash;perhaps only dreamed&mdash;and an
+epoch-making art project was born. Madame du Barry admired and made
+her own the since famous du Barry rose colour, and the S&egrave;vres
+porcelain factories reproduced it <a name='Page_166'></a>for her. But how to produce this
+particular illusive shade of deep, purplish-pink became a forgotten
+art, when the seductive person of the king's mistress was no more.</p>
+
+<p>If you would learn all there is to know concerning the sixteenth
+century furnishings in France read Edmund Bonneff&eacute;'s &quot;Sixteenth
+Century Furniture.&quot;</p>
+
+<p>It was the Henry II interior decoration and architecture which first
+showed the Renaissance of pure line and classic proportion, followed
+by the never-failing reaction from the simple line to the undulating
+over-ornate when decoration repeated the elaboration of the most
+luxurious, licentious periods of the past.</p>
+
+<p>One has but to walk through the royal palaces of France to see French
+history beguilingly illustrated, in a series of volumes open to all,
+the pages of which are vibrant with the names and personalities of men
+and women who will always live in history as products of an age of
+great culture and art.</p>
+<br />
+
+<br /><a name='Page_167'></a><h4>PLATE XVIII</h4><br />
+<a name='Page_168'></a>
+<div class='blkquot'><p>A delightful bit of a room. The furniture, in line, shows a
+     Directoire influence. The striped French satin sofa and one chair
+     is blue, yellow and faun, the Brussels tapestry in faded blues,
+     fauns and greys. Over a charmingly painted table is a Louis XV
+     gilt applique, the screen is dark in tone and has painted panels.</p>
+
+<p>     The rug, done in cross-stitch, black ground and design colours,
+     was discovered in a forgotten corner of a shop, its condition so
+     dingy from the dust of ages that only an expert would have
+     recognised its possibilities.</p></div>
+
+<a name='Page_169'></a><div class="figure">
+<a name='PLATE_XVIII'></a><img src="images/plate18.jpg" alt="Photo of a drawing room">
+</div>
+<div class="subhead">
+<i>Corner of a Drawing Room, Furniture Showing Directoire
+influence</i></div>
+<br /><a name='Page_170'></a>
+
+<p><a name='Page_171'></a>The Louis XIV, XV and XVI periods in furniture are all related. Rare
+brocades, flowered and in stripes, bronze mounts as garlands,
+bow-knots and rosettes, on intricate inlaying, mark their common
+relationship. The story of these periods is that gradually decoration
+becomes over-elaborated and in the end dominates the Greek outline.</p>
+
+<p>The three Louis mark a succession of great periods. Louis XIV, though
+beautiful at its best, is of the three the most ornate and is
+characterised in its worst stage by the extremely bowed (cabriole)
+legs of the furniture, ludicrously suggestive of certain debauched
+courtiers who surrounded the <i>Grande Monarch</i>.</p>
+
+<p>Louis XV legs show a curve, also, but no longer the stoggy, squat
+cabriole of the over-fed gallant. Instead we are entranced by an
+ethereal grace and lightness of movement in every line and decoration.
+Here cabriole means but a courtly knee swiftly bending to salute some
+beauty's hand. So subtly waving is the curving outline of this
+furniture that one scarcely knows where it begins or ends, and it is
+the same with the decorations&mdash;exquisitely delicate waving traceries
+of vines and flora, gold on gold, inlay, or paint in delicate tones.
+<a name='Page_172'></a>All this gives to the Louis XV period supremacy over Louis XVI, whose
+round, grooved, tapering straight legs, one tires of more quickly,
+although fine gold and lovely paint make this type winning and
+beloved.</p>
+
+<p>From Louis XVI we pass to the Directoire, when, following the
+Revolution, the voice of the populace decried all ostentation and
+everything savouring of the superfluous. The Great Napoleon in his
+first period affected simplicity and there were no longer bronze
+mounts, in rosettes, garlands and bow-knots, elaborate inlaying, nor
+painted furniture with lovely flowering surfaces; in the most severe
+examples not even fluted legs! Instead, simple but delicately
+proportioned furniture with slender, squarely cut, chastely tapering
+legs, arms and backs, was the fashion. In fact, the Directoire type is
+one of ideal proportions, graceful outlines with a flowing movement
+and the decoration when present, kept well within bounds, entirely
+subservient to the main structural material. One feels an almost
+Quaker-like quality about the Directoire, whether of natural wood or
+plain painted surface.</p>
+
+<p><a name='Page_173'></a>With Napoleon's assumption of regal power and habits, we get the
+Empire (he had been to Rome and Egypt), pseudo-classic in outline and
+richly ornamented with mounts in ormoulu characteristic of the Louis.</p>
+
+<p>The Empire period in furniture was dethroned by the succeeding r&eacute;gime.</p>
+
+<p>When we see old French chairs with leather seats and backs, sometimes
+embossed, in the Portuguese style, with small regular design, put on
+with heavy nails and twisted or straight stretchers (pieces of wood
+extending between legs of chairs), we know that they belong to the
+time of Henry IV or Louis XIII. Some of the large chairs show the
+shell design in their broad, elaborate stretchers.</p>
+
+<p>The beautiful small side tables of the Louis and First Empire called
+consoles, were made for the display of their marvellously wrought
+pieces of silver, hammered and chiselled by hand,&mdash;&quot;museum pieces,&quot;
+indeed, and lucky is the collector who chances upon any specimen
+adrift.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XIX'></a><h2><a name='Page_174'></a>CHAPTER XIX</h2>
+
+<h3>THE PERIODS OF THE THREE LOUIS</h3>
+<br />
+
+<p>The only way to learn how to distinguish the three <i>Louis</i> is to study
+these periods in collections of furniture and objects of art, or,
+where this is impossible, to go through books showing interiors of
+those periods. In this way one learns to visualise the salient
+features of any period and gradually to acquire a <i>feeling</i> for them,
+that subtle sense which is not dependent wholly upon outline,
+decoration, nor colour, but upon the combined result.</p>
+
+<p>French writers who specialise along the lines of interior decoration
+often refer to the three types as follows:</p>
+
+<p>Period of Louis XIV&mdash;heavily, stolidly masculine;</p>
+
+<p>Period of Louis XV&mdash;coquettishly feminine;</p>
+
+<p>Period of Louis XVI&mdash;lightly, alertly masculine.</p>
+
+<p>One soon <a name='Page_175'></a>sees why, for Louis XIV furniture does suggest masculinity
+by its weight and size. It is squarely made, straight (classic) in
+line, equally balanced, heavily ponderous and magnificent. Over its
+surface, masses of decoration immobile as stone carving, are evenly
+dispersed, and contribute a grandiose air to all this furniture.</p>
+
+<p>There was impressive gallantry to the Louis XIV style, a ceremonious
+masculine gallantry, while Louis XV furniture&mdash;the period dominated by
+women when &quot;poetry and sculpture sang of love&quot; and life revolved about
+the boudoir&mdash;shows a type entirely <i>intime</i>, sinuously, lightly,
+gracefully, coquettishly feminine, bending and courtesying, with no
+fixed outline, no equal balance of proportions. Louis XV was the
+period when outline and decoration were merged in one and the <i>shell</i>
+which figured in Louis XIV merely as an ornament, gave its form (in a
+curved outline) and its name &quot;rococo&quot; (Italian for shell) to the
+style.</p>
+
+<p>As a reaction from this we get the Louis XVI period, again masculine
+in its straight rigidity of line, its perfectly poised proportions,
+the directness of its appeal to the eye, a &quot;reflection of the <a name='Page_176'></a>more
+serious mental attitude of the nation.&quot; Louis XVI had an aristocratic
+sobriety and was masculine in a light, alert, mental way, if one can
+so express it, which stimulates the imagination, in direct contrast to
+the material and literal type of Louis XIV which, as we have said, was
+masculine in its ponderous magnificence, and unyielding
+over-ornamentation.</p>
+
+<p>So much for <i>outline</i>. Now for the <i>decoration</i> of the three periods.</p>
+
+<p>Remember that the Louis XIV, XV and XVI periods took their ideas for
+decoration from the Greeks, via Italy, and the extreme Orient. A
+national touch was added by means of their S&egrave;vres porcelain medallions
+set into furniture, and the finely chiselled bronzes known as ormoulu,
+a superior alloy of metals of a rich gold colour. The subjects for
+these chiselled bronzes were taken from Greek and Roman mythology;
+gods, goddesses, and cupids the insignia of which were torches,
+quivers, arrows, and tridents. There were, also, wreaths, garlands,
+festoons and draperies, as well as rosettes, ribbons, bow-knots,
+medallion heads, and the shell and acanthus leaf. One finds these in
+various combinations or as individual motives on the furniture of
+the Louis.</p>
+<br />
+
+<br /><a name='Page_177'></a><h4>PLATE XIX</h4><br />
+<a name='Page_178'></a>
+<div class='blkquot'><p>Shows the red-tiled entrance hall of a duplex apartment in New
+     York.</p>
+
+<p>     On the walls are two Italian mirrors (Louis XVI), a side table
+     (console) of the same epoch, and two Italian carved chairs.</p></div>
+
+<a name='Page_179'></a><div class="figure">
+<a name='PLATE_XIX'></a><img src="images/plate19.jpg" alt="Photo of an entrance hall">
+</div>
+<div class="subhead">
+<i>Entrance Hall in New York Duplex Apartment. Italian
+Furniture</i></div>
+<br /><a name='Page_180'></a>
+
+<p><a name='Page_181'></a>The backgrounds for these mounts were the woods finely inlaid with
+ivory shell and brass in the style of the Italian Renaissance.
+Oriental lacquer and painted furniture, at that time heavily gilded.</p>
+
+<p>The legs of chairs, sofas and tables of the Louis XIV period were
+cabrioles (curved outward)&mdash;a development of the animal legs of carved
+wood, bronze or gold, used by the ancient Assyrians, Egyptians and
+Greeks as supports for tables and chairs. Square grooved legs also
+appeared in this type.</p>
+
+<p>The same grooves are found on round tapering legs of Louis XVI's time.
+In fact that type of leg is far more typical of the Louis XVI period
+than the cabriole or square legs grooved, but one sees all three
+styles.</p>
+
+<p>Other hallmarks of the Louis XVI period are the straight outlines,
+perfectly balanced proportions, the rosettes, ribbon and bow-knot with
+torch and arrows in chiselled bronze.</p>
+
+<p>That all &quot;painting and sculpture sang of love&quot; is as true of Louis XVI
+as of Louis XV. In both reigns the colouring was that of
+spring-tender <a name='Page_182'></a>greens, pale blossoms, the grey of mists, sky-blues,
+and yellows of sunshine.</p>
+
+<p>During Louis XV's time soft cushions fitted into the sinuous lines of
+the furniture, and as some Frenchman has put it, &quot;a vague, discreet
+perfume pervaded the whole period, in contrast to the heavier odour of
+the First Empire.&quot;</p>
+
+<p>The walls and ceilings of the three Louis were richly decorated in
+accordance with a scheme, surpassing in magnificence any other period.</p>
+
+<p>An intricate system of mouldings (to master which, students at the
+&Eacute;cole des Beaux Arts, Paris, must devote years) encrusted sidewalls
+and ceilings, forming panels and medallions, over-doors and
+chimney-pieces, into which were let paintings by the great masters of
+the time, whose subjects reflected the moods and interests of each
+period. The Louis XV and XVI paintings are tender and vague as to
+subject and the colours veiled in a greyish tone, full of sentiment.</p>
+
+<p>That was the great period of tapestry weaving&mdash;Beauvais, Arras and
+Gobelin, and these filled panels or hung before doors.</p>
+
+<p><a name='Page_183'></a>It may be said that the period of Louis XVI profited by antiquity,
+but continued French traditions; it was a renaissance of line and
+decoration kept alive, while the First Empire was classic form
+inanimate, because an abrupt innovation rather than an influence and a
+development. One may go farther and quote the French claim that the
+colour scheme of Louis XVI was intensely suggestive and personal,
+while the Empire colouring was literal and impersonal.</p>
+
+<p>Under Louis XVI furniture was all but lost in a crowd of other
+articles, tapestry, draperies of velvet, flowered silks, little
+objects of art in porcelain, more or less useless, silver and ormoulu,
+exquisitely decorated with a pr&eacute;cieuse intricacy of chiselled designs.</p>
+
+<p>The Louis XVI period was rigid in its aristocratic sobriety, for
+although torch and arrows figured, as did love-birds, in
+decoration&mdash;(souvenirs of the painter Boucher), everything was set and
+decorous, even the arrow was often the warrior's not cupid's; in the
+same way the torch was that of the ancients, and when a medallion
+showed a pastoral subject, its frame of straight lines linked it to
+the period. Even if Cupid <a name='Page_184'></a>appeared, he was decorously framed or
+pedestaled.</p>
+
+<p>To be sure, Marie Antoinette and the ladies of her court played at
+farming in the Park of the Petite Trainon, at Versailles; but they
+wore silk gowns and powdered wigs. To be rustic was the fad of the day
+(there was a cult for gardening in England); but shepherdesses were
+confined to tapestries, and, while the aristocracy held the stage, it
+played the game of life in gloves.</p>
+
+<p>There was about the interior decoration of Louis XVI, as about the
+lives of aristocratic society of that time, a &quot;penetrating perfume of
+love and gallantry,&quot; to which all admirers of the beautiful must ever
+return for refreshment and standards of beauty and grace.</p>
+
+<p>Speaking generally of the three Louis one can say that on a background
+of a great variety of wonderful inlaid woods, ivory, shell,
+mother-of-pearl and brass, or woods painted and gilded, following the
+Italian Renaissance, or lacquered in the manner of the Orient, were
+ormoulu wrought and finely chiselled, showing Greek mythological
+subjects; gods, goddesses and their insignia, with garlands,
+wreaths, festoons, draperies, ribbons, bow-knots, rosettes and
+medallions of cameo, S&egrave;vres porcelain, or Wedgwood paste. Among the
+lost arts of that time are inlaying as done by Boule and the finish
+known as Vernis Martin.</p>
+<br />
+
+<br /><a name='Page_185'></a><h4>PLATE XX</h4><br />
+<a name='Page_186'></a>
+<div class='blkquot'><p>This large studio is a marked example of comfort and interest
+     where the laws of appropriateness, practicableness, proportion
+     and balance are so observed as to communicate at once a sense of
+     restfulness.</p>
+
+<p>     Here the comfortable antiques and beautifully proportioned modern
+     furniture make an ideal combination of living-room and painter's
+     studio.</p></div>
+
+<a name='Page_187'></a><div class="figure">
+<a name='PLATE_XX'></a><img src="images/plate20.jpg" alt="Photo of a studio and living room">
+</div>
+<div class="subhead">
+<i>Combination of Studio and Living Room in a New York
+Duplex Apartment</i></div>
+<br /><a name='Page_188'></a>
+
+<p><a name='Page_189'></a>Tapestries and mural paintings were framed by a marvellous system of
+mouldings which covered ceilings and sidewalls.</p>
+
+<p>The colour scheme was such as would naturally be dictated by the
+general mood of artificiality in an age when dreams were lived and the
+ruling classes obsessed by a passion for amusements, invented to
+divert the mind from actualities. This colour scheme was beautifully
+light in tone and harmoniously gay, whether in tapestries, draperies
+and upholstery of velvets, or flowered silks, frescoes or painted
+furniture. It had the appearance of being intended to act as a
+soporific upon society, whose aim it was to ignore those jarring
+contrasts which lay beneath the surface of every age.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XX'></a><h2><a name='Page_190'></a>CHAPTER XX</h2>
+
+<h3>CHARTS SHOWING HISTORICAL EVOLUTION OF FURNITURE</h3>
+<div class="figure">
+<table cellpadding="8" cellspacing="5" border="0" summary="Evolution of Furniture--Louis XIV, XV, and XVI, Napoleon I">
+<tbody>
+  <tr>
+    <td width="40%" valign="top">LOUIS XIV,<br />&nbsp;&nbsp;&nbsp;1643 to 1715<br />
+Key-note<br />&nbsp;&nbsp;&nbsp;The Grand<br />&nbsp;&nbsp;&nbsp;Audience Rooms</td>
+    <td width="30%" valign="top">Compressed regularity giving way in reaction to a ponderous ugliness.</td>
+    <td width="30%" valign="top">Straight, square, grooved and very squat cabriole legs.</td>
+  </tr>
+  <tr>
+    <td valign="top">THE REGENCY AND LOUIS XV,<br />&nbsp;&nbsp;&nbsp;1715 to 1774<br />
+Key-note<br />&nbsp;&nbsp;&nbsp;The Boudoir</td>
+    <td valign="top">The Reign of Woman.</td>
+    <td valign="top">Cabriole legs of a perfect lightness and grace.</td>
+  </tr>
+  <tr>
+    <td valign="middle">LOUIS XVI,<br />&nbsp;&nbsp;&nbsp;1774 to 1793<br />
+Key-note<br />&nbsp;&nbsp;&nbsp;The Salon <i>Intime</i>  </td>
+    <td valign="top">The transition style between the Bourbon Interior Decoration and that of the &quot;Directorate&quot;
+and &quot;Empire,&quot; characterised by a return to the classic line which reflects a more serious turn of mind
+on part of the Nation in an age of great mental activity.</td>
+    <td valign="top">Legs tapering straight, rounded and grooved. A few square-grooved legs and a few
+graceful, slender cabriole legs.</td>
+  </tr>
+  <tr>
+     <td><a name='Page_191'></a>THE FIRST EMPIRE,<br />&nbsp;&nbsp;&nbsp;NAPOLEON I,<br />&nbsp;&nbsp;&nbsp;1804 to 1814</td>
+     <td colspan="2">Classic lines.<br />
+Classic decorations with subjects taken from Greek mythologies.<br />
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Winged figures, emblems of liberty; antique heads of helmeted warriors,
+made like medallions, wreaths, lyres, torches, rosettes, etc.<br />
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Besides the wonderful mounts of Ormoulu, designed by the great sculptors
+and painters of the period, there was a great deal of fine brass inlaying.<br />
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Antique vases taken from ancient tombs were placed in recesses in the walls
+of rooms after the style of the ancient &quot;Columbaria.&quot;<br />
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Every effort was made to surround Napoleon I with the dignity and austere
+sumptuousness of a great Roman Emperor. As we have said, he had been in Rome and he had been in Egypt;
+the art of the French Empire was reminiscent of both. Napoleon would outstrip the other conquerors of the world.<br />
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Some Empire furniture shows the same fine turning which characterizes
+Jacobean furniture of both oak and walnut periods. We refer to the round, not spiral, turning. See legs of Empire
+sofa on which Madame R&eacute;camier reclines in the well-known portrait by David (Louvre).<br /></td>
+  </tr>
+</tbody>
+</table>
+</div>
+<br /><br />
+<div class="figure">
+<table cellpadding="8" cellspacing="5" border="0" summary="Evolution of Furniture--English Periods">
+<thead>
+  <tr><td colspan=3 align="center">ENGLISH FURNITURE</td></tr>
+</thead>
+<tbody>
+  <tr>
+    <td width="40%">THE OAK PERIOD<br />&nbsp;&nbsp;&nbsp;(including early<br />&nbsp;&nbsp;&nbsp;Jacobean)</td>
+    <td colspan=2>Gothic, through 14th Century.<br />Renaissance, 16th Century<br />Elizabethan, 16th Century.<br />
+Jacobean or Stuart, 17th Century; James I,<br />&nbsp;&nbsp;&nbsp;Charles I and II, and James II, 1603-1688.</td>
+  </tr>
+  <tr>
+    <td>THE WALNUT PERIOD </td>
+    <td colspan=2>Late Jacobean.<br />William and Mary, 1688.<br />Queen Anne, 1702.<br /></td>
+  </tr>
+  <tr>
+    <td>&quot;MAHOGANY&quot; PERIOD<br />&nbsp;&nbsp;&nbsp;(and other imported woods),<br />&nbsp;&nbsp;&nbsp;or, CHIPPENDALE PERIOD.</td>
+    <td>Chippendale.<br />HEPPELWHITE.<br />SHERATON<br />THE ADAM BROTHERS.</td>
+    <td valign="top">18th Century.</td>
+  </tr>
+  <tr>
+    <td><a name='Page_192'></a>GOTHIC PERIOD,<br />&nbsp;&nbsp;&nbsp;Through 14th Century.</td>
+    <td colspan="2">Almost no furniture exists of the 13th Century. We get the majority of our ideas from illustrated
+manuscripts of that time. The furniture was carved oak or plain oak ornamented with iron scroll work, intended
+both for strength and decoration.</td>
+  </tr>
+  <tr>
+    <td>RENAISSANCE OR<br />&nbsp;&nbsp;&nbsp;ELIZABETHAN,<br />&nbsp;&nbsp;&nbsp;16th Century.</td>
+    <td colspan="2" valign="top">The characteristic, heavy, wide mouldings and small panels, and heavy
+round carving.</td>
+  </tr>
+  <tr>
+    <td>JACOBEAN OR<br />&nbsp;&nbsp;&nbsp;STUART PERIOD,<br />&nbsp;&nbsp;&nbsp;17th Century.<br /><br />
+WALNUT PERIOD,<br />&nbsp;&nbsp;&nbsp;late 17th Century.</td>
+    <td colspan="2">Panels large and mouldings very narrow and flat, or no mouldings at all, and flat carving.
+The classic influence shown during the period of the Commonwealth in designs, pilastars and pediments was the
+result of a classic reaction, all elaboration being resented. The Restoration brought in elaborate carving. Dutch
+influence is exemplified in the fashion for inlaying imported from  Holland, as well as the tulip design. Turned legs,
+stretchers, borders and spiral turnings, characterized Jacobean style.</td>
+  </tr>
+</tbody>
+</table>
+</div>
+<br /><br />
+<div class="figure">
+<table cellpadding="8" cellspacing="5" border="0" summary="Evolution of Furniture--English Periods, Further Detail">
+<tbody>
+  <tr>
+    <td width="50%">In the GOTHIC PERIOD (extending through 14th Century), as the delightful irregularity in
+line and decoration shows, there was NO SET TYPE; each piece was an individual creation and showed the personality
+of maker.</td>
+    <td>Tables, chests, presses (wardrobes), chairs and benches or settles.</td>
+  </tr>
+  <tr>
+    <td>During RENAISSANCE OR ELIZABETHAN PERIOD (16th Century) types begin to establish and repeat themselves.</td>
+    <td>Table chests, presses, chairs, benches, settles, and small chests of drawers.</td>
+  </tr>
+  <tr>
+    <td>In the JACOBEAN (17th Century) there was already a set type, pieces made all alike, turned out by the hundreds.</td>
+    <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Inlaying in ebony, ivory, mother-of-pearl, and ebonised oblong bosses of the jewel type (last half of 17th
+Century). The tulip design introduced from Holland as decoration.<br />
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Turned and carved frames and stretchers; caned seats and backs to chairs, velvet cushions, velvet satin damask
+and needlework upholstery, the seats stuffed.
+</td>
+  </tr>
+</tbody>
+</table>
+</div>
+<br /><br /><br />
+<a name='Page_193'></a>
+<div class="narrowblk">Henry VIII made England <i>Protestant</i>, it having been Roman Catholic for several hundred years before
+the coming of the Anglo-Saxons and for a thousand years after.
+</div>
+<br />
+<div class="figure">
+<table cellpadding="8" cellspacing="5" border="0" width="90%" summary="Evolution of Furniture--Following Henry VIII">
+<tbody>
+  <tr>
+    <td width="30%">PROTESTANT.</td>
+    <td>QUEEN ELIZABETH.<br />&quot;The Elizabethan Period.&quot;</td>
+  </tr>
+  <tr>
+    <td>STUART.<br />ROMAN CATHOLIC.<br />&quot;JACOBEAN.&quot;</td>
+    <td>JAMES I. 1603.<br />CHARLES I. (Puritan Revolution), 1628.<br /></td>
+  </tr>
+  <tr>
+    <td>PURITAN.</td>
+    <td>Oliver Cromwell. 1649.<br />Commonwealth.</td>
+  </tr>
+  <tr>
+    <td>STUART.<br />ROMAN CATHOLIC.<br />&quot;JACOBEAN.&quot;</td>
+    <td>{Charles II. (1660), Restoration.<br />James II. (1686), Deposition and Flight.</td>
+  </tr>
+  <tr>
+    <td>PROTESTANT.</td>
+    <td>William&mdash;Prince of Orange (Holland), 1688.<br />Who had married the English Princess Mary
+and was the only available <i>Protestant</i> (1688).</td>
+  </tr>
+  <tr>
+    <td>PROTESTANT.</td>
+    <td>Queen Anne (1702-1714).</td>
+  </tr>
+</tbody>
+</table>
+</div>
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXI'></a><h2><a name='Page_194'></a>CHAPTER XXI</h2>
+
+<h3>THE MAHOGANY PERIOD</h3>
+<br />
+
+<p>It is interesting to note that the Great Fire of London started the
+importation of foreign woods from across the Baltic, as great
+quantities were needed at once for the purpose of rebuilding. These
+soft woods aroused the invention of the cabinet-makers, and were
+especially useful for inlaying; so we find in addition to oak, that
+mahogany, pear and lime woods were used in fine furniture, it being
+lime-wood that Grinling Gibbons carved when working with Sir
+Christopher Wren, the famous architect (seventeenth century).</p>
+
+<p>During the early Georgian period the oak carvings were merely poor
+imitations of Elizabethan and Stuart designs. There seemed to have
+been no artist wood-carvers with originality, which may have been
+partly due to a lack of <a name='Page_195'></a>stimulus, as the fashion in the decoration of
+furniture turned toward inlaying.</p>
+
+<div class='blkquot'><p>THE PERIOD OF WILLIAM III AND QUEEN MARY AND EARLY GEORGIAN</p></div>
+
+<p>are characterised by <i>turned</i> work, giving way to <i>flattened forms</i>,
+and the disappearance of the elaborate front stretcher on Charles II
+chairs.</p>
+
+<p>The coming of mahogany into England and its great popularity there
+gives its name to that period when Chippendale, Heppelwhite, Sheraton
+and the Adam Brothers were the great creative cabinet-makers. The
+entire period is often called CHIPPENDALE, because Chippendale's books
+on furniture, written to stimulate trade by arousing good taste and
+educating his public, are considered the best of that time. There were
+three editions: 1754, 1759, and 1762.</p>
+
+<p>The work was entitled &quot;The Gentleman and Cabinet-maker's Director and
+Useful Designs of Household Furniture in the Gothic, Chinese and
+Modern Taste&quot; (and there was still more to the title!).</p>
+
+<p>Chippendale's genius lay in taking the best wherever he found it and
+blending the whole <a name='Page_196'></a>into a type so graceful, beautiful, perfectly
+proportioned, light in weight and appearance, and so singularly suited
+to the uses for which it was intended, that it amounted to creation.</p>
+
+<p>The &quot;Chinese Craze&quot; in England was partly due to a book so called,
+written by Sir William Chambers, architect, who went to China and not
+only studied, but sketched, the furniture, he saw there.</p>
+
+<p>Thomas Sheraton, we are assured, was the most cultivated of this group
+of cabinet-makers. The three men made both good and bad styles. The
+work of the three men can be distinguished one from the other and,
+also, it can be very easily confused. To read up a period helps; but
+to really know any type of furniture with certainty, one must become
+familiar with its various and varying characteristics.</p>
+
+<p>The houses and furniture designed and made by the Adam brothers were
+an epoch in themselves. These creations were the result of the
+co-operation of a little band of artists, consisting of Michael Angelo
+Pergolesi, who published in 1777, &quot;Designs for Various Ornaments&quot;;
+<a name='Page_197'></a>Angelica Kauffman and Cipriani, two artist-painters who decorated the
+walls, ceilings, woodwork and furniture designed by the Adam brothers;
+and another colleague, the great Josiah Wedgwood, whose medallions and
+plaques, cameo-like creations in his jasper paste, showed both classic
+form and spirit.</p>
+
+<p>The Adam brothers' creations were rare exotics, with no forerunners
+and no imitators, like nothing the world had ever seen&mdash;yet reflecting
+the purest Greek period in line and design.</p>
+
+<p>One of the characteristics of the Mahogany Period was the cabriole
+leg, which is, also, associated with Italian and French furniture of
+the seventeenth and eighteenth centuries. As a matter of fact this
+form of leg is as old as the Romans and is really the same as the
+animal legs of wood or bronze, used as supports for tripods and tables
+by Assyrians, Egyptians and Greeks. The cabriole leg may be defined as
+&quot;a convex curve above a concave one, with the point of junction
+smoothed away. On Italian console tables and French commodes we see
+the two simple curves disguised by terminal figures.&quot;</p>
+
+<p><a name='Page_198'></a>The rocaille (shell) ornament on the Chippendale as well as the
+cabriole leg copied from Italy and France, and the Dutch foot from
+Holland, substantiate our claim that Chippendale used what he found
+wherever he found it irrespective of the stigma of plagiarism.</p>
+
+<p>There is a beautiful book by F.S. Robinson in which the entire subject
+of English furniture is treated in a most charming fashion.</p>
+
+<p>Now let us return a moment to the Jacobean period. It was under
+Charles I that couches and settles became prominent pieces of
+furniture. Some of the Jacobean chairs are like those made in Italy,
+in the seventeenth century, with crossed legs, backs and seats covered
+with red velvet. Other Jacobean chairs had scrollwork carved and
+pierced, with central panel in the back of embroidery, while the seat
+was of cane.</p>
+
+<p>Some of the Jacobean cabinets had panels of ebony, the other parts
+inlaid with mother-of-pearl and ivory.</p>
+
+<p>The silver Jacobean furniture is interesting and the best examples of
+this type are said<a name='Page_199'></a> to be those belonging to Lord Sackville. They are
+of ebony with silver mountings.</p>
+
+<p>Yorkshire is noted for its Jacobean furniture, but some famous rooms
+done in this style are at Langleys, in Essex, the seat of Col.
+Tufnell, where the ceilings and mantels are especially fine and the
+library boasts interesting panelled walls, once enlivened by stained
+glass windows, when this room was used as a private chapel for the
+family.</p>
+
+<p>Jacobean carving was never ornate.</p>
+
+<p>Twenty years later came the Queen Anne period. Queen Anne chairs show
+a solid splat, sometimes vase-shaped, and strap-work arabesques. Most
+of the legs were cabriole, instead of the twisted turnings (on Stuart
+lines) which had been Supports for chairs, cabinets and tables. The
+Queen Anne chair legs terminated when cabriole, in claws and balls or
+simple balls. Settees for two were then called &quot;love seats,&quot; and
+&quot;pole-screens&quot; belonged to this period, tall, slender poles with
+small, sliding screens.</p>
+
+<p>Queen Anne hangings were of rich damasks, silks and velvets, and the
+wainscot of rooms was painted some pale colour as an effective
+background <a name='Page_200'></a>to set off the dark, turned walnut or gorgeous lacquer
+made in red, green or black, and ornamented with gold. Some of the
+Queen Anne pieces of this variety had hinges and lockplates of chased
+brass. Another variety was of oak, veneered with walnut and inlaid.</p>
+
+<p>The very high ceilings of the Queen Anne period led to the use of
+&quot;tall boys&quot; or family bureaus, those many-storied conveniences which
+comprised a book-case above, writing desk in the middle, and drawers
+below.</p>
+
+<p>Lockwood says in giving the history of chairs, in his &quot;Cabinet Makers
+from 1750 to 1840&quot;: &quot;Extravagance of taste and fluctuation of fashion
+had reached high water mark due to increase of wealth in England and
+her colonies. From the plain, stately pieces of Queen Anne the public
+turned to the rococo French designs of early Chippendale, then tiring
+of that, veered back to classic lines, as done by the Adam brothers,
+and so on, from heavy Chippendale to the overlight and perishable
+Heppelwhite. Then public taste turned to the gaudily painted Sheraton
+and finally, took to copying the French Empire.&quot;</p>
+
+<p>The American Revolutionary War stopped <a name='Page_201'></a>the exportation of furniture
+to America, with the result that cabinet-makers in the United States
+copied Chippendale and neglected all other later artists. When America
+began again to import models, Sheraton was an established and not a
+transitional type. Beautiful specimens are shown in the Nichols house,
+at Salem, Mass., furnished in 1783. The furniture used by George
+Washington when President of the United States in 1789, and now in the
+City Hall, New York, is pure Sheraton. (See Colonial Furniture, Luke
+Vincent Lockwood.)</p>
+
+<p>Sir Christopher Wren, architect, with Grinling Gibbons, designer and
+wood-carver, were chiefly responsible for the beautifully elaborate
+mouldings on ceilings and walls, carved from oak and used for forming
+large panels with wide bevels, into which were sometimes set
+tapestries.</p>
+
+<p>The Italian stucco mouldings were also used at that time. The fashion
+for elaborate ceilings and sidewalls had come to England via Italy and
+France. The most elaborate ones of those times were executed under
+Charles II and William III, the ceilings rivalling those of Louis XIV.</p>
+
+<p><a name='Page_202'></a>William and Mary (1687-1702) brought over with them from Holland,
+Dutch cabinet makers, which accounts for the marked Dutch influence on
+the Mahogany Period, an influence which shows in a Dutch style of
+inlaying, cabriole legs and the tulip design. A sure sign of the
+William and Mary period is the presence of jasmine, as designed for
+inlaying in bone, ivory or hollywood.</p>
+
+<p>Lacquer came to England via Holland, the Dutch having imported Chinese
+workmen.</p>
+
+<p>The entire Mahogany Period, including the Adam brothers, used the
+shell as a design and the backs of settees resembled several chair
+backs places side by side.</p>
+
+<p>A feature of the Mahogany Period were the knife-boxes and cases for
+bottles, made of mahogany and often inlaid, which stood upon pedestals
+constructed for the purpose, at each side of the sideboard. Later the
+pedestals became a part of the sideboard. The urn-shaped knife-boxes
+were extremely graceful as made by Adam, Chippendale and Heppelwhite.</p>
+
+<p>It is impossible to clearly define all of the work of the
+cabinet-makers of the mahogany or <a name='Page_203'></a>any other period, for reasons
+already stated. So one must be prepared to find Chippendale sofas
+which show the shapes originated by him and, also, at times, show
+Louis XVI legs and Louis XV outline. Chippendale's contemporaries were
+quite as apt to vary their types, and it is only by experience that
+one can learn to distinguish between the different artists, to
+appreciate the hall marks of creative individuality.</p>
+
+<p>The early Chippendale was almost identical with Queen Anne furniture
+and continued the use of cabriole leg and claw and ball feet. The top
+of the Chippendale chairs were bow-shaped with ends extending beyond
+the sides of the back and usually turned <i>up</i>. If turned down they
+never rounded into the sides, as in the case of Queen Anne chairs. The
+splats have an upward movement and were joined to chair seats, and not
+to a cross-rail. They were pierced and showed elaborate ribbon and
+other designs in carving. There were, also, &quot;ladder backs,&quot; and the
+Chinese Chippendale chairs, with lattice work open carved and
+extending over entire backs. The characteristic Chippendale leg is
+cabriole with claw and ball foot.</p>
+
+<p><a name='Page_204'></a>The setting for Chippendale furniture was a panelled dado, classic
+mantelpiece, architraves and frieze, and stretched over sidewalks,
+above dado, was silk or paper showing a large pattern harmonising with
+the furniture. The Chinese craze brought about a fashion for Chinese
+wall papers with Chinese designs. This Chinese fashion continued for
+fifty years.</p>
+
+<p>Chippendale carved the posts of his bedsteads, and so the bed curtains
+were drawn back and only a short valance was used around the top,
+whereas in the time of William and Mary bed curtains enveloped all the
+woodwork. Still earlier in the Elizabethan period bed posts were
+elaborately carved.</p>
+
+<p>In the eighteenth century it was the fashion to embroider the bed
+curtains.</p>
+
+<p>The Chippendale china-cabinets with glass fronts, were the outcome of
+the fad for collecting Chinese and French porcelain, and excellent
+taste was displayed in collecting these small articles within definite
+and appropriate limits. Cabinets with glass doors were also used as
+receptacles for silverware.</p>
+
+<p>Thomas Sheraton (1760-1786), another great <a name='Page_205'></a>name in the Mahogany
+Period, admired Louis XV and Louis XVI and one can easily trace French
+influence in the &quot;light, rhythmic style&quot; he originated. Sheraton's
+contribution to interior decoration was furniture. His rooms, walls,
+ceilings, over-doors, windows and chimney pieces, are considered very
+poor; which accounts for the fact that Sheraton furniture as well as
+Heppelwhite was used in Adam rooms.</p>
+
+<p>Sheraton made a specialty of pieces of furniture designed to serve
+several purposes, and therefore adapted for use in small rooms; such
+as dressing-tables with folding mirrors, library step-ladders
+convertible into tables, etc.</p>
+
+<p>The backs of Sheraton chairs had straight tops and several small
+splats joined to a cross-rail, and not to the seat. The legs were
+straight.</p>
+
+<p>Sheraton introduced the use of turned work on the legs and outer
+supports of the backs of chairs, and produced fine examples of painted
+furniture, especially painted satin-wood. He, also, did some very fine
+inlaying and used cane in the seats and backs of chairs which he
+painted black and gold. Among those who decorated for him was Angelica
+Kauffman.</p>
+
+<p><a name='Page_206'></a>Heppelwhite chairs are unmistakable on account of their <i>shield</i>,
+<i>heart</i> or <i>oval</i> backs and open splats, which were not joined to
+the seat in the centre of backs. The most beautiful were those with carved
+Prince of Wales feathers, held together by a bow-knot delicately
+carved. They were sometimes painted. The legs of Heppelwhite furniture
+were straight.</p>
+
+<p>We see in the book published by A. Heppelwhite &amp; Co., a curious
+statement to the effect that cabriole chairs were those having stuffed
+backs. This idea must have arisen from the fact that many chairs of
+the eighteenth century with cabriole legs, did have stuffed backs.</p>
+
+<p>Robert Adam, born in 1785, was an architect and decorative artist. The
+Adam rooms, walls, ceilings, mantels, etc., are the most perfect of
+the period; beautiful classic mouldings encrust ceilings and
+sidewalls, forming panels into which were let paintings, while in
+drawing-rooms the side panels were either recessed so as to hold
+statuary in the antique style, or were covered with damask or
+tapestry. It is stated that damask and tapestry were never used on the
+walls of <a name='Page_207'></a>Adam dining-rooms. James Adam, a brother, worked with
+Robert.</p>
+
+<p>Every period had its own weak points, so we find the Adam brothers at
+times making wall-brackets which were too heavy with ram's heads,
+garlands, etc., and the Adam chairs were undoubtedly bad. They had
+backs with straight tops, rather like Sheraton chairs, and several
+small splats joining top rail to seat. The bad chairs by Adam, were
+improved upon by Sheraton and Heppelwhite. The legs of Adam furniture
+were straight.</p>
+
+<p>The ideal eighteenth century interior in England was undoubtedly an
+Adam room with Heppelwhite or Sheraton furniture.</p>
+
+<p>Sir John Soane, architect, had one of the last good house interiors,
+for the ugly Georgian style came on the scene about 1812. Grinling
+Gibbons' carvings of heavy fruits and flowers, festoons and masks made
+to be used architecturally we now see used on furniture, and often
+heavily gilded.</p>
+
+<p>William Morris was an epoch maker in English interior decoration, for
+he stood out for the &quot;great, simple note&quot; in furnishings. The
+pre-Raphaelites <a name='Page_208'></a>worked successfully to the same end, reviving classic
+simplicity and establishing <i>the value of elimination</i>. The good,
+modern furniture of to-day, designed with reference to meeting the
+demands of modern conditions, undoubtedly received a great impetus
+from that reaction to the simple and harmonious.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXII'></a><h2><a name='Page_209'></a>CHAPTER XXII</h2>
+
+<h3>THE COLONIAL PERIOD</h3>
+<br />
+
+<p>The furniture made in America during the eighteenth and early
+nineteenth centuries was reproduced from English models and shows the
+influence of Chippendale, Sheraton, Heppelwhite and the Adam brothers.
+For those interested in these early types of American output, the Sage
+and other collections in the Metropolitan Museum, New York, give a
+delightful object lesson, and there has been much written on the
+subject in case any data is desired.</p>
+
+<p>If some of our readers own heirlooms and plan reproducing Colonial
+interiors of the finest type, we would advise making an effort to see
+some of the beautiful New England or Virginia homes, which remain
+quite as they were in the old days; fine square rooms with hand-carved
+woodwork, painted white, their walls panelled in wood and painted the
+same white. I<a name='Page_210'></a>nto these panels were set hand-painted wall paper. The
+authors saw some made for a house in Peabody, near Salem,
+Massachusetts, some time between 1760 and 1800, and were amazed to
+find that the colours were as vivid as when first put on.</p>
+
+<p>Here let us say that the study of interior decoration throws a strong
+light on the history of walls. In Gothic days the stone or wood of the
+feudal hall was partially concealed by tapestries,&mdash;the needlework of
+the women of the household, a record of the gallant deeds of men used
+as interior decoration. Later of course, the making of tapestries
+became a great industry in Italy, France and Belgium, an industry
+patronised by kings and the nobility, and subsidised by governments.</p>
+
+<p>Next we have walls sheathed with wood panelling. Then during the late
+Renaissance, painted portraits were let into these panels and became a
+part of the walls. Later, the upper half, or two-thirds of the
+panelling, was left off, and only a low panelling, or &quot;dado,&quot;
+remained. This, too, disappeared in time.</p>
+
+<p>Landscape paper was the bridge between the panelled walls with
+pictures built into them, and <a name='Page_211'></a>the painted or papered walls with
+pictures hung on them. The paper which we have already referred to, is
+one of the finest examples of its kind, and while there is only enough
+for one side of a room, it is valued at $5,000. The design is eight
+feet high, each strip 22 inches wide, and there are eighteen of the
+original twenty strips. Two breaks occur, numbers 16 and 18. The owner
+believes that the Puritan attitude of her ancestors caused them to
+destroy the panels which showed nude figures engaged in battle. This
+paper is now the property of Mrs. Eliza Brown of Salem, Massachusetts.
+It was found in her grandfather's attic in Gloucester, and was given
+to Mrs. Brown by her grandmother. It was in an army chest belonging to
+Judutham Baldwin, a Colonel of Engineers in the Revolutionary Army,
+who laid out the forts in Boston Harbour.</p>
+
+<p>Kate Sanborn, in her book on &quot;Old Wall Papers&quot; speaks of this
+particular paper. &quot;Paper from the Ham House at Peabody, Massachusetts,
+now occupied by Dr. Worcester. Shows tropical scenes. These scenes are
+<a name='Page_212'></a>quite similar to those of the Pizarro paper and may have been the
+work of the same designer.&quot; (The so-called &quot;Pizarro in Peru&quot; paper is
+shown in plate 34 and 35 of the same book, and is in Duxbury, Mass.)
+Pizarro's invasion of Peru was in 1531. The colouring of Mrs. Brown's
+paper is white background with foliage in vivid greens, while figures
+of Peruvians wear costumes of brilliant blues and vermillion reds, a
+striking contrast to their soft, brown skins.</p>
+
+<p>This paper is now in the market, but let us hope it may finally rest
+in a museum.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXIII'></a><h2><a name='Page_213'></a>CHAPTER XXIII</h2>
+
+<h3>THE REVIVAL OF DIRECTOIRE AND EMPIRE FURNITURE</h3>
+<br />
+
+<p>The revival of Directoire and Empire furniture within the past few
+years, is attributed by some, to that highly artistic, and altogether
+illuminating publication, the <i>Gazette do Bon Ton</i>&mdash;Arts, Modes and
+Frivolities&mdash;published in Paris by the Librarie Centrale des Beaux
+Arts, 13 rue Lafayette and contributed to by the leading artists of
+Paris&mdash;the ultra moderns.</p>
+
+<p>There was a time, fifteen or twenty years ago, when one could buy
+Empire furniture at very low figures, for in those days there was many
+a chance to pick up such pieces. To-day, a genuine antique or a
+hand-made reproduction of an antique made sixty years ago, will
+command a large price, and even in Paris one has difficulty in finding
+them in the shops at any price.</p>
+
+<p><a name='Page_214'></a>Empire furniture ceased to be admired in America when the public got
+&quot;fed up&quot; on this type by its indiscriminate use in hotels and other
+public buildings.</p>
+
+<p>The best designers of modern painted furniture are partly responsible
+for the revived interest in both Empire and Directoire. From their
+reproductions of the beautiful simple outlines, we, as a people, are
+once more beginning to <i>feel</i> line and to recognise it as an intrinsic
+part of beauty.</p>
+<br />
+
+<br /><a name='Page_215'></a><h4>PLATE XXI</h4><br />
+<a name='Page_216'></a>
+<div class='blkquot'><p>A Victorian group in a small portion of a very large parlour, 70
+     x 40 feet, one of the few remaining, if not the last, of the old
+     Victorian mansions in New York City, very interesting as a
+     specimen of the most elegant style of furnishing in the first
+     half of the nineteenth century.</p>
+
+<p>     We would call attention to the heavy moulding of ceilings, the
+     walls painted in panels (painted panels or wall paper to
+     represent panels, is a Victorian hallmark), beautifully
+     hand-carved woodwork, elaboration of design and colon carpet,
+     woven in one piece for the room; in fact the characteristic
+     richness of elaboration everywhere: Pictures in gilded carved
+     frames, hung on double silk cords with tassels, heavily carved
+     furniture made in England, showing fruits, flowers and medallion
+     heads, and a similar elaboration and combination of flora and
+     figures on bronze gas fixtures.</p>
+
+<p>     Heavy curtains of satin damask hung at the windows, held back by
+     great cords and tassels, from enormous brass cornices in the form
+     of gigantic flowers.</p>
+
+<p>     Also of the period is an immense glass case of stuffed birds,
+     standing in the corner of the large dining-room. This interior
+     was at the height of its glory at the time of the Civil War, and
+     one is told of wonderful parties when the uniforms of the
+     Northern officers decorated the stately rooms and large shaded
+     gardens adjoining the house.</p>
+
+<p>     As things go in New York it may be but a matter of months before
+     this picturesque landmark is swept away by relentless Progress.</p></div>
+
+<a name='Page_217'></a><div class="figure">
+<a name='PLATE_XXI'></a><img src="images/plate21.jpg" alt="Photo of a Victorian parlor">
+</div>
+<div class="subhead">
+<i>Part of a Victorian Parlour in One of the Few
+Remaining New York Victorian Mansions</i></div>
+<a name='Page_218'></a>
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXIV'></a><h2><a name='Page_219'></a>CHAPTER XXIV</h2>
+
+<h3>THE VICTORIAN PERIOD</h3>
+<br />
+
+<p>Gradually architecture and interior decoration drew apart, becoming
+two distinct professions, until during the Victorian era the two were
+unrelated with the result that the period of Victorian furniture is
+one of the worst on record.</p>
+
+<p>There were two reasons for this divorce of the arts, which for
+centuries had been one in origin and spirit; first, the application of
+steam to machinery (1815) leading to machine-made furniture, and
+second, the invention of wall-paper which gradually took the place of
+wood panelling and shut off the architects from all jurisdiction over
+the decoration of the home.</p>
+
+<p>With the advent of machine-made furniture came cheap imitations of
+antiques and the rapid decadence of this art. Hand-made reproductions
+are quite another thing. Sir Richard Wallace (of the Wallace
+Collection, London) <a name='Page_220'></a>is said to have given $40,000 for a reproduction
+of the <i>bureau du Louvre</i>.</p>
+
+<p>Fortunately, of late years a tide has set in which favours simple,
+well made furniture, designed with fine lines and having special
+reference to the purposes for which each piece is intended, and to-day
+our houses can be beautiful even if only very simple and inexpensive
+furniture is used.</p>
+
+<p>In the Victorian prime, even the carved furniture, so much of which
+was made in England both for that country and the United States (see
+<a href='#PLATE_XXI'>Plate XXI</a>), was not of the finest workmanship, compared with carvings
+of the same time in Belgium, France, Germany and Austria.</p>
+
+<p>To-day Victorian cross-stitch and bead work in chairs, screens,
+footstools and bell-pulls, artificial flowers of wax and linen, and
+stuffed birds, as well as Bristol glass in blue, green and violet, are
+brought out from their hiding places and serve as touches of colour to
+give some of the notes of variety which good interior decoration
+demands.</p>
+
+<p>To be fascinating, a person must not be too rigidly one type. There
+<a name='Page_221'></a>must be moments of relaxation, of light and shade in mood, or one is
+not charmed even by great beauty. So your perfect room must not be
+kept too rigidly in one style. To have attraction it must have variety
+in both line and colour, and reflect the taste of generations of home
+lovers. The contents of dusty garrets may add piquancy to modern
+decorations, giving a touch of the unusual which is very charming.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXV'></a><h2><a name='Page_222'></a>CHAPTER XXV</h2>
+
+<h3>PAINTED FURNITURE</h3>
+<br />
+
+<p>Painted furniture is, at present, the vogue, so if you own a piece
+made by the Adam brothers of England, decorated by the hand of
+Angelica Kauffman, or Pergolesi, from Greek designs, now is the moment
+to &quot;star&quot; it.</p>
+
+<p>Different in decoration, but equal in charm, is the seventeenth and
+eighteenth century painted lacquers of Italy, France, China and Japan.
+In those days great masters laboured at cabinetmaking and decorating,
+while distinguished artists carved the woodwork of rooms, and painted
+the ceilings and walls of even private dwellings.</p>
+
+<p>To-day we have reproductions (good and bad) of the veteran types, and
+some commendable inventions, more or less classic in line, and
+original in colouring and style of decoration. At times, one wishes
+there was less evident effort to <a name='Page_223'></a>be original. We long for the repose
+of classic colour schemes and classic line. In art, the line and the
+combination of colours which have continued most popular throughout
+the ages, are very apt to be those with which one can live longest and
+not tire. For this reason, a frank copy of an antique piece of painted
+furniture is generally more satisfactory than a modern original.</p>
+
+<p>If you are using dull coloured carpets and hangings, have your modern
+reproductions antiqued. If you prefer gay, cheering tones, let the
+painted furniture be bright. These schemes are equally interesting in
+different ways. It is stupid to decry new things, since every grey
+antique had its frivolous, vivid youth.</p>
+
+<p>One American decorator has succeeded in making the stolid,
+uncompromising squareness of mission furniture take on a certain
+lightness and charm by painting it black and discreetly lining it with
+yellow and red. Yellow velour is used for the seat pads and heavy
+hangings, thin yellow silk curtains are hung at the windows, and the
+black woodwork is set off by Japanese gold paper. In a large house, or
+in a summer home <a name='Page_224'></a>where there are young people coming and going, a
+room decorated in this fashion is both gay and charming and makes a
+pleasant contrast to darker rooms. Then, too, yellow is a lovely
+setting for all flowers, the effect being to intensify their beauty,
+as when flooded by sunshine.</p>
+
+<p>Another clever treatment of the mission type, which we include under
+the heading Painted Furniture, is to have it stained a rich dark
+brown, instead of the usual dark green. Give your dealer time to order
+your furniture unfinished from the factory, and have stained to your
+own liking; or, should you by any chance be planning to use mission in
+one of those cottages so often built in Maine, for summer occupancy,
+where the walls are of unplastered, unstained, dove-tailed boards, and
+the floors are unstained and covered with matting rugs, try using this
+furniture in its <i>natural</i> colour&mdash;unfinished. The effect is
+delightfully harmonious and artistic and quite Japanese in feeling.</p>
+
+<p>In such a cottage, the living-room has a raftered ceiling, the
+sidewalls, woodwork, settles by the fireplaces, open bookcases and
+floor, are all stained dark walnut. The floor colour is very <a name='Page_225'></a>dark,
+the sidewalls, woodwork and book shelves are a trifle lighter, and the
+ceiling boards still lighter between the almost black, heavy rafters.
+The mission furniture is dark brown, the hangings and cushions are of
+mahogany-coloured corduroy, and the floor is strewn with skins of
+animals. There are no pictures, the idea being to avoid jarring notes
+in another key. Instead, copper and brass bowls contribute a note of
+variety, as well as large jars filled with great branches of flowers,
+gathered in the nearby woods. The chimney is exposed. It and the large
+open fireplace are of rough, dark mottled brick.</p>
+
+<p>A room of this character would be utterly spoiled by introducing white
+as ornaments, table covers, window curtains or picture-mats; it is a
+colour scheme of dull wood-browns, old reds and greens in various
+tones. If you want your friends' photographs about you in such a room,
+congregate them on one or two shelves above your books.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXVI'></a><h2><a name='Page_226'></a>CHAPTER XXVI</h2>
+
+<h3>TREATMENT OF AN INEXPENSIVE BEDROOM</h3>
+<br />
+
+<p>The experience of the author is that the most attractive, inexpensive
+furniture is that made by the Leavens factory in Boston. This
+furniture is so popular with all interior decorators that it needs no
+further advertising. Order for each single iron bed two <i>foot boards</i>,
+instead of a head and a footboard. This the factory will supply upon
+demand. Then have your bed painted one of the colours you have chosen
+as in the colour scheme for your room. Say, the prevailing note of
+your chintz. Have two rolls made, to use at the head and foot (which
+are now of equal height) and cover these and the bed with chintz, or,
+if preferred, with sun-proof material in one of the other colours in
+your chintz. By this treatment your cheap iron bed of ungainly
+proportions, has attained the quality of an interesting, as well as
+unique, &quot;day-bed.&quot;</p>
+<br />
+
+<br /><a name='Page_227'></a><h4>PLATE XXII</h4><br />
+<a name='Page_228'></a>
+<div class='blkquot'><p>Two designs for day-beds which are done in colours to suit the
+     scheme of any room.</p>
+
+<p>     These beds are fitted with box springs and a luxurious mattress
+     of feathers or down, covered with silk or chintz, coverlet and
+     cushions of similar material, in colours harmonising with beds.
+     If desired, these lounges can be made higher from the floor.</p></div>
+
+<p><a name='Page_229'></a><div class="figure">
+<a name='PLATE_XXII'></a><img src="images/plate22.jpg" alt="Photo of two day-beds">
+</div>
+<div class="subhead">
+<i>Two Styles of Day-beds</i></div>
+<a name='Page_230'></a>
+<br />
+
+<p><a name='Page_231'></a>The most attractive cheap bureau is one ordered &quot;in the plain&quot; from
+the factory, and painted like the bed. If you would entirely remove
+the factory look, have the mirror taken off the bureau and hang it on
+the wall over what, by your operation, has become a chest of drawers.
+If you want a long mirror in your rooms, the cheapest variety is
+mirror glass, fastened to the back of doors with picture moulding to
+match woodwork. This is also the cheapest variety of over-mantel
+mirrors. We have seen it used with great success, let into walls of
+narrow halls and bedrooms and framed with a dull-gold moulding in the
+style of room.</p>
+
+<p>For chairs, use the straight wooden ones which are made to match the
+bureau, and paint them like the bed and bureau.</p>
+
+<p>For comfortable arm-chairs, wicker ones with chintz-covered pads for
+seat and back are best for the price, and these can also be painted.</p>
+
+<p>Cheap tables, which match the bureau, when painted will do nicely as a
+small writing-table or a night-table for water, clock, book, etc.</p>
+
+<p>If the floors are new and of hard wood, wax them and use a square of
+plain velvet carpet in <a name='Page_232'></a>a dark tone of your dominant colour. Or if
+economy is your aim, use attractive rag rugs which are very cheap and
+will wash.</p>
+
+<p>If your floors are old and you intend using a large velvet square,
+paint the edges of the floor white, or some pale shade to match the
+colour of the walls. Or, use filling all over the floor. If you cannot
+afford either and must use small rugs, stain or paint your floors a
+dark colour, to be practical, and use only necessary rugs; that is,
+one before bed, bureau and fireplace.</p>
+
+<p>Sofas are always expensive. That is one reason for advising that beds
+be treated like &quot;day-beds.&quot;</p>
+
+<p>Wall papers, at ten cents a roll, come in charming colours and
+designs, and with a few cheap French coloured prints, framed in
+passepartout, your room is attractive at once.</p>
+
+<p>If your prints are black and white use broad passepartout in same
+colour as the wall paper, only a tone deeper. If you use favourite
+photographs, suppress all margins and frame with narrow black
+passepartout.</p>
+
+<p>For curtains use one of the sixty-or seventy-cent chintzes which come
+in attractive<a name='Page_233'></a> designs and colours, or what is still cheaper,
+sun-proof material, fifty inches wide (from $1.10 to $1.50 a yard),
+and split it in half for curtains, edging them with a narrow fringe of
+a contrasting colour which appears in the chintz of chair-pads.
+Another variety of cheap curtains is heavy cream scrim with straps
+(for looping back) and valance of chintz. These come cheaper than all
+chintz curtains and are very effective, suggesting the now popular and
+expensive combination of plain toned taffetas combined with chintz.</p>
+
+<p>Use for sash curtains plain scrim or marquesette.</p>
+
+<p>Let your lamps be made of inexpensive one-toned pottery vases,
+choosing for these still another colour which appears in the chintz.
+The lamp shades can be made of a pretty near-silk, in a plain colour,
+with a fringe made up of one, two or three of the colours in the
+chintz.</p>
+
+<p>If you happen to have your heart set on deep rose walls and your
+bedroom furniture is mahogany, find a chintz with rose and French
+blue, and then cover your arm-chair pads and bed with chintz, but make
+your curtains of blue sun-proof material, having a narrow fringe of
+rose, <a name='Page_234'></a>and use a deep rose carpet, or rugs, or if preferred, a dull
+brown carpet to harmonise with the furniture. A plain red Wilton
+carpet will dye an artistic deep mulberry brown. They are often bought
+in the red and dyed to get this shade of brown.</p>
+
+<p>For attractive cheap dining-room furniture, buy simple shapes,
+unfinished, and have the table, sideboard and chairs painted dark or
+light, as you prefer.</p>
+
+<p>In your dining-room and halls, if the house is old and floors bad, and
+economy necessary, use a solid dark linoleum, either deep blue or red,
+and have it <i>waxed</i>, as an economical measure as well as to improve
+its appearance.</p>
+
+<p>In a small home, where no great formality is observed, well chosen
+doilies may be used on all occasions, instead of table cloths. By this
+expedient you suppress one large item on the laundry bill, the care of
+the doilies in such cases falling to the waitress.</p>
+
+<p>To make comfortable, convenient and therefore livable, a part of a
+house, formerly an attic, or an extension with small rooms and low
+ceilings, seems to be the special province of a certain <a name='Page_235'></a>type of mind,
+which works best when there is a tax on the imagination.</p>
+
+<p>When reclaiming attic rooms, one of the problems is how to get wall
+space, especially if there are dormer windows and very slanting
+ceilings. One way, is to place a dressing table <i>in</i> the dormer, under
+windows, covering the sides of the dormer recess with mirror glass,
+edged with narrow moulding. The dressing-table is not stationary,
+therefore it can be easily moved by a maid, when the rooms are
+cleaned.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXVII'></a><h2><a name='Page_236'></a>CHAPTER XXVII</h2>
+
+<h3>TREATMENT OF A GUEST ROOM</h3>
+
+<p>(Where economy is not an item of importance)</p>
+<br />
+
+<p>Here we can indulge our tastes for beautiful quality of materials and
+fine workmanship, as well as good line and colour, so we describe a
+room which has elegant distinction and atmosphere, yet is not a
+so-called period room&mdash;rather a modern room, in the sense that it
+combines beautiful lines and exquisite colouring with every modern
+development for genuine comfort and convenience.</p>
+
+<p>The walls are panelled and painted a soft taupe&mdash;there are no
+pictures; simply one very beautiful mirror in a dull-gold frame, a
+Louis XVI reproduction.</p>
+<br />
+
+<br /><a name='Page_237'></a><h4>PLATE XXIII</h4><br />
+<a name='Page_238'></a>
+<div class='blkquot'><p>In another suite we have a boudoir done in sage greens and soft
+     browns. The curtains of taffeta, in stripes of the two colours.
+     Two tiers of creme net form sash curtains.</p>
+
+<p>     The carpet is a rich mulberry brown, day-bed a reproduction of an
+     antique, painted in faded greens with <i>panier fleuri</i> design on
+     back, in lovely faded colours, taffeta cushions of sage green and
+     an occasional note about the room of mulberry and dull blue.
+     Electric light shades are of decorated parchment paper.</p>
+
+<p>     Really an enchanting nest, and as it is in a New York apartment,
+     and occasionally used as a bedroom, a piece of furniture has been
+     designed for it similar to the wardrobe shown in picture, only
+     not so high. The glass door, when open, disclose a toilet table,
+     completely fitted out, the presence of which one would never
+     suspect.</p></div>
+
+<a name='Page_239'></a><div class="figure">
+<a name='PLATE_XXIII'></a><img src="images/plate23.jpg" alt="Photo of a boudoir">
+</div>
+<div class="subhead">
+<i>Boudoir in New York Apartment. Painted Furniture,
+Antique and Reproductions.</i></div>
+<br /><a name='Page_240'></a>
+
+<p><a name='Page_241'></a>The carpet made of dark taupe velvet covers the entire floor. The
+furniture is Louis XV, of the wonderful painted sort, the beautiful
+bed with its low head and foot boards exactly the same height, curving
+backward; the edges a waved line, the ground-colour a lovely
+pistache green, and the decoration gay old-fashioned garden flowers in
+every possible shade. The bureau has three or four drawers and a bowed
+front with clambering flowers. These two pieces, and a delightful
+night-table are exact copies of the Clyde Fitch set in the Cooper
+Hewitt Museum, at New York; the originals are genuine antiques, and
+their colour soft from age.</p>
+
+<p>A graceful dressing-table, with winged mirrors, has been designed to
+go with this set, and is painted like the bureau. The glass is a
+modern reproduction of the lovely old eighteenth century mirror glass
+which has designs cut into it, forming a frame.</p>
+
+<p>For chairs, all-over upholstered ones are used, of good lines and
+proportions; two or three for comfort, and a low slipper-chair for
+convenience. These are covered in a chintz with a light green ground,
+like the furniture, and flowered in roses and violets, green foliage
+and lovely blue sprays.</p>
+
+<p>The window curtains are of soft, apple-green taffeta, trimmed with a
+broad puffing of the same<a name='Page_242'></a> silk, edged on each side by black
+moss-trimming, two inches wide. These curtains hang from dull-gold
+cornices of wood, with open carving, through which one gets glimpses
+of the green taffeta of the curtains.</p>
+
+<p>The sash-curtains are of the very finest cream net, and the window
+shades are of glazed linen, a deep cream ground, with a pattern
+showing a green lattice over which climb pink roses. The shades are
+edged at the bottom with a narrow pink fringe.</p>
+
+<p>The bed has a cover of green taffeta exactly like curtains, with the
+same trimming of puffed taffeta, edged with a black moss-trimming.</p>
+
+<p>The mantelpiece is true to artistic standards and realises the
+responsibility of its position as keynote to the room. Placed upon it
+are a beautiful old clock and two vases, correct as to line and
+colour.</p>
+
+<p>Always be careful not to spoil a beautiful mantel or beautiful
+ornaments by having them out of proportion one with the other. Plate
+XXIV shows a mantel which fails as a composition because the bust, an
+original by Behnes, beautiful in itself, is too heavy for the mantel
+<a name='Page_243'></a>it stands on and too large for the mirror which reflects it and
+serves as its background.</p>
+
+<p>Keep everything in correct proportion to the whole. We have in mind
+the instance of some rarely beautiful walls taken from an ancient
+monastery in Parma, Italy. They were ideal in their original setting,
+but since they have been transported to America, no setting seems
+right. They belonged in a building where there were a succession of
+small rooms with low ceilings, each room perfect like so many pearls
+on a string. Here in America their only suitable place would be a
+museum, or to frame the tiny &quot;devotional&quot; of some pr&eacute;cieuse Flower of
+Modernity.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXVIII'></a><h2><a name='Page_244'></a>CHAPTER XXVIII</h2>
+
+<h3>A MODERN HOUSE IN WHICH GENUINE JACOBEAN FURNITURE IS APPROPRIATELY
+SET</h3>
+<br />
+
+<p>An original scheme for a dining-room was recently carried out in a
+country house in England by a woman whose hobby is illuminating. It
+will appeal to experts in the advance guard of interior decoration.
+The woman in question was stimulated for her task by coming into
+possession of some interesting Jacobean pieces of furniture, of oak,
+squarely and solidly made, with flat carvings, characteristic of the
+period.</p>
+<br />
+
+<br /><a name='Page_245'></a><h4>PLATE XXIV</h4><br />
+<a name='Page_246'></a>
+<div class='blkquot'><p>A beautiful mantel, a beautiful mirror, beautiful ornaments, and
+     a rare and beautiful marble bust by Behnes, but because the bust
+     is too large for both mantel and reflecting mirror, the
+     composition is poor.</p></div>
+
+<a name='Page_247'></a><div class="figure">
+<a name='PLATE_XXIV'></a><img src="images/plate24.jpg" alt="Photo of a mantel arrangement">
+</div>
+<div class="subhead">
+<i>Example of Lack of Balance in Mantel Arrangement</i></div>
+<br /><a name='Page_248'></a>
+
+<p><a name='Page_249'></a>The large Jacobean chest happened to be lined, as many of those old
+chests were, with quaint figured paper, showing a coat-of-arms
+alternating with another design in large squares of black and grey.
+This paper, the owner had reproduced to cover the walls of her
+dining-room, and then she stained her woodwork black (giving the
+effect of old black oak), also, the four corner cupboards, but
+the <i>inside</i> of these cupboards&mdash;doors and all&mdash;she made a rich
+Pompeian red and lackered it. The doors are left open and one sees on
+the shelves of the corner cupboards a wonderful collection of old
+china, much of it done in rich gold. At night the whole is illuminated
+with invisible electric bulbs. The gleaming effect is quite
+marvellous.</p>
+
+<p>The seat-pads on chairs, are made of hides, gilded all over, and on
+the gilt the owner has painted large baskets holding fruit and flowers
+done in gay colours. The long Jacobean bench has a golden cushion with
+baskets painted on it in gay colours.</p>
+
+<p>A part of the wonderful gold china is used at every meal, and the rest
+of it being left on the shelves of the four cupboards with their
+Pompeian red lining, when lit up, forms part of the glowing blaze of
+colour, concentrated in all four corners of this unique room.</p>
+
+<p>The Jacobean library in this house has the same black oak effect for
+panelling and at the windows, hang long, red silk curtains, with deep
+borders of gold on which are painted gay flowers. This blaze of colour
+is truly Jacobean <a name='Page_250'></a>and recalls the bedroom at Knole, occupied by James
+I where the bed-curtains were of red silk embroidered in gorgeous
+gold, and the high post bedstead heavily carved, covered with gold and
+silver tissue, lined with red silk, its head-board carved and gilded.</p>
+
+<p>Another room at Knole was known as the &quot;Spangle&quot; bedroom. James I gave
+the furniture in it to Lionel, Earl of Middlesex. Bed curtains, as
+well as the seats of chairs and stools, are of crimson, heavily
+embroidered in gold and silver.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXIX'></a><h2><a name='Page_251'></a>CHAPTER XXIX</h2>
+
+<h3>UNCONVENTIONAL BREAKFAST-ROOMS AND SPORTS BALCONIES</h3>
+<br />
+
+<p>&quot;Sun-rooms&quot; are now a feature of country and some town houses. One of
+the first we remember was in Madrid, at the home of Canovas del
+Castillo, Prime Minister during the Regency. D&eacute;jeuner used to be
+served at one end of the conservatory, in the shadow of tall palms,
+while fountains played, birds with gay plumage sang, and the air was
+as fragrant as the tropics. For comfort, deep red rugs were put down
+on the white marble floors. Which reminds us that in many Spanish
+hand-made rugs, what is known as &quot;Isabella white&quot; figures
+conspicuously. The term arises from the following story. It seems that
+Queen Isabella during the progress of some war, vowed she would not
+have her linen washed until her army returned victorious. The war was
+long, hence the term!</p>
+
+<p><a name='Page_252'></a>In furnishing a conservatory or porch breakfast room, it is best to
+use some variety of informal tables and chairs, such as painted
+furniture, willow or bamboo, and coloured, not white, table cloths,
+doilies and napkins, to avoid the glare from the reflection of strong
+light. Also, informal china, glass, etc.</p>
+
+<p>Screens, if necessary, should have frames to accord with the
+furniture, and the panels should be of wood, or some simple material
+such as sacking or rough linen, which comes in lovely vivid,
+out-of-door colours.</p>
+
+<p>The bizarre and fascinating sports balconies overlooking squash
+courts, tennis courts, golf links, croquet grounds, etc., are among
+the newest inventions of the decorator. Furnished porches we have all
+grown accustomed to, and when made so as to be enclosed by glass, in
+inclement weather, they may be treated like inside rooms in the way of
+comforts and conveniences.</p>
+
+<p>The smart porch-room is furnished with only such chairs, tables, sofas
+and rugs as are appropriate to a place not thoroughly protected from
+the elements, for while glass is provided for protection, a summer
+shower can outstrip a slow-footed servant and valuable articles
+made for indoors cannot long brave the effect of rain and hot sun.</p>
+<br />
+
+<br /><a name='Page_253'></a><h4>PLATE XXV</h4><br />
+<a name='Page_254'></a>
+<div class='blkquot'><p>In this case the house stood so near the road that there was no
+     privacy, so the ingenious architect-decorator became
+     landscape-gardener and by making a high but ornamental fence and
+     numerous arbours, carried the eye to the green trees beyond and
+     back to the refreshing tangle of shrubs and flowers in the
+     immediate foreground, until the illusion of being secluded was so
+     complete that the nearby road was forgotten.</p></div>
+
+<a name='Page_255'></a><div class="figure">
+<a name='PLATE_XXV'></a><img src="images/plate25.jpg" alt="Photo of a house">
+</div>
+<div class="subhead">
+<i>Treatment of Ground Lying Between House and Much
+Travelled Country Road</i></div>
+<br /><a name='Page_256'></a>
+
+<p><a name='Page_257'></a>For this reason furnish your porch with colours which do not fade, and
+with wicker furniture which knows how to contract and expand to order!</p>
+
+<p>The same rule applies to rugs. Put your Oriental rugs indoors, and use
+inexpensive, effective porch rugs which, with a light heart, you can
+renew each season, if necessary.</p>
+
+<p>The sports balcony is fitted out with special reference to the comfort
+of those who figure as audience for sports, and as a lounge between
+games, and each hostess vies with her friends in the originality and
+completeness of equipment, as well as in the costumes she dons in her
+commendable desire to make of herself a part of her scheme of
+decoration.</p>
+
+<p>A country place which affords tennis courts, golf links, cricket and
+polo grounds or has made arrangements for the exercise of any sports,
+usually makes special provision for the comfort of those engaging in
+them, more or less as a country club does. There is a large porch for
+<a name='Page_258'></a>lounging and tea, and a kitchenette where tea, cooling drinks and
+sandwiches are easily and quickly prepared, without interfering with
+the routine of the kitchens. There are hot and cold plunge baths,
+showers, a swimming pool, dressing rooms with every convenience known
+to man or woman, and a room given over to racks which hold implements
+used in the various sports, as well as lockers for sweaters, change of
+linen, socks, etc., belonging to those stopping in the house.</p>
+
+<p>Where sports are a main issue, an entire building is often devoted to
+the comfort of the participants. We have in mind the commodious and
+exceptionally delightful arrangements made for the comfort and
+pleasure of those playing court tennis in a large and architecturally
+fine building erected for the purpose on the estate of the Neville
+Lyttons, Crabber Park, Poundhill, England.</p>
+
+<p>If sport balconies overlook tennis courts or golf links, they are
+fitted out with light-weight, easily moved, stiff chairs for the
+audience, and easy, cushioned arm-chairs and sofas of upholstered
+<a name='Page_259'></a>wicker, for the participants to lounge in between matches.</p>
+
+<p>Card tables are provided, as well as small tea tables, to seat two,
+three or four, while there is always one oblong table at which a
+sociable crowd of young people may gather for chatter and tea!</p>
+
+<p>If you use rail-boxes, or window-boxes, holding growing plants, be
+sure that the flowers are harmonious in colour when seen from the
+lawn, road or street, against their background of <i>house</i> and the
+awnings and chintzes, used on the porch.</p>
+
+<p>The flowers in window-boxes and on porch-rails must first of all
+decorate the <i>outside</i> of your house. Therefore, before you buy your
+chintz for porches, decide as to whether the colour of your house, and
+its awnings, demands red, pink, white, blue, yellow or mauve flowers,
+and then choose your chintz and porch rugs as well as porch
+table-linen, to harmonise.</p>
+
+<p>In selecting porch chairs remember that women want the backs of most
+of the chairs only as high as their shoulders, on account of wearing
+hats.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXX'></a><h2><a name='Page_260'></a>CHAPTER XXX</h2>
+
+<h3>SUN-ROOMS</h3>
+<br />
+
+<p>There are countless fascinating schemes for arranging sun-rooms. One
+which we have recently seen near Philadelphia, was the result of
+enclosing a large piazza, projecting from an immense house situated in
+the midst of lawns and groves.</p>
+
+<p>The walls are painted orange and striped with pale yellow; the floors
+are covered with the new variety of matting which imitates tiles, and
+shows large squares of colour, blocked off by black. The chintzes used
+are in vivid orange, yellow and green, in a stunning design; the
+wicker chairs are painted orange and black, and from the immense
+iridescent globes of electric light hang long, orange silk tassels.</p>
+<br />
+
+<br /><a name='Page_261'></a><h4>PLATE XXVI</h4><br />
+<a name='Page_262'></a>
+<div class='blkquot'><p>Shows how to utilise and make really very attractive an extension
+     roof, by converting it into a balcony.</p>
+
+<p>     An awning of broad green and white stripes protect this one in
+     winter as well as summer, and by using artificial ivy, made of
+     tin and painted to exactly imitate nature, one gets, as you see,
+     a charming effect.</p></div>
+
+<a name='Page_263'></a><div class="figure">
+<a name='PLATE_XXVI'></a><img src="images/plate26.jpg" alt="Photo of a balcony">
+</div>
+<div class="subhead">
+<i>An Extension Roof in New York Converted into a
+Balcony</i></div>
+<br /><a name='Page_264'></a>
+
+<p><a name='Page_265'></a>Iron fountains, wonderful designs in black and gold, throw water over
+gold and silver fish, or gay water plants; while, in black and gold
+cages, vivid parrots and orange-coloured canaries gleam through
+the bars. Iron vases of black and gold on tall pedestals, are filled
+with trailing ivy and bright coloured plants. Along the walls are
+wicker sofas, painted orange and black, luxuriously comfortable with
+down cushions covered, as are some of the chair cushions, in soft
+lemon, sun-proofed twills.</p>
+
+<p>Here one finds card-tables, tea-tables and smoking-tables, a
+writing-desk fully equipped, and at one end, a wardrobe of black and
+gold, hung with an assortment of silk wraps and &quot;wooleys&quot;&mdash;for an
+unprovided and chilly guest, in early spring, when the steam heat is
+off and the glass front open.</p>
+
+<p>Even on a grey, winter day, this orange and gold room seems flooded
+with sun, and gives one a distinctly cheerful sensation when entering
+it from the house.</p>
+
+<p>Of course, if your porch-room is mainly for mid-summer use and your
+house in a warm region, then we commend instead of sun-producing
+colours, cool tones of green, grey or blue. If your porch floor is
+bad, cover it with dark-red linoleum and wax it. The effect is like a
+cool, <a name='Page_266'></a>tiled floor. On this you can use a few porch rugs.</p>
+
+<p>Black and white awnings or awnings in broad, green-and-white stripes,
+or plain green awnings, are deliciously cool-looking, and rail-boxes
+filled with green and white or blue and pale pink flowers are
+refreshing on a summer day.</p>
+
+<p>By the sea, where the air is bracing, and it is not necessary to trick
+the senses with a pretence at coolness, nothing is more satisfactory
+or gay than scarlet geraniums; but if they are used, care must be
+taken that they harmonise with the colour of the awnings and the
+chintz on the porch.</p>
+
+<p>Speaking of rail-boxes reminds us that in making over a small summer
+house and converting a cheap affair into one of some pretensions,
+remember that one of the most telling points is the character of your
+porch railing. So at once remove the cheap one with its small, upright
+slats and the insignificant and frail top rail, and have a solid porch
+railing (or porch fence) built with broad, top rail. Then place all
+around porch, resting on iron brackets, rail-flower boxes, the tops of
+these level with the top of the rail, and <a name='Page_267'></a>paint the boxes the colour
+of the house trimmings. Filled with running vines and gay flowers,
+nothing could be more charming.</p>
+
+<p>Window-boxes make any house lovely and are a large part of that charm
+which appeals to us, whether the house be a mansion in Mayfair or a
+Bavarian farm house. Americans are learning this.</p>
+
+<p>The window and rail-boxes of a house look best when all are planted
+with the same variety of flowers.</p>
+
+<p>Having given a certain air of distinction to your porch-railing, add
+another touch to the appearance of your small, remodelled house by
+having the shutters hung from the top of the windows, instead of from
+the sides. A charming variety of awning or sun-shades, to keep the sun
+and glare out of rooms, is the old English idea of a straw-thatching,
+woven in and out until it makes a broad, long mat which is suspended
+from the top of windows, on the outside of the house, being held out
+and permanently in place, at the customary angle of awnings. We first
+saw this picturesque kind of rustic awnings used on little cottages of
+a large estate in Vermont, cottages <a name='Page_268'></a>once owned and lived in by
+labourers, but bought and put in comfortable condition to be used as
+overflow rooms for guests, in connection with the large family mansion
+(once the picturesque village inn).</p>
+
+<p>The art of making these straw awnings is not generally understood in
+America. In the case to which we refer, one of the gardeners employed
+on the estate, chanced to be an old Englishman who had woven the straw
+window awnings for farm houses in his own country.</p>
+
+<p>The straw awnings, with window-boxes planted with bright geraniums and
+vines, make an inland cottage delightfully picturesque and are
+practical, although by the sea the straw awnings might be destroyed by
+high winds.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXXI'></a><h2><a name='Page_269'></a>CHAPTER XXXI</h2>
+
+<h3>TREATMENT OF A WOMAN'S DRESSING-ROOM</h3>
+<br />
+
+<p>Every house, or flat, which is at all pretentious, should arrange a
+Vanity Room for the use of guests, in which there are full-length
+mirrors, a completely equipped dressing-table with every conceivable
+article to assist a lady in making her toilet, slipper-chairs and
+chairs to rest in, and a completely equipped lavatory adjoining.</p>
+
+<p>The woman who takes her personal appearance seriously, just as any
+artist takes her art (and when dressing is not an art it is not worth
+discussion) can have her dressing-room so arranged with mirrors, black
+walls and strong, cleverly reflected, electric lights, that she stands
+out with a cleancut outline, like a cameo, the minutest detail of her
+toilet disclosed. With such a dressing-room, it is quite impossible to
+suffer at the hands of a careless maid, and one can use the black
+walls as a background for vivid chair covers, sofa cushions and lamp
+shades.</p>
+
+<p><a name='Page_270'></a>Off this dressing-room should be another, given over to clothes, with
+closets equipped with hooks and shelves, glass cabinets for shoes and
+slippers, and the &quot;show-case&quot; for jewels to be placed in by the maid
+that the owner may make her selection.</p>
+
+<p>At the time of the Louis, knights and courtiers had large rooms
+devoted to the care and display of their wardrobes, and even to-day
+there are men who are serious connoisseurs in the art of clothes.</p>
+<br />
+
+<br /><a name='Page_271'></a><h4>PLATE XXVII</h4><br />
+<a name='Page_272'></a>
+<div class='blkquot'><p>Interior decoration not infrequently leads to a desire to chic
+     the appearance of one's &quot;out-of-doors.&quot; We give an example of a
+     perfectly commonplace barn made interesting by adding green
+     latticework, a small iron balcony, ornamental gate and setting
+     out a few decorative evergreens. Behold a transformation!</p></div>
+
+<a name='Page_273'></a><div class="figure">
+<a name='PLATE_XXVII'></a><img src="images/plate27.jpg" alt="Photo of a barn">
+</div>
+<div class="subhead">
+<i>A commonplace Barn Made Interesting</i></div>
+<br /><a name='Page_274'></a>
+
+<p><a name='Page_275'></a>The dressing-table should be constructed of material in harmony with
+the rest of your furniture. It may be of mahogany, walnut, rose wood,
+satin wood, or some painted variety, or, as is the fashion now, made
+of silk,&mdash;a seventeenth and eighteenth century style (in vogue during
+the time of the Louis). These are made of taffeta with lace covers on
+top, and in outline are exactly like the simple dotted-swiss
+dressing-tables with which every one is familiar,&mdash;the usual variety,
+so easily made by placing a wooden packing box on its side. In this
+case have your carpenter put shelves inside for boots, shoes and
+slippers. The entire top is covered with felt or flannel, over
+which is stretched silk or sateen, in any colour which may harmonise
+with the room. A flounce, as deep as the box is high, is made of the
+same material as the top, and tacked to the edges of the table-top.
+Cover the whole with dotted or plain swiss. A piece of glass, cut to
+exactly fit the top of the table, is a practical precaution. A large
+mirror, hung above yet resting on the table, is canopied in the old
+style, with the same material with which you cover your
+dressing-table.</p>
+
+<p>If the table is made of the beautiful taffeta, now so popular for this
+purpose, as well as for curtains, it is, of course, not covered with
+swiss or lace, except the top, on which is used a fine, hand-made
+cover, of real lace and hand embroidery, in soft creams,&mdash;cream from
+age, or a judicious bath in weak tea. The glass top laid over this
+cover protects the lace.</p>
+
+<p>If the table has drawers, each can be neatly covered with the taffeta,
+as can the frame of any table. A good, up-to-date cabinet-maker
+understands this work as so much of it is now done.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXXII'></a><h2>CHAPTER XXXII</h2>
+
+<h3>THE TREATMENT OF CLOSETS</h3>
+<br />
+
+<p>The modern architect turns out his closets so complete as to comfort
+and convenience, that he leaves but little to be done by the
+professional or amateur decorator. Each perfectly equipped bedroom
+suite calls for, at least, two closets: one supplied with hooks,
+padded hangers for coats, and covered hangers for skirts, if the
+closet is for a woman; or, if it is for a man, with such special
+requirements as he may desire. In the case of a woman's suite, one
+closet should consist entirely of shelves. Paint all the closets to
+harmonise with the suite, and let the paint on the shelves have a
+second coat of enamel, so that they may be easily wiped off. Supply
+your shelves with large and small boxes for hats, blouses, laces,
+veils, etc., neatly covered with paper, or chintz, to harmonise with
+the room.</p>
+
+<p>Those who dislike too many mirrors in a room may have full length
+mirrors on the inside of the closet doors.</p>
+
+<p><a name='Page_277'></a><a name='Page_276'></a>Either devote certain shelves to your boots, shoes and slippers, or
+have a separate shallow closet for these-shallow because it is most
+convenient to have but one row on a shelf.</p>
+
+<p>Where economy is not an item of importance, see that electric lights
+are placed in all the closets, which are turned on with the action of
+opening the door.</p>
+
+<p>The elaboration of closets, those with drawers of all sizes and
+depths, cedar closets for furs, etc., is merely a matter of the
+architect's planning to meet the specific needs of the occupants of
+any house.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXXIII'></a><h2>CHAPTER XXXIII</h2>
+<a name='Page_278'></a>
+<h3>TREATMENT OF A NARROW HALL</h3>
+<br />
+
+<p>A long, narrow hall in a house, or apartment, is difficult to arrange,
+but there are methods of treating them which partially corrects their
+defects. One method is shown on <a href='#PLATE_XIV'>Plate XIV</a>.</p>
+
+<p>The best furnishing is a very narrow console (table) with a stiff,
+high-backed chair on either side of it, and on the wall, over console,
+a tapestry, an architectural picture or a family portrait. On the
+console is placed merely a silver card tray.</p>
+
+<p>Have a closet for wraps if possible, or arrange hooks and a table, out
+of right, for this purpose. Keep your walls and woodwork light in
+colour and in the same tone.</p>
+<br /><br />
+<a name='Page_279'></a><h4>PLATE XXVIII</h4><br />
+<a name='Page_280'></a>
+<div class='blkquot'><p>An idea for treatment of a narrow hall, where the practical and
+     beautiful are combined. The hall table and candlesticks are an
+     example of the renaissance of iron, elaborately wrought after
+     classic designs.</p>
+
+<p>     The mirror over table is framed in green glass, the ornaments are
+     of dull gold (iron gilded).</p>
+
+<p>     The Venetian glass jar is in opalescent green, made to hold dried
+     rose leaves, and used here purely as an ornament which catches
+     and reflects the light, important, as the hall is dark.</p>
+
+<p>     The iron of table is black touched with gold, and the marble slab
+     dark-green veined with white.</p></div>
+
+<div class="figure">
+<a name='PLATE_XXVIII'></a><img src="images/plate28.jpg" alt="Photo of a narrow entrance hall">
+</div>
+<div class="subhead">
+<i>Narrow Entrance Hall of a New York Antique Shop</i></div>
+<br /><a name='Page_281'></a>
+<a name='Page_282'></a>
+<p>An interesting treatment of a long narrow hall is to break its length
+<a name='Page_283'></a>with lattice work, which has an open arch, wide enough for one or two
+people to pass through, the arch surmounted by an urn in which
+ivy is planted. The lattice work has lines running up and down&mdash;not
+crossed, as is the usual way. It is on hinges so that trunks or
+furniture may be carried through the hall, if necessary. The whole is
+kept in the same colour scheme as the hall.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXXIV'></a><h2>CHAPTER XXXIV</h2>
+<a name='Page_284'></a>
+<h3>TREATMENT OF A VERY SHADED LIVING-ROOM</h3>
+<br />
+
+<p>By introducing plenty of yellow and orange you can bring sunshine into
+a dark living-room. If your house is in a part of the country where
+the heat is great, a dark living-room in summer is sometimes a
+distinct advantage, so keep the colourings subdued in tone, and,
+therefore, cool looking. If, on the contrary, the living-room is in a
+cool house on the ocean, or a shaded mountainside, and the sun is cut
+off by broad porches, you will cheer up your room, and immensely
+improve it, by using sun-producing colours in chintzes and silks;
+while cut flowers or growing plants, which reproduce the same
+colouring, will intensify the illusion of sunshine.</p>
+
+<p>Sash curtains of thin silk, in bright yellows, are always
+sun-producing, but if you intend using yellows in a room, be careful
+to do so in combination <a name='Page_285'></a>with browns, greens, greys, or carefully
+chosen blues, not with reds or magentas.</p>
+
+<p>Try not to mix warm and cold colours when planning your walls. Grey
+walls call for dull blue or green curtains; white walls for red or
+green curtains; cream walls for yellow, brown buff or apple green
+curtains. If your room is too cold, warm it up by making your
+accessories, such as lamp shades, and sofa pillows, of rose or yellow
+material.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXXV'></a><h2><a name='Page_286'></a>CHAPTER XXXV</h2>
+
+<h3>SERVANTS' ROOMS</h3>
+<br />
+
+<p>Whether you expect to arrange for one servant or a dozen, keep in mind
+the fact that efficiency is dependent upon the conditions under which
+your manor maid-servant rests as well as works, and that it is as
+important that the bedroom be <i>attractive</i> as that it be comfortable.</p>
+
+<p>For servants' rooms it is advised that the matter of furnishing and
+decorating be a scheme which includes comfort, daintiness and
+effectiveness on the simplest, least expensive basis, no matter how
+elaborate the house. There is a moral principle involved here. In the
+case of more than one servant the colour scheme alone needs to be
+varied, for similar furniture will prevent jealousy among the
+servants, while at the same time the task of inventing is reduced to
+the mere multiplying of one room; even the wall paper and chintz being
+alike in pattern, if different in colour.</p>
+
+<p><a name='Page_287'></a>The simplest iron beds, or wooden furniture can be painted white or
+any colour which may be considered more durable.</p>
+
+<p>In maids' rooms for summer use, a vase provided for flowers is
+sometimes an incentive to personally contribute a touch of beauty.
+That sense of beauty once awakened in a maid does far more than any
+words on the subject of order and daintiness in her own room or in
+those of her employer.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXXVI'></a><h2><a name='Page_288'></a>CHAPTER XXXVI</h2>
+
+<h3>TABLE DECORATION</h3>
+<br />
+
+<p>For the young and inexperienced we state a few rules for table
+decoration. If you have furnished your dining-room to accord not only
+with your taste, but the scale upon which you intend living, be
+careful that the dining-table never strikes a false note, never &quot;gets
+out of the picture&quot; by becoming too important as to setting or menu.
+You may live very formally in your town house and very simply, without
+any ostentation, in the country, but be sure that in all of your
+experimenting with table decoration you observe above all the law of
+appropriateness.</p>
+
+<p>Your decoration, flowers, fruit, character of bowl or dish which holds
+them, or <i>objet d'art</i> used in place of either; linen or lace, china,
+glass and silver,&mdash;each and all must be in keeping. The money value
+has nothing whatever to do with this question of appropriateness, when
+considered <a name='Page_289'></a>by an artist decorator. Remember that in decorating,
+things are classified according to their colour value, their lines and
+the purpose for which they are intended. The dining-table is to eat
+at, therefore it should primarily hold only such things as are
+required for the serving of the meal. So your real decoration should
+be your silver, glass and china, with its background of linen or lace.
+The central decoration, if of flowers or fruit, must be in a bowl or
+dish decorative in the same sense that the rest of the tableware is.</p>
+
+<p>Flowers should be kept in the same key as your room. One may do this
+and yet have infinite variety. Tall stately lilies, American Beauty
+roses, great bowls of gardenias and orchids are for stately rooms.
+Your small house, flat or bungalow require modest garden flowers such
+as daffodils, jonquils, tulips, lilies-of-the-valley, snapdragons, one
+long-stemmed rose in a vase, or a cluster of shy moss-buds or nodding
+tea-roses.</p>
+
+<p>A table set with art in the key of a small menage and on a scale of
+simple living, often strikes the note of perfection from the expert's
+<a name='Page_290'></a>point of view because perfect of its kind and suitable for the
+occasion. This appropriateness is what makes your &quot;smart&quot; table quite
+as it makes your &quot;smart&quot; woman.</p>
+
+<p>Wedgwood cream colour ware &quot;C.C.&quot; is beautiful and always good form.
+For those wanting colour, the same famous makers of England have an
+infinite variety, showing lovely designs.</p>
+
+<p>Unless you are a collector in the museum sense, press into service all
+of your beautiful possessions. If you have to go without them, let it
+be when you no longer own them, and not because they are hoarded out
+of sight. You know the story of the man who bought a barrel of apples
+and each day carefully selected and ate those that were rotten,
+feeling the necessity of not being wasteful. When the barrel was empty
+he realised that be had deliberately wasted all his good apples <i>by
+not eating one</i>! Let this be a warning to him who would save his
+treasures. If you love antiques and have joyously hunted them down
+and, perhaps, denied yourself other things to obtain them, you are the
+person to use them, even though the joy be transient and <a name='Page_291'></a>they perish
+at the hand of a careless man or maid-servant. Remember, posterity
+will have its own &quot;fads&quot; and prefer adding the pleasure of pursuit to
+that of mere ownership. So bring out your treasures and use them!</p>
+
+<p>As there are many kinds of dining-rooms, each good if planned and
+worked out with an art instinct, so there are many kinds of tables.
+The usual sort is the round, or square, extension table, laid with
+fine damask and set with conventional china, glass and silver, rare in
+quality and distinguished in design. For those who prefer the unusual
+there are oblong, squarely built Jacobean and Italian refectory
+tables. With these one makes a point of showing the rich colour of the
+time-worn wood and carving, for the old Italian tables often have the
+bevelled edge and legs carved. When this style of table is used, the
+wood instead of a cloth, is our background, and a &quot;runner&quot; with
+doilies of old Italian lace takes the place of linen.</p>
+
+<p>In Feudal Days, when an entire household, master and retainers, sat in
+the baronial hall &quot;above and below the salt,&quot; tables were made of
+<a name='Page_292'></a>great length. When used out of their original setting, they must be
+cut down to suit modern conditions. In Krakau, Poland, the writer
+often dined at one of these feudal boards which had been in our
+hostess's family for several hundred years. To get it into her
+dining-room a large piece had been cut out at the centre and the two
+ends pushed together.</p>
+
+<hr style='width: 45%;' />
+
+<p>For those who live informally, delightfully decorative china can be
+had at low prices. It was once made only for the peasants, and comes
+to us from Italy, France, Germany and England. This fact reminds us
+that when we were travelling in Southern Hungary and were asked to
+dine with a Magyar farmer, out on the windy Pasta, instead of their
+usual highly coloured pottery, gay with crude, but decorative flowers,
+they honoured us by covering the table with American ironstone china!
+The Hungarian crockery resembles the Brittany and Italian ware, and
+some of it is most attractive when rightly set.</p>
+
+<p>When once the passion to depart from beaten paths seizes us it is very
+easy to make mistakes. Therefore to the housekeeper, accustomed to
+conventional china, but weary of it, we would <a name='Page_293'></a>commend as a safe
+departure, modern Wedgwood and Italian reproductions of classic
+models, which come in exquisite shapes and in a delicious soft cream
+tone. If one prefers, it is possible to get these varieties decorated
+with charming designs in artistic colourings, as previously stated.</p>
+
+<p>For eating meals out of doors, or in &quot;sun-rooms,&quot; where the light is
+strong, the dark peasant pottery, like Brittany, Italian and
+Hungarian, is very effective on dull-blue linen, heavy cream linen or
+coarse lace, such as the peasants make.</p>
+
+<p>Copper lustre, with its dark metallic surface; is enchanting on dark
+wood or coloured linen of the right tone.</p>
+
+<p>Your table must be a <i>picture</i> composed on artistic lines. That is, it
+must combine harmony of line and colour and above all, appropriateness.
+Gradually one acquires skill in inventing unusual effects; but only
+the adept can go against established rules of art and yet produce a
+pleasing <i>ensemble</i>. We can all recall exceptions to this rule
+for simplicity, beautiful, artistic tables, covered with rare and
+entrancing objects,&mdash;irrelevant, but delighting the eye. Some will
+<a name='Page_294'></a>instantly recall Clyde Fitch's dinners in this connection, but here
+let us emphasise the dictum that for a great master of the art of
+decoration there need be no laws.</p>
+
+<p>A careful study of the Japanese principles of decoration is an ideal
+way of learning the art of simplicity. It is impossible to deny the
+immense decorative value of a single <i>objet d'art</i>, as one flower in a
+simple vase, provided it is given the correct background.</p>
+
+<p>Background in decoration is like a pedal-point in music; it must
+support the whole fabric, whether you are planning a house, a room or
+a table.</p>
+<br />
+
+<br /><a name='Page_295'></a><h4>PLATE XXIX</h4><br />
+<a name='Page_296'></a>
+<div class='blkquot'><p>Shows how a too pronounced rug which is out of character, though
+     a valuable Chinese antique, can destroy the harmony of a
+     composition even where the stage is set with treasures; Louis XV
+     chairs, antique fount with growing plants, candelabra, rare
+     tapestry, reflected by mirror, and a graceful console and a
+     settee with grey-green brocade cushions.</p></div>
+
+<a name='Page_297'></a><div class="figure">
+<a name='PLATE_XXIX'></a><img src="images/plate29.jpg" alt="Photo of a hall">
+</div>
+<div class="subhead">
+<i>Example of a Charming Hall Spoiled by Too Pronounced a
+Rug</i></div>
+<a name='Page_298'></a>
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXXVII'></a><h2><a name='Page_299'></a>CHAPTER XXXVII</h2>
+
+<h3>WHAT TO AVOID IN INTERIOR DECORATION: RULES FOR BEGINNERS</h3>
+<br />
+
+<p>We all know the saying that it is only those who have mastered the
+steps in dancing who can afford to forget them. It is the same in
+every art. Therefore let us state at once, that all rules may be
+broken by the educated&mdash;the masters of their respective arts. For
+beginners we give the following rules as a guide, until they get their
+bearings in this fascinating game of making pictures by manipulating
+lines and colours, as expressed in necessary furnishings.</p>
+
+<hr style='width: 45%;' />
+
+<p>Avoid crowding your rooms, walls or tables, for in creating a <i>home</i>
+one must produce the quality of restfulness by order and space.</p>
+
+<p>As to walls, do not use a cold colour in a north or shaded room. Make
+your ceilings lighter in tone than the side walls, using a very pale
+shade of the same colour as the side walls.</p>
+
+<p><a name='Page_300'></a>Do not put a spotted (figured) surface on other spotted (figured)
+surfaces. A plain wall paper is the proper, because most effective,
+background for pictures.</p>
+
+<p>Avoid the mistake of forgetting that table decoration includes all
+china, glass, silver and linen used in serving any meal.</p>
+
+<p>In attempting the decoration of your dining-room table avoid anything
+inappropriate to the particular meal to be served and the scale of
+service. Do not have too many flowers on your table, or flowers not in
+harmony with the rest of the setting, in variety or colour.</p>
+
+<p>Do not use peasant china, no matter how decorative in itself, on fine
+damask or rare lace. By so doing you strike a false note. The
+background it demands is crash or peasant laces.</p>
+
+<p>Avoid crowding your dining-table or giving it an air of confusion by
+the number of things on it, thus destroying the laws of simplicity,
+line and balance in decoration.</p>
+
+<p>Avoid using on your walls as mere decorations articles such as rugs or
+priests' vestments primarily intended for other purposes.</p>
+
+<p>Avoid the misuse of anything in furnishing. <a name='Page_301'></a>It needs only knowledge
+and patience to find the correct thing for each need. Better do
+without than employ a makeshift in decorating.</p>
+
+<p>Inappropriateness and elaboration can defeat artistic beauty&mdash;but
+intelligent elimination never can.</p>
+
+<p>Beware of having about too many vases, or china meant for domestic
+use. The proper place for table china, no matter how rare it is, is in
+the dining-room. If very valuable, one can keep it in cabinets.</p>
+
+<p>Useless bric-&agrave;-brac in a dining-room looks worse than it does anywhere
+else.</p>
+
+<p>Your dining-room is the best place for any brasses, copper or pewter
+you may own.</p>
+
+<p>If sitting-room and dining-room connect by a wide opening, keep the
+same colour scheme in both, or, in any case, the same depth of colour.
+This gives an effect of space. It is not uncommon when a house is very
+small, to keep all of the walls and woodwork, and all of the carpets,
+in exactly the same colour and tone. If variety in the colour-scheme
+is desired, it may be introduced by means of cretonnes or silks used
+for hangings and furniture covers.</p>
+
+<p><a name='Page_302'></a>Avoid the use of thin, old silks on sofas or chair seats.</p>
+
+<p>Avoid too cheap materials for curtains or chair covers, as they will
+surely fade.</p>
+
+<p>Avoid too many small rugs in a room. This gives an impression of
+restless disorder and interferes with the architect's lines. Do not
+place your rugs at strange angles; but let them follow the lines of
+the walls.</p>
+
+<p>Avoid placing ornaments or photographs on a piano which is in
+sufficiently good condition to be used.</p>
+
+<p>Avoid the chance of ludicrous effects. For example, keep a plain
+background behind your piano. Make sure that, when listening to music
+you are not distracted by seeing a bewildering section of a picture
+above the pianist's head, or a silly little vase dodging, as he moves,
+in front of, above, or below his nose!</p>
+
+<p>Avoid placing vases, or a clock, against a chimney piece already
+elaborately decorated by the architect, as a part of his scheme in
+using the moulding of panel to frame a painting over the mantel. In
+the old palaces one sees that a bit <a name='Page_303'></a>of undecorated background is
+provided between mantel and the architect's decoration.</p>
+
+<p>If your room has a long wall space, furnish it with a large cabinet or
+console, or a sofa and two chairs.</p>
+
+<p>Avoid blotting out your architect's cleverest points by thoughtlessly
+misplacing hangings. Whoever decorates should always keep the
+architect's intention in mind.</p>
+
+<p>Avoid having an antique clock which does not go, and is used merely as
+an ornament. Make your rooms <i>alive</i> by having all the clocks running.
+This is one of the subtleties which marks the difference between an
+antique shop, or museum, and a home.</p>
+
+<p>Avoid the desecration of the few good antiques you own, by the use of
+a too modern colour scheme. Have the necessary modern pieces you have
+bought to supplement your treasures, stained or painted a dull dark
+colour in harmony with the antiques, and then use dull colours in the
+floor coverings, curtains and cushions. If you have no good <i>old</i>
+ornaments, try to get a few good shapes and colours in inexpensive
+<a name='Page_304'></a>reproductions of the period to which your antiques belong. Avoid the
+mistake of forgetting that every room is a &quot;stage setting,&quot; and must
+be a becoming and harmonious background for its occupants.</p>
+
+<p>Avoid arranging a Louis XVI bedroom, with fragile antiques and
+delicate tones, for your husband of athletic proportions and elemental
+tastes. He will not only feel, but look out of place. If he happens to
+be fond of artistic things, give him these in durable shades and
+shapes.</p>
+
+<p>Avoid the omission of a thoroughly masculine sitting-room, library,
+smoking-room or billiard-room for the man, or men, of the house.</p>
+
+<p>Avoid the use of white linen when eating out of doors. Saxe-blue, red
+or taupe linen are restful to the eyes. In fact, after one has used
+coloured linen, white seems glaring and unsympathetic even indoors,
+and one instinctively chooses the old deep-cream laces. Granting this
+to be a bit pr&eacute;cieuse, we must admit that the traditional white
+damask, under crystal and silver, or gold plate with rare porcelains,
+has its place and its distinction in certain houses, and with certain
+people.</p>
+<br />
+
+<br /><a name='Page_305'></a><h4>PLATE XXX</h4><br />
+<a name='Page_306'></a>
+<div class='blkquot'><p>Shows a man's library, masculine gender written all over
+     it-strength, comfort, usefulness and simplicity.</p>
+
+<p>     The mantel is arranged in accordance with rules already stated.
+     It will be noticed that the ornaments on mantel in a way
+     interfere with design of the large architectural picture.</p></div>
+
+<a name='Page_307'></a><div class="figure">
+<a name='PLATE_XXX'></a><img src="images/plate30.jpg" alt="Photo of a man's library">
+</div>
+<div class="subhead">
+<i>A Man's Library</i></div>
+<br /><a name='Page_308'></a>
+
+<p><a name='Page_309'></a>Avoid in a studio, bungalow or a small flat, where the living-room
+and dining-room are the same, all evidences of <i>dining-room</i> (china,
+silver and glass for use). Let the table be covered with a piece of
+old or modern brocade when not set for use. A lamp and books further
+emphasises the note of living-room.</p>
+
+<p>Avoid the use of light-absorbing colours in wall papers if you are
+anxious to create sympathetic cheerfulness in your rooms, and an
+appearance of winning comfort. Almost all dark colours are
+light-absorbing; greens, dull reds, dark greys and mahogany browns
+will make a room dull in character no matter how much sunlight comes
+in, or how many electric lights you use. Perhaps the only dark colour
+which is not light-absorbing is a dark yellow.</p>
+
+<p>Avoid the permanent tea-table. We are glad to record that one seldom
+happens upon one, these days. How the English used to revile them! In
+the simplest homes it is always possible at the tea hour, to have a
+table placed before whoever is to &quot;pour&quot; and a tray on which are cups,
+tea, cream, sugar, lemon, toast, cake or what you will, brought in
+<a name='Page_310'></a>from the pantry or kitchen. There was a time when in America, one
+shuddered at the possibility of dusty cups and those countless faults
+of a seldom-rehearsed tea-table!</p>
+
+<p>Avoid serving a lunch in an artificially lighted room. This, like a
+permanent tea-table, is an almost extinct fashion. Neither was
+sensible, because inappropriate, and therefore bad form. The only
+possible reason for shutting out God's sunlight and using artificial
+lights, is when the function is to begin by daylight and continue
+until after nightfall.</p>
+
+<p>If in doubt as to what is <i>good</i>, go often to museums and compare what
+you own, or have seen and think of owning, with objects in museum
+collections.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXXVIII'></a><h2><a name='Page_311'></a>CHAPTER XXXVIII</h2>
+
+<h3>FADS IN COLLECTING</h3>
+<br />
+
+<p>In a New York home one room is devoted to a so-called <i>panier fleuri</i>
+collection which in this case means that each article shows the design
+of a basket holding flowers or fruit. The collection is to-day so
+unique and therefore so valuable, that it has been willed to a museum,
+but its creation as a collection, was entirely a chance occurrence.
+The design of a basket trimmed with flowers happened to appeal to the
+owner, and if we are not mistaken, the now large collection had its
+beginning in the casual purchase of a little old pendant found in a
+forgotten corner of Europe. The owner wore it, her friends saw it, and
+gradually associated the <i>panier fleuri</i> with her, which resulted in
+many beautiful specimens of this design being sought out for her by
+wanderers at home and abroad. To-day this collection includes old
+<a name='Page_312'></a>silks, laces, jewellery, wax pictures, old prints, some pieces of
+antique furniture, snuffboxes and ornaments in glass, china, silver,
+etc.</p>
+
+<p>Every museum is the result of fads in collecting, and when one
+considers all that is meant by this heading, which sounds so trifling
+and unimportant to the layman, it will not seem strange that we
+strongly recommend it as a dissipation!</p>
+
+<p>At first, quite naturally, the collector makes mistakes; but it is
+through his mistakes that he learns, and absolutely nothing gives such
+a zest to a stroll in the city, a tramp in the country, or an
+unexpected delay in an out-of-the-way town, as to have this collecting
+bee in your bonnet. How often when travelling we have rejoiced when
+the loss of a train or a mistake in time-table, meant an unexpected
+opportunity to explore for junk in some old shop, or, perhaps, to
+bargain with a pretty peasant girl who hoarded a beloved heirloom, of
+entrancing interest to us (and worth a pile of money really), while
+she lived happily on cider and cheese!</p>
+
+<p>It is doubtless the experience of every lover of the old and the
+curious, that one never regrets the expenses incurred in this quest of
+the antique, <a name='Page_313'></a>but one does eternally regret one's economies. The
+writer suffers now, after years have elapsed, in some cases, at the
+memory of treasures resisted when chanced upon in Russia, Poland,
+Hungary, Bohemia&mdash;where not! Always one says, &quot;Oh, well, I shall come
+back again!&quot; But there are so many &quot;pastures green,&quot; and it is often
+difficult to retrace one's steps.</p>
+
+<p>Then, too, these fads open our eyes and ears, so that in passing along
+a street on foot, in a cab or on a bus, or in glancing through a book,
+or, perhaps, in an odd corner of an otherwise colourless town, where
+fate has taken us, we find &quot;grist for our mill&quot;&mdash;just the right piece
+of furniture for the waiting place!</p>
+
+<p>Know what you want, <i>really want it</i>, and you will find it some time,
+somewhere, somehow!</p>
+
+<p>As a stimulus to beginners in collecting, as well as an illustration
+of that perseverance required of every keen collector, we cite the
+case of running down an Empire dressing-table.</p>
+
+<p>It was our desire to complete a small collection of Empire furniture
+for a suite of rooms, by adding to it as a supplement to the bureau, a
+certain type of Empire dressing-table. It is no <a name='Page_314'></a>exaggeration to say
+that Paris was dragged for what we wanted&mdash;the large well-known
+antique shops and the smaller ones of the Latin Quarter being both
+ransacked. Time was flying, the date of our sailing was approaching,
+and as yet the coveted piece had not been found. Three days before we
+left, a fat, red-faced, jolly cabby, after making a vain tour of the
+junk shops in his quarter, demanded to know exactly what it was we
+sought. When told, he looked triumphant, bade us get into his cab,
+lashed his horse and after several rapidly made turns, dashed into an
+out-of-the-way street and drew up before a sort of junk store-house,
+full of rickety, dusty odds and ends of furniture, presided over by a
+stupid old woman who sat outside the door, knitting,&mdash;wrapped head and
+all in a shawl. We entered and, there, to our immense relief, stood
+the dressing table! It was grey with dust, the original Empire green
+silk, a rusty grey and hanging in shreds on the back of the original
+glass. There was a marble top set into the wood and grooved in a
+curious way. The whole was intact except for a loose back leg, which
+gave it a swaying, tottering appearance. We passed it <a name='Page_315'></a>in
+silence&mdash;being experienced traders! Then, after buying several little
+old picture frames, while Madame continued her knitting, we wandered
+close to the coveted table and asked what was wanted for that broken
+bit &quot;of no use as it stands.&quot;</p>
+
+<p>&quot;Thirty francs&quot; (six dollars) was the answer.</p>
+
+<p>Later a well-known New York dealer offered seventy-five dollars for
+the table in the condition in which we found it, and repaired as it is
+to-day it would easily bring a hundred and fifty, anywhere!</p>
+
+<p>As it happened, the money we went out with had been spent on
+unexpected finds, and neither we nor our good-natured cabby were in
+possession of thirty francs! In fact, cabby was rather staggered to
+hear the price, having offered to advance what we needed. He suggested
+sending it home &quot;collect&quot; but Madame would not even consider such an
+idea. However, at last our resourceful jehu came to the rescue. If the
+ladies would seat themselves in the cab, he could place the table in
+front of them, with the cover of the cab raised, and Madame of the
+shop could lock her door and mounting the box by the side <a name='Page_316'></a>of our
+<i>cocher</i>, she might drive with us to our destination and collect the
+money herself! He promised to bring her home safely again!</p>
+
+<p>As we had only the next day for boxing and shipping, there was no
+alternative. Before we had even taken in our grotesque appearance, the
+horse was galloping, as only a Paris cab horse can gallop, toward our
+abode in Avenue Henri Martin, past carriages and autos returning from
+the <i>Bois</i>, while inside the cab we sat, elated by our success and in
+that whirl of triumphant absorbing joy which only the real collector
+knows.</p>
+
+<p>This same modest little Empire collection had a treasure recently
+added to it, found by chance, in an antique shop in Pennsylvania. It
+was a mirror. The dealer, an Italian, said that he had got it from an
+old house in Bordentown, New Jersey.</p>
+
+<p>&quot;It's genuine English,&quot; he said, certain he was playing his winning
+card.</p>
+
+<p>It has the original glass and a heavy, squarely made, mahogany frame.
+Strange to say it corresponds exactly with the bed and bureau in the
+collection, having pilasters surmounted by women's heads of
+gilded wood with small gilded feet showing at base.</p>
+<br />
+
+<br /><a name='Page_317'></a><h4>PLATE XXXI</h4><br />
+<a name='Page_318'></a>
+<div class='blkquot'><p>An end of a room containing genuine Empire furniture, Empire
+     ornaments and a rare collection of Empire cups, which appear in a
+     <i>vitrine</i> seen near the dull-blue brocade curtains drawn over
+     windows.</p>
+
+<p>     We would especially call attention to the mantelpiece, which was
+     originally the Empire frame of a mirror, and to a book shelf made
+     interesting by having the upper shelf supported by a charming
+     pair of antique bronze cupids.</p>
+
+<p>     This plate is reproduced to show as many Empire pieces as
+     possible; it is not an ideal example of arrangement, either as to
+     furniture in room or certain details. There is too much crowding.</p></div>
+
+<a name='Page_319'></a><div class="figure">
+<a name='PLATE_XXXI'></a><img src="images/plate31.jpg" alt="Photo of Empire furniture">
+</div>
+<div class="subhead">
+<i>A Collection of Empire Furniture, Ornaments and
+China</i></div>
+<br /><a name='Page_320'></a>
+
+<p><a name='Page_321'></a>As the brother of the great Napoleon, Joseph Bonaparte, king of Spain
+and Rome, passed many years of his self-imposed exile in Bordentown,
+in a house made beautiful with furnishings he brought from France, it
+is possible this old mirror has an interesting story, if only it could
+talk! Then, too, it was Bordentown that sheltered a Prince Murat, the
+relative of Joseph Bonaparte. If it was he who conveyed our mirror to
+these shores, a very different, but as highly romantic a tale might
+unfold!</p>
+
+<p>For fear the precious ancient glass should be broken or the frame
+destroyed, we bribed a Pullman-car porter to let us bring its six by
+four feet of antiquity with us, in the train!</p>
+
+<p>When you see a find always take it with you, or the next man may, and
+above all, always be on the lookout.</p>
+
+<p>It was from a French novel by one of the living French writers that we
+first got a clue to a certain obscure Etruscan museum, hidden away in
+the Carrara Mountains, in Italy. That wonderful <a name='Page_322'></a>little museum and its
+adjacent potteries, which cover the face of Italy like ant-hills, are
+to-day contributors to innumerable beautiful interiors in every part
+of America.</p>
+
+<p>We recall a dining-room in Grosvenor Square, London, where a
+world-renowned collection of &quot;powder-blue&quot; vases (the property of Mr.
+J.B. Joel) is made to contribute to a decorative scheme by placing the
+almost priceless vases of old Chinese blue and white porcelain, in
+niches made for them, high up on the black oak panelling. There are no
+pictures nor other decorations on the walls, hence each vase has the
+distinction it deserves, placed as it were, in a shrine.</p>
+
+<p>In the Peter Hewitt Museum, New York, you may see an antique Italian
+china cabinet, made of gilded carved wood, which shows on its
+undulating front, row after row of small niches, lined with red
+velvet. When each deep niche held its porcelain <i>chef d'oeuvre</i>, the
+effect must have been that of a gold screen set with gems!</p>
+
+<p>Speaking of red velvet backgrounds, in the same museum, standing near
+the Italian cabinet, is an ancient Spanish one; its elaborate steel
+<a name='Page_323'></a>hinges, locks and ornaments have each a bit of red velvet between
+them and the oak of the cabinet. One sees this on Gothic chests in
+England and occasionally on the antique furniture of other countries.
+The red material stretched back of the metal fret-work, is said to be
+a souvenir of the gruesome custom prevailing in ancient times, of
+warning off invaders by posting on the doors of public buildings, the
+skin of prisoners of war, and holding it in place with open-work
+metal, through which the red skin was plainly seen!</p>
+
+<p>At Cornwall Lodge, in Regents Park, London, the town house of Lady de
+Bathe (Lily Langtry) the dining-room ceiling is a deep sky-blue, while
+the sidewalls of black, serve as a background for her valuable
+collection of old, coloured glass, for the most part English. The
+collection is the result of the owner's eternal vigilance, when
+travelling or at home.</p>
+
+<p>A well-known Paris collector, now dead, found in Spain a bust which
+had been painted black. Its good lines led him to buy it, and, when
+cleaned, it proved to be a genuine Canova, and was sold by this
+dealer, a reliable expert, to <a name='Page_324'></a>an American for five thousand dollars!
+It had been painted during a Revolution, to save it from destruction.</p>
+
+<p>The same dealer on another occasion, when in Spain, found an old silk
+gown of lovely flowered brocade, but with one breadth missing. Several
+years later, in an antique shop in Italy, he found that missing gore
+and had it put back in the gown, thus completing the treasure which
+some ruthless hand had destroyed.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XXXIX'></a><h2><a name='Page_325'></a>CHAPTER XXXIX</h2>
+
+<h3>WEDGWOOD POTTERY, OLD AND MODERN</h3>
+<br />
+
+<p>Many of our museums have interesting collections of old Wedgwood.
+Altogether the most complete collection we have ever seen is in the
+museum adjoining the Wedgwood factories in Staffordshire, England. The
+curator there, an old man of about seventy, loves to tell the story of
+its founding and growth. He began as a labourer in the potteries and
+has worked his way up to be guardian of the veterans in perfected
+types. Many of the rare and beautiful specimens he has himself dug up
+in the grounds, where from time to time, since 1750, they were thrown
+out as broken, useless debris. The recovery of these bits, their
+preservation and classification, together with valuable donations made
+by English families who have inherited rare specimens, have not only
+placed at the disposal of those interested, the fascinating history of
+Wedgwood, in a thrilling object lesson, <a name='Page_326'></a>but has made the modern
+Wedgwood what it is:&mdash;one of the most beautiful varieties of tableware
+in the market to-day.</p>
+
+<p>Josiah Wedgwood is said to have been the first English potter,
+counting from the Roman time to the first quarter of the eighteenth
+century, who made vases to be used for <i>mere decoration</i>. Chelsea,
+Worcester and Derby were just then beginning to make fine porcelain.
+In Wedgwood's day it was the rule for young men of title and wealth to
+go abroad, and the souvenirs which they brought back with them, such
+as pictures and vases, helped to form a taste for the antique, in
+England. Then, too, books on Greek art were being written by English
+travellers. Josiah Wedgwood had a natural bent for the pure line and
+classic subjects, but he was, also, possessed with the keen
+businessman's intuition as to what his particular market demanded. So
+he sat about copying the line and decorations of the antique Greek
+vases. He reproduced lines and designs in decoration, but invented the
+&quot;bodies,&quot; that is to say, the materials from which the potters moulded
+his wares. He is said to have invented in all, twenty varieties. <a name='Page_327'></a>We
+say that he reproduced Greek designs, and so he did, but John Flaxman,
+his chief decorator, who lived in Rome, where he had a studio and
+clever assistants, studied the classics, imbibed their spirit and
+originated the large majority of Wedgwood's so-called &quot;Greek&quot; designs,
+&mdash;those exquisite cameo-like compositions in white, on backgrounds of
+pastel colours, which appeared as miniatures mounted for jewellery,
+medallions let into wall panels, and on furniture and Carrara marble
+mantelpieces, wonderful works of art wrought of his &quot;Jasper&quot; paste,
+which make Josiah Wedgwood outrank any producer of ceramics who has
+ever lived in any age.</p>
+
+<p>Wedgwood's first vases were for use, although they were ornamental,
+too. Those were the pots he made in which to grow bulbs or roots, and
+the &quot;bough pots&quot; which were filled with cut flowers and used to
+ornament the hearth in summer.</p>
+
+<p>Mr. Frederick Rathbone, compiler of the Wedgwood catalogue in 1909, a
+memorial to Josiah Wedgwood made possible by his great-granddaughter,
+says that during his thirty-five years' study of Wedgwood's work, he
+<a name='Page_328'></a>had yet to learn of a single vase which was ever made by him, or sent
+out from his factory at Etruria, which was lacking in grace or beauty.</p>
+
+<p>The Etrurian Museum, Staffordshire, shows Josiah Wedgwood's life work
+from the early Whieldon ware to his perfected Jasper paste. Josiah's
+&quot;trials&quot; or experiments, are the most interesting specimens in the
+museum, and prove that the effort of his life was &quot;converting a rude
+and inconsiderable manufactory into an elegant art and an important
+part of national commerce.&quot; Yet, although he is acknowledged by all
+the world to have been the greatest artist in ceramics of his or any
+period, remember pottery was only one of his interests. He was by no
+means a man who concentrated day and night on one line of production.
+He occupied himself with politics, and planned and carried through
+great engineering feats and was, also, deeply interested in the
+education of his children.</p>
+
+<p>When Wedgwood began his work, all tea and coffee pots were
+&quot;salt-glazed,&quot; plain, or, if decorated, copies of Oriental patterns,
+which were the only available models, imported for the use of the
+rich. Wedgwood invented in <a name='Page_329'></a>turn his tortoise shell, agate, mottled
+and other coloured wares, and finally his beautiful pale-cream, known
+as &quot;Queen's&quot; ware, in honour of Queen Charlotte, his patron. It is the
+&quot;C.C.&quot; (cream colour) which is so popular to-day, either plain or
+decorated. He invented colours, as well as bodies, for the manufacture
+of his earthenware, both for use and for decoration, and built up a
+business employing 15,000 persons in his factories,&mdash;and 30,000 in all
+the branches of his business.</p>
+
+<p>In 1896 the census showed 45,914 persons employed in the factories,
+and at that time the annual amount paid in wages was over two million
+pounds (ten million dollars).</p>
+
+<p>We must remember that in 1760, the only way of transporting goods to
+and from the Wedgwood factory was by means of pack-horses. Therefore
+Josiah Wedgwood had to turn his attention to the construction of roads
+and canals. As Mr. Gladstone put it in his address at the opening of
+the Wedgwood Institute at Burslem, Staffordshire, &quot;Wedgwood made the
+raw material of his industry abundant and cheap, which supplied a vent
+for the manufactured article and <a name='Page_330'></a>which opened for it materially a way
+to what we may term the conquest of the outer world.&quot; Yet he never
+travelled outside his own country; always employed English workmen to
+carry out his ideas, and succeeded entirely by his own efforts,
+unaided by the state. His first patroness was Catherine II of Russia,
+for whom he made a wonderful table service, and his best customers
+were the court and aristocracy of France, during that country's
+greatest art periods (Louis XV and XVI). In fact Wedgwood ware became
+so fashionable in Paris that the S&egrave;vres, Royal Porcelain factory,
+copied the colour and relief of his Jasper plaques and vases. It is
+claimed by connoisseurs, that the Wedgwood useful decorative pottery
+is the only ceramic art in which England is supreme and unassailable.</p>
+
+<p>It has been said at the Wedgwood works, and with great pride, that the
+copying of Wedgwood by the S&egrave;vres factories, and the preservation of
+many rare examples of his work to-day, in French museums, to serve as
+models for French designers and craftsman, is a neat compliment to the
+English&mdash;&quot;those rude islanders with three hundred religions and only
+one <i>sauce</i>&quot;!</p>
+<br />
+
+<br /><a name='Page_331'></a><h4>PLATE XXXII</h4><br />
+<a name='Page_332'></a>
+<div class='blkquot'><p>In the illustration five of the four vases, four with covers and
+     one without, are reproductions of old pharmacy jars, once used by
+     all Italian druggists to keep their drugs in.</p>
+
+<p>     The really old ones with artistic worth are vanishing from the
+     open market into knowing dealers' or collectors' hands, or the
+     museums have them, but with true Latin perspicuity, when the
+     supply ceased to meet the demand, the great modern Italian
+     potters turned out lovely reproductions, so lovely that they
+     bring high prices in Italy as well as abroad, and are frequently
+     offered to collectors when in Italy as genuine antiques.</p></div>
+
+<a name='Page_333'></a><div class="figure">
+<a name='PLATE_XXXII'></a><img src="images/plate32.jpg" alt="Photo of pottery">
+</div>
+<div class="subhead">
+<i>Italian Reproductions in Pottery after Classic Models</i></div>
+<a name='Page_334'></a>
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XL'></a><h2><a name='Page_335'></a>CHAPTER XL</h2>
+
+<h3>ITALIAN POTTERY</h3>
+<br />
+
+<p>About nine years ago, an American connoisseur, automobiling from Paris
+to Vienna, the route which lies through Northern Italy, quite by
+chance, happened to see some statuettes in the window of a hopeful,
+but unknown, potter's little shop, on a wonderful, ancient, covered
+bridge. You, too, may have seen that rarely beautiful bridge spanning
+the River Brenta, and have looked out through broad arches which occur
+at intervals, on views, so extraordinary that one feels they must be
+on a Gothic tapestry, or the journey just a dream! One cannot forget
+the wild, rushing river of purplish-blues, and the pines, in deep
+greens, which climb up, past ruined castles, perched on jutting rocks,
+toward snow-capped mountain peaks. The views were beautiful, but so
+wer<a name='Page_336'></a>e the statuettes which had caught our collector's eye. He bought
+some, made inquiries as to facilities for reproduction at these
+potteries, and exchanged addresses. The result was that to-day, that
+humble potter directs several large factories, which are busy reviving
+classic designs, which may be found on sale everywhere in Italy and in
+many other countries as well as America.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='CHAPTER_XLI'></a><h2><a name='Page_337'></a>CHAPTER XLI</h2>
+
+<h3>VENETIAN GLASS, OLD AND MODERN</h3>
+<br />
+
+<p>If you have been in Venice then you know the Murano Museum and its
+beguiling collection of Venetian glass, that old glass so vastly more
+beautiful in line and decoration than the modern type of, say, fifteen
+years ago, when colours had become bad mixtures, and decorations
+meaningless excrescences.</p>
+
+<p>A bit of inside information given out to some one really interested,
+led to a revival of pure line and lovely, simple colouring, with
+appropriate decorations or none at all. You may already know that
+romantic bit of history. It seems that when the museum was first
+started, about four hundred years ago, the glass blowers agreed to
+donate specimens of their work, provided their descendants should be
+allowed access to the museum for models. This contract made it a
+simple matter for a connoisseur to get reproduced exactly what was
+wanted,<a name='Page_338'></a> and what was not in the market. Elegance, distinguished
+simplicity in shapes, done in glass of a single colour, or in one
+colour with a simple edge in a contrasting shade, or in one colour
+with a whole nosegay of colours to set it off, appearing literally as
+flowers or fruit to surmount the stopper of a bottle, the top of a
+jar, or as decorations on candlesticks.</p>
+
+<p>It was in the Museo Civico of Venice that we saw and fell victims to
+an enchanting antique table decoration&mdash;a formal Italian garden, in
+blown glass, once the property of a great Venetian family and redolent
+of those golden days when Venice was the playground of princes, and
+feasting their especial joy; days when visiting royalty and the
+world's greatest folk could have no higher honour bestowed upon them
+than a gift of Venetian glass, often real marvels mounted in silver
+and gold.</p>
+
+<p>We never tired of looking at that fairy garden with its delicate
+copings, balustrades and vases of glass, all abloom with exquisite
+posies in every conceivable shade, wrought of glass&mdash;a veritable dream
+thing! Finally, nothing would do but we must know if it had ever been
+copied. <a name='Page_339'></a>The curator said that he believed it had, and an address was
+given us. How it all comes back! We arose at dawn, as time was
+precious, took our coffee in haste and then came that gliding trip in
+the gondola, through countless canals, to a quarter quite unknown to
+us, where at work in a small room, we came upon our glass blower and
+the coveted copy of that lovely table-garden. This man had made four,
+and one was still in his possession. We brought it back to America, a
+gleaming jewelled cobweb, and what happened was that the very ethereal
+quality of its beauty made the average taste ignore it! However, a few
+years have made a vast difference in table, as well as all other
+decorations, and to-day the same Venetian gardens have their faithful
+devotees, as is proved by the continuous procession of the dainty
+wonders, ever moving toward our sturdy shores.</p>
+
+
+
+<hr style='width: 65%;' />
+<a name='IN_CONCLUSION'></a><h2><a name='Page_340'></a>IN CONCLUSION</h2>
+
+<p>In bringing our book to an end we would reiterate four fundamental
+principles of Interior Decoration (and all decoration):</p>
+
+<p>Good lines.</p>
+
+<p>Correct proportions.</p>
+
+<p>Harmonious colour scheme (which includes the question of background)
+and</p>
+
+<p>Appropriateness.</p>
+
+<p>Observe these four laws and any house, all interior decoration, and
+any lawn or garden, will be beautiful and satisfying, regardless of
+type and choice of colours.</p>
+
+<p>Whether or not you remain content with your achievement depends upon
+your mental makeup. Really know what you want as a home, <i>want it</i>,
+and you can work out any scheme, provided you have intelligence,
+patience and perseverance.</p>
+
+<p>To learn what is meant by <i>good line</i>, one must educate oneself by
+making<a name='Page_341'></a> a point of seeing beautiful furniture and furnishings. Visit
+museums, all collections which boast the stamp of approval of experts;
+buy at the best modern and antique shops, and compare what you get
+with the finest examples in the museums. This is the way that
+<i>connaisseurs</i> are made.</p>
+<a name='Page_342'></a>
+
+
+<hr style='width: 65%;' />
+<a name='INDEX'></a><h2><a name='Page_343'></a>INDEX</h2>
+
+Acanthus leaf, <a href='#Page_176'>176</a><br />
+Accessories, <a href='#Page_285'>285</a>-<a href='#Page_290'>290</a><br />
+Adam, James and Robert, <a href='#Page_195'>195</a>-<a href='#Page_196'>196</a>, <a href='#Page_197'>197</a>, <a href='#Page_200'>200</a>, <a href='#Page_206'>206</a>-<a href='#Page_207'>207</a>, <a href='#Page_209'>209</a>, <a href='#Page_222'>222</a><br />
+Alhambra, <a href='#Page_111'>111</a><br />
+Amateur, <a href='#Page_112'>112</a><br />
+Andirons, <a href='#Page_111'>111</a><br />
+Angelo, Michael (See Michelangelo)<br />
+Antique, <a href='#Page_16'>16</a>, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a>, <a href='#Page_26'>26</a>, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_48'>48</a>, <a href='#Page_53'>53</a>, <a href='#Page_138'>138</a>, <a href='#Page_290'>290</a>, <a href='#Page_303'>303</a><br />
+&quot;Antiqued&quot;, <a href='#Page_223'>223</a><br />
+Apelles, <a href='#Page_145'>145</a><br />
+Applique, <a href='#Page_131'>131</a><br />
+Appropriate, <a href='#Page_17'>17</a>, <a href='#Page_134'>134</a>, <a href='#Page_288'>288</a>, <a href='#Page_293'>293</a>, <a href='#Page_340'>340</a><br />
+Arabesques, <a href='#Page_147'>147</a>, <a href='#Page_156'>156</a><br />
+Architectural picture, <a href='#Page_51'>51</a>, <a href='#Page_88'>88</a>, <a href='#Page_139'>139</a><br />
+Architrave, <a href='#Page_204'>204</a><br />
+Arras, <a href='#Page_182'>182</a><br />
+Assyria, <a href='#Page_141'>141</a>, <a href='#Page_142'>142</a>, <a href='#Page_143'>143</a><br />
+Athenian, <a href='#Page_144'>144</a><br />
+Attic rooms, <a href='#Page_234'>234</a>-<a href='#Page_235'>235</a><br />
+Awnings, <a href='#Page_82'>82</a>, <a href='#Page_87'>87</a>, <a href='#Page_266'>266</a>, <a href='#Page_267'>267</a><br />
+<br />
+Background, <a href='#Page_23'>23</a>, <a href='#Page_39'>39</a>, <a href='#Page_41'>41</a>, <a href='#Page_42'>42</a>, <a href='#Page_50'>50</a>, <a href='#Page_51'>51</a>, <a href='#Page_291'>291</a>, <a href='#Page_294'>294</a>, <a href='#Page_300'>300</a>, <a href='#Page_304'>304</a><br />
+Bakst, <a href='#Page_18'>18</a>, <a href='#Page_23'>23</a>, <a href='#Page_139'>139</a>, <a href='#Page_143'>143</a><br />
+Balance, <a href='#Page_77'>77</a>, <a href='#Page_81'>81</a><br />
+Barrocco, <a href='#Page_144'>144</a><br />
+Bathroom, <a href='#Page_16'>16</a>, <a href='#Page_114'>114</a>, <a href='#Page_119'>119</a>, <a href='#Page_120'>120</a><br />
+Beauvais, <a href='#Page_182'>182</a><br />
+Behnes, <a href='#Page_242'>242</a>, <a href='#Page_245'>245</a><br />
+Belgium, <a href='#Page_210'>210</a>, <a href='#Page_220'>220</a><br />
+Benares, <a href='#Page_42'>42</a><br />
+&quot;Bodies&quot;, <a href='#Page_326'>326</a><br />
+Bohemian glass, <a href='#Page_121'>121</a><br />
+Boucher Fran&ccedil;ois, <a href='#Page_183'>183</a><br />
+Boudoir, <a href='#Page_24'>24</a><br />
+Boule, Andr&eacute; Charles, <a href='#Page_189'>189</a><br />
+Bric-&agrave;-brac, <a href='#Page_301'>301</a><br />
+Bristol glass, <a href='#Page_220'>220</a><br />
+Brocotello, <a href='#Page_74'>74</a><br />
+Byzantine, <a href='#Page_147'>147</a>, <a href='#Page_148'>148</a>, <a href='#Page_150'>150</a><br />
+<br />
+Cabriole, <a href='#Page_171'>171</a>, <a href='#Page_181'>181</a>, <a href='#Page_197'>197</a>, <a href='#Page_199'>199</a><br />
+C&aelig;sar, Augustus, <a href='#Page_146'>146</a>, <a href='#Page_147'>147</a><br />
+Carlovingian, <a href='#Page_148'>148</a>, <a href='#Page_149'>149</a><br />
+Carpets (<i>See</i> Floor) <a href='#Page_70'>70</a>, <a href='#Page_232'>232</a>, <a href='#Page_234'>234</a>, <a href='#Page_236'>236</a><br />
+Ceiling, <a href='#Page_2'>2</a>, <a href='#Page_33'>33</a>, <a href='#Page_77'>77</a>, <a href='#Page_182'>182</a>,
+<a href='#Page_201'>201</a>, <a href='#Page_207'>207</a>, <a href='#Page_224'>224</a>, <a href='#Page_299'>299</a>,
+<a href='#Page_323'>323</a><br />
+Cellini, Benvenuto, <a href='#Page_155'>155</a><br />
+Charlemagne, <a href='#Page_149'>149</a><br />
+Charles I, <a href='#Page_193'>193</a>, <a href='#Page_198'>198</a><br />
+Charles II, <a href='#Page_193'>193</a>, <a href='#Page_195'>195</a>, <a href='#Page_201'>201</a><br />
+Charles V, <a href='#Page_162'>162</a><br />
+Chares VIII, <a href='#Page_164'>164</a><br />
+Charts, <a href='#Page_190'>190</a>-<a href='#Page_193'>193</a><br />
+<i>Chef d'oeuvre</i>, <a href='#Page_322'>322</a><br />
+Chimney-pieces, <a href='#Page_182'>182</a><br />
+Chinese, <a href='#Page_133'>133</a>, <a href='#Page_202'>202</a>, <a href='#Page_203'>203</a>, <a href='#Page_204'>204</a><br />
+&quot;Chinese Craze&quot;, <a href='#Page_196'>196</a><br />
+Chintz, <a href='#Page_41'>41</a>, <a href='#Page_52'>52</a>, <a href='#Page_53'>53</a>, <a href='#Page_59'>59</a>,
+<a href='#Page_226'>226</a>, <a href='#Page_232'>232</a><br />
+Chippendale, <a href='#Page_133'>133</a>, <a href='#Page_195'>195</a>, <a href='#Page_198'>198</a>,
+<a href='#Page_200'>200</a>, <a href='#Page_201'>201</a>, <a href='#Page_204'>204</a><br />
+Cipriani, Giovanni Battista, <a href='#Page_196'>196</a><br />
+Classic, <a href='#Page_200'>200</a><br />
+Clocks, <a href='#Page_242'>242</a>, <a href='#Page_302'>302</a>, <a href='#Page_303'>303</a><br />
+Closets, <a href='#Page_276'>276</a>, <a href='#Page_277'>277</a><br />
+Cold Colours, <a href='#Page_15'>15</a>, <a href='#Page_33'>33</a>, <a href='#Page_285'>285</a>,
+<a href='#Page_299'>299</a><br />
+Collecting, <a href='#Page_26'>26</a>, <a href='#Page_32'>32</a>, <a href='#Page_140'>140</a>,
+<a href='#Page_204'>204</a>, <a href='#Page_290'>290</a>, <a href='#Page_311'>311</a>, <a href='#Page_312'>312</a>,
+<a href='#Page_313'>313</a>, <a href='#Page_323'>323</a>, <a href='#Page_325'>325</a>, <a href='#Page_337'>337</a><br />
+Colonial, <a href='#Page_132'>132</a>, <a href='#Page_133'>133</a>, <a href='#Page_137'>137</a>,
+<a href='#Page_209'>209</a><br />
+Colour, <a href='#Page_3'>3</a>, <a href='#Page_4'>4</a>, <a href='#Page_16'>16</a>, <a href='#Page_23'>23</a>,
+<a href='#Page_39'>39</a>, <a href='#Page_40'>40</a>, <a href='#Page_53'>53</a>, <a href='#Page_54'>54</a>,
+<a href='#Page_59'>59</a>, <a href='#Page_104'>104</a>, <a href='#Page_136'>136</a>, <a href='#Page_137'>137</a>,
+<a href='#Page_143'>143</a>, <a href='#Page_225'>225</a>, <a href='#Page_301'>301</a>, <a href='#Page_303'>303</a>,
+<a href='#Page_340'>340</a><br />
+Commode, <a href='#Page_124'>124</a><br />
+Composition, <a href='#Page_xiv'>xiv</a><br />
+Connoisseur, <a href='#Page_31'>31</a>, <a href='#Page_330'>330</a>, <a href='#Page_335'>335</a>, <a href='#Page_341'>341</a><br />
+Console, <a href='#Page_173'>173</a>, <a href='#Page_278'>278</a><br />
+Correggio, Antonio Allegri, <a href='#Page_154'>154</a><br />
+Cretonne (<i>See</i> Chintz)<br />
+Cross-stitch, <a href='#Page_70'>70</a>, <a href='#Page_220'>220</a><br />
+<br />
+Dado, <a href='#Page_204'>204</a>, <a href='#Page_210'>210</a><br />
+Dark Ages, <a href='#Page_147'>147</a><br />
+Day-bed, <a href='#Page_226'>226</a>, <a href='#Page_232'>232</a><br />
+Decoration, <a href='#Page_174'>174</a>, <a href='#Page_222'>222</a>, <a href='#Page_300'>300</a><br />
+Decorative, <a href='#Page_50'>50</a>, <a href='#Page_176'>176</a><br />
+Dining-tables, <a href='#Page_47'>47</a>, <a href='#Page_289'>289</a>, <a href='#Page_300'>300</a><br />
+Directoire, <a href='#Page_172'>172</a>, <a href='#Page_213'>213</a>, <a href='#Page_214'>214</a><br />
+Distinction, <a href='#Page_49'>49</a>, <a href='#Page_50'>50</a><br />
+Dressing-room, <a href='#Page_269'>269</a>, <a href='#Page_270'>270</a><br />
+Dressing-table, <a href='#Page_241'>241</a>, <a href='#Page_270'>270</a><br />
+Du Barry, Madame, <a href='#Page_165'>165</a><br />
+Du Barry rose, <a href='#Page_165'>165</a>, <a href='#Page_166'>166</a>, <a href='#Page_205'>205</a>, <a href='#Page_270'>270</a><br />
+D&uuml;rer, Albrecht, <a href='#Page_161'>161</a>, <a href='#Page_162'>162</a><br />
+Dutch, <a href='#Page_202'>202</a><br />
+<br />
+Egypt, <a href='#Page_141'>141</a>, <a href='#Page_142'>142</a><br />
+Elimination, <a href='#Page_208'>208</a>, <a href='#Page_301'>301</a><br />
+Elizabethan, <a href='#Page_192'>192</a><br />
+Empire, <a href='#Page_24'>24</a>, <a href='#Page_137'>137</a>, <a href='#Page_173'>173</a>, <a href='#Page_191'>191</a>, <a href='#Page_213'>213</a>, <a href='#Page_214'>214</a>, <a href='#Page_313'>313</a><br />
+England, <a href='#Page_153'>153</a>, <a href='#Page_195'>195</a>, <a href='#Page_196'>196</a><br />
+<i>Ensemble</i>, <a href='#Page_32'>32</a>, <a href='#Page_293'>293</a><br />
+<br />
+Fads, <a href='#Page_26'>26</a>, <a href='#Page_291'>291</a>, <a href='#Page_311'>311</a>, <a href='#Page_312'>312</a>, <a href='#Page_313'>313</a><br />
+Feudal, <a href='#Page_134'>134</a>, <a href='#Page_151'>151</a>, <a href='#Page_210'>210</a>, <a href='#Page_291'>291</a><br />
+Fire-dogs (<i>See</i> Andirons)<br />
+Fireplace, <a href='#Page_111'>111</a>, <a href='#Page_112'>112</a>, <a href='#Page_113'>113</a><br />
+Fixtures, <a href='#Page_10'>10</a>, <a href='#Page_72'>72</a>, <a href='#Page_77'>77</a><br />
+Flaxman, John, <a href='#Page_327'>327</a><br />
+Floors (<i>See</i> Carpets) <a href='#Page_4'>4</a>, <a href='#Page_32'>32</a>, <a href='#Page_34'>34</a>,
+<a href='#Page_231'>231</a>, <a href='#Page_232'>232</a>, <a href='#Page_234'>234</a><br />
+Flower-pictures, <a href='#Page_188'>188</a><br />
+Flowers, <a href='#Page_50'>50</a>, <a href='#Page_51'>51</a>, <a href='#Page_289'>289</a>, <a href='#Page_300'>300</a><br />
+Fontainebleau, <a href='#Page_165'>165</a><br />
+France, <a href='#Page_148'>148</a>, <a href='#Page_164'>164</a>, <a href='#Page_166'>166</a><br />
+Francis I, <a href='#Page_164'>164</a>, <a href='#Page_165'>165</a><br />
+Franklin Stoves, <a href='#Page_112'>112</a><br />
+French, <a href='#Page_34'>34</a>, <a href='#Page_164'>164</a>, <a href='#Page_165'>165</a>, <a href='#Page_173'>173</a><br />
+Frieze, <a href='#Page_204'>204</a><br />
+<br />
+Georgian, <a href='#Page_18'>18</a>, <a href='#Page_194'>194</a>, <a href='#Page_207'>207</a><br />
+Germany, <a href='#Page_161'>161</a><br />
+Gibbons, Grinling, <a href='#Page_194'>194</a>, <a href='#Page_201'>201</a>, <a href='#Page_207'>207</a><br />
+Gimp, <a href='#Page_59'>59</a><br />
+Glass, <a href='#Page_121'>121</a><br />
+Glazed Linen, <a href='#Page_242'>242</a><br />
+Gobelin, <a href='#Page_182'>182</a><br />
+Gothic, <a href='#Page_148'>148</a>, <a href='#Page_149'>149</a>, <a href='#Page_151'>151</a>, <a href='#Page_152'>152</a>, <a href='#Page_153'>153</a>, <a href='#Page_192'>192</a>, <a href='#Page_210'>210</a>, <a href='#Page_323'>323</a><br />
+Greek, <a href='#Page_146'>146</a>, <a href='#Page_147'>147</a>, <a href='#Page_326'>326</a>, <a href='#Page_327'>327</a><br />
+Gubbio, <a href='#Page_155'>155</a><br />
+<br />
+Hallmark, <a href='#Page_31'>31</a>, <a href='#Page_153'>153</a>, <a href='#Page_156'>156</a>, <a href='#Page_181'>181</a>, <a href='#Page_203'>203</a><br />
+Hangings, <a href='#Page_3'>3</a>, <a href='#Page_52'>52</a>, <a href='#Page_199'>199</a>, <a href='#Page_225'>225</a>, <a href='#Page_250'>250</a><br />
+Henry II, <a href='#Page_164'>164</a>, <a href='#Page_166'>166</a><br />
+Henry III, <a href='#Page_71'>71</a>, <a href='#Page_152'>152</a><br />
+Henry IV, <a href='#Page_173'>173</a><br />
+Henry VIII, <a href='#Page_193'>193</a><br />
+Heppelwhite, <a href='#Page_144'>144</a>, <a href='#Page_195'>195</a>, <a href='#Page_206'>206</a>, <a href='#Page_207'>207</a>, <a href='#Page_209'>209</a><br />
+Holland, <a href='#Page_198'>198</a>, <a href='#Page_202'>202</a><br />
+Homes, <a href='#Page_17'>17</a>, <a href='#Page_18'>18</a>, <a href='#Page_135'>135</a>, <a href='#Page_136'>136</a>, <a href='#Page_209'>209</a><br />
+Hungarian, <a href='#Page_293'>293</a><br />
+<br />
+Inappropriateness, <a href='#Page_301'>301</a><br />
+Iron Work, <a href='#Page_260'>260</a>, <a href='#Page_261'>261</a><br />
+Italian, <a href='#Page_144'>144</a>, <a href='#Page_154'>154</a>, <a href='#Page_161'>161</a>, <a href='#Page_162'>162</a>,
+<a href='#Page_201'>201</a>, <a href='#Page_291'>291</a><br />
+Italian Louis XVI, <a href='#Page_92'>92</a><br />
+Ivy, <a href='#Page_74'>74</a>, <a href='#Page_262'>262</a><br />
+<br />
+Jacobean, <a href='#Page_192'>192</a>, <a href='#Page_193'>193</a>, <a href='#Page_198'>198</a>, <a href='#Page_199'>199</a>, <a href='#Page_244'>244</a>, <a href='#Page_249'>249</a>, <a href='#Page_291'>291</a><br />
+James I, <a href='#Page_193'>193</a><br />
+James II, <a href='#Page_193'>193</a><br />
+James VI, <a href='#Page_69'>69</a><br />
+Japan, <a href='#Page_222'>222</a><br />
+Japanese, <a href='#Page_223'>223</a>, <a href='#Page_224'>224</a><br />
+<br />
+Kauffman, Angelica, <a href='#Page_196'>196</a>, <a href='#Page_205'>205</a>, <a href='#Page_222'>222</a><br />
+Key, <a href='#Page_289'>289</a><br />
+Key Note, <a href='#Page_72'>72</a>, <a href='#Page_190'>190</a>, <a href='#Page_242'>242</a><br />
+Knife-boxes, <a href='#Page_202'>202</a><br />
+<br />
+Lacquer, <a href='#Page_181'>181</a>, <a href='#Page_200'>200</a>, <a href='#Page_222'>222</a><br />
+Lamp Shades, <a href='#Page_4'>4</a>, <a href='#Page_10'>10</a>, <a href='#Page_285'>285</a><br />
+Landscape Paper, <a href='#Page_139'>139</a>, <a href='#Page_210'>210</a><br />
+Library, a Man's, <a href='#Page_306'>306</a><br />
+Light-absorbing colours, <a href='#Page_309'>309</a><br />
+Light-producing, <a href='#Page_284'>284</a><br />
+Lines, <a href='#Page_23'>23</a>, <a href='#Page_31'>31</a>, <a href='#Page_33'>33</a>, <a href='#Page_39'>39</a>, <a href='#Page_144'>144</a>, <a href='#Page_214'>214</a>, <a href='#Page_219'>219</a>, <a href='#Page_222'>222</a>, <a href='#Page_223'>223</a>, <a href='#Page_340'>340</a><br />
+Living-room, <a href='#Page_284'>284</a>-<a href='#Page_285'>285</a><br />
+Louis XIII, <a href='#Page_173'>173</a><br />
+Louis XIV, <a href='#Page_164'>164</a>, <a href='#Page_166'>166</a>, <a href='#Page_171'>171</a>, <a href='#Page_174'>174</a>, <a href='#Page_175'>175</a>, <a href='#Page_176'>176</a>, <a href='#Page_181'>181</a>, <a href='#Page_190'>190</a><br />
+Louis XV, <a href='#Page_56'>56</a>, <a href='#Page_164'>164</a>, <a href='#Page_166'>166</a>, <a href='#Page_168'>168</a>, <a href='#Page_171'>171</a>, <a href='#Page_174'>174</a>, <a href='#Page_175'>175</a>, <a href='#Page_176'>176</a>, <a href='#Page_181'>181</a>, <a href='#Page_182'>182</a>, <a href='#Page_190'>190</a><br />
+Louis XVI <a href='#Page_iv'>iv</a>, <a href='#Page_56'>56</a>, <a href='#Page_124'>124</a>, <a href='#Page_164'>164</a>,
+<a href='#Page_166'>166</a>, <a href='#Page_171'>171</a>, <a href='#Page_172'>172</a>, <a href='#Page_174'>174</a>,
+<a href='#Page_175'>175</a>, <a href='#Page_176'>176</a>, <a href='#Page_178'>178</a>, <a href='#Page_181'>181</a>,
+<a href='#Page_182'>182</a>, <a href='#Page_183'>183</a>, <a href='#Page_184'>184</a><br />
+Lustre copper, <a href='#Page_293'>293</a><br />
+<br />
+Mahogany Period <a href='#Page_191'>191</a>, <a href='#Page_194'>194</a>, <a href='#Page_197'>197</a>, <a href='#Page_202'>202</a><br />
+Majolica, <a href='#Page_155'>155</a><br />
+Man's Room (<i>See</i> Men's Rooms)<br />
+Mantel, <a href='#Page_204'>204</a>, <a href='#Page_242'>242</a><br />
+Marie Antoinette, <a href='#Page_184'>184</a><br />
+Marquetry, <a href='#Page_142'>142</a><br />
+Medi&aelig;val Art, <a href='#Page_154'>154</a><br />
+Medici, <a href='#Page_154'>154</a>, <a href='#Page_164'>164</a><br />
+Medici, Catherine de, <a href='#Page_164'>164</a><br />
+Medicine jars, <a href='#Page_332'>332</a><br />
+Men's Rooms, <a href='#Page_24'>24</a>, <a href='#Page_137'>137</a><br />
+Metal Work, <a href='#Page_131'>131</a>, <a href='#Page_142'>142</a>, <a href='#Page_161'>161</a>, <a href='#Page_165'>165</a>, <a href='#Page_173'>173</a>, <a href='#Page_176'>176</a>, <a href='#Page_323'>323</a><br />
+Michelangelo, <a href='#Page_154'>154</a><br />
+Middle Ages, <a href='#Page_147'>147</a><br />
+Mirrors, <a href='#Page_134'>134</a>, <a href='#Page_231'>231</a>, <a href='#Page_241'>241</a>, <a href='#Page_276'>276</a>, <a href='#Page_277'>277</a>, <a href='#Page_316'>316</a><br />
+Mission Furniture, <a href='#Page_223'>223</a>-<a href='#Page_224'>224</a><br />
+Moors, <a href='#Page_148'>148</a>, <a href='#Page_162'>162</a><br />
+Morris, William, <a href='#Page_207'>207</a><br />
+Mouldings, <a href='#Page_182'>182</a>, <a href='#Page_201'>201</a>, <a href='#Page_206'>206</a><br />
+Mounts, <a href='#Page_137'>137</a>, <a href='#Page_161'>161</a>, <a href='#Page_162'>162</a><br />
+<br />
+Napoleon I, <a href='#Page_172'>172</a>, <a href='#Page_173'>173</a>, <a href='#Page_191'>191</a><br />
+Narrow halls, <a href='#Page_3'>3</a>, <a href='#Page_9'>9</a>, <a href='#Page_231'>231</a>, <a href='#Page_278'>278</a>, <a href='#Page_283'>283</a><br />
+New England, <a href='#Page_209'>209</a><br />
+<br />
+Oak Period, <a href='#Page_191'>191</a><br />
+<i>Objets d'art</i>, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_104'>104</a>, <a href='#Page_135'>135</a>, <a href='#Page_137'>137</a>, <a href='#Page_288'>288</a>, <a href='#Page_294'>294</a><br />
+Oriental, <a href='#Page_48'>48</a>, <a href='#Page_147'>147</a>, <a href='#Page_148'>148</a><br />
+Ormolu, <a href='#Page_132'>132</a>, <a href='#Page_173'>173</a>, <a href='#Page_176'>176</a>, <a href='#Page_184'>184</a><br />
+Outline, <a href='#Page_144'>144</a>, <a href='#Page_146'>146</a>, <a href='#Page_171'>171</a>, <a href='#Page_175'>175</a><br />
+Over-doors, <a href='#Page_182'>182</a><br />
+<br />
+Painted Furniture, <a href='#Page_9'>9</a>, <a href='#Page_10'>10</a>, <a href='#Page_25'>25</a>, <a href='#Page_31'>31</a>,
+<a href='#Page_32'>32</a>, <a href='#Page_205'>205</a>, <a href='#Page_206'>206</a>, <a href='#Page_214'>214</a>,
+<a href='#Page_222'>222</a>, <a href='#Page_223'>223</a>, <a href='#Page_226'>226</a>, <a href='#Page_234'>234</a>,
+<a href='#Page_236'>236</a>, <a href='#Page_238'>238</a>, <a href='#Page_252'>252</a><br />
+Painted Tapestry, <a href='#Page_69'>69</a>, <a href='#Page_108'>108</a><br />
+Palladio, Andrea, <a href='#Page_155'>155</a><br />
+Panelling, <a href='#Page_42'>42</a>, <a href='#Page_71'>71</a>, <a href='#Page_152'>152</a>, <a href='#Page_182'>182</a>, <a href='#Page_199'>199</a>, <a href='#Page_204'>204</a>, <a href='#Page_206'>206</a>, <a href='#Page_209'>209</a>, <a href='#Page_210'>210</a><br />
+Panier fleuri, <a href='#Page_311'>311</a><br />
+Parchment Paper Shades for Lights, <a href='#Page_79'>79</a><br />
+Passepartout, <a href='#Page_89'>89</a>, <a href='#Page_232'>232</a><br />
+Peasant China, <a href='#Page_300'>300</a><br />
+Peasant Lace, <a href='#Page_300'>300</a><br />
+Pergolese, Michael Angelo, <a href='#Page_196'>196</a><br />
+Pericles, <a href='#Page_154'>154</a><br />
+Period Rooms, <a href='#Page_23'>23</a>, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a>, <a href='#Page_26'>26</a>,
+<a href='#Page_111'>111</a>, <a href='#Page_112'>112</a>, <a href='#Page_130'>130</a>, <a href='#Page_134'>134</a>,
+<a href='#Page_135'>135</a><br />
+Pesaro, <a href='#Page_155'>155</a><br />
+Pharmacy Jars (<i>See</i> Medicine Jars)<br />
+Phidias, <a href='#Page_145'>145</a><br />
+Photographs, <a href='#Page_17'>17</a>, <a href='#Page_225'>225</a>, <a href='#Page_232'>232</a><br />
+Picture Frames, <a href='#Page_88'>88</a>-<a href='#Page_89'>89</a>, <a href='#Page_138'>138</a><br />
+Pictures, <a href='#Page_88'>88</a>-<a href='#Page_90'>90</a>, <a href='#Page_95'>95</a>, <a href='#Page_138'>138</a>,
+<a href='#Page_139'>139</a>, <a href='#Page_300'>300</a><br />
+<i>Pietra-dura</i>, <a href='#Page_156'>156</a><br />
+Pilasters, <a href='#Page_142'>142</a><br />
+Poitiers, Diane de, <a href='#Page_164'>164</a>, <a href='#Page_165'>165</a><br />
+Poland, <a href='#Page_292'>292</a><br />
+Pomegranate Pattern, <a href='#Page_165'>165</a><br />
+Porcelain, <a href='#Page_165'>165</a><br />
+Porch-room, <a href='#Page_265'>265</a><br />
+Portuguese, <a href='#Page_144'>144</a>, <a href='#Page_173'>173</a><br />
+&quot;Powder-Blue&quot; Vases, <a href='#Page_322'>322</a><br />
+Praxiteles, <a href='#Page_145'>145</a><br />
+Pre-Raphaelites, <a href='#Page_207'>207</a>-<a href='#Page_208'>208</a><br />
+Proportion, <a href='#Page_242'>242</a>, <a href='#Page_243'>243</a>, <a href='#Page_341'>341</a><br />
+Pseudo-Classic, <a href='#Page_149'>149</a><br />
+Puritan, <a href='#Page_211'>211</a><br />
+<br />
+Queen Anne, <a href='#Page_191'>191</a>, <a href='#Page_193'>193</a>, <a href='#Page_199'>199</a>,
+<a href='#Page_200'>200</a>, <a href='#Page_203'>203</a><br />
+Queen Elizabeth, <a href='#Page_193'>193</a><br />
+<br />
+Rail-boxes, <a href='#Page_259'>259</a>, <a href='#Page_266'>266</a><br />
+Raphael, <a href='#Page_154'>154</a><br />
+Refectory Tables, <a href='#Page_291'>291</a><br />
+Renaissance, <a href='#Page_144'>144</a>, <a href='#Page_154'>154</a>, <a href='#Page_156'>156</a>,
+<a href='#Page_161'>161</a>, <a href='#Page_192'>192</a>, <a href='#Page_210'>210</a><br />
+Reproductions, <a href='#Page_16'>16</a>, <a href='#Page_24'>24</a>, <a href='#Page_31'>31</a><br />
+Rocaille (<i>See</i> Shell Design) <a href='#Page_181'>181</a>, <a href='#Page_198'>198</a>, <a href='#Page_219'>219</a><br />
+Rococo, <a href='#Page_144'>144</a>, <a href='#Page_175'>175</a>, <a href='#Page_200'>200</a><br />
+Rolls, Empire, <a href='#Page_6'>6</a>, <a href='#Page_143'>143</a>, <a href='#Page_226'>226</a><br />
+Rome, <a href='#Page_142'>142</a>, <a href='#Page_146'>146</a>, <a href='#Page_147'>147</a><br />
+<br />
+Sarto, Andrea del, <a href='#Page_154'>154</a><br />
+Sash-curtains, <a href='#Page_15'>15</a>, <a href='#Page_82'>82</a>, <a href='#Page_242'>242</a><br />
+Servants'-rooms, <a href='#Page_286'>286</a>-<a href='#Page_287'>287</a><br />
+S&egrave;vres porcelain, <a href='#Page_165'>165</a>, <a href='#Page_176'>176</a>, <a href='#Page_330'>330</a><br />
+Shades for Lights, <a href='#Page_77'>77</a>, <a href='#Page_78'>78</a>, <a href='#Page_79'>79</a><br />
+Shell Design (<i>See</i> Rocaille) <a href='#Page_173'>173</a>, <a href='#Page_175'>175</a>, <a href='#Page_202'>202</a><br />
+Sheraton, <a href='#Page_144'>144</a>, <a href='#Page_195'>195</a>, <a href='#Page_196'>196</a>,
+<a href='#Page_201'>201</a>, <a href='#Page_204'>204</a>, <a href='#Page_205'>205</a><br />
+Silks, <a href='#Page_53'>53</a>, <a href='#Page_62'>62</a>, <a href='#Page_67'>67</a>, <a href='#Page_69'>69</a><br />
+Slipper-chairs, <a href='#Page_241'>241</a>, <a href='#Page_269'>269</a><br />
+Sofa cushions, <a href='#Page_4'>4</a>, <a href='#Page_15'>15</a>, <a href='#Page_42'>42</a><br />
+Spain, <a href='#Page_162'>162</a>, <a href='#Page_163'>163</a>, <a href='#Page_251'>251</a><br />
+Sports Balconies, <a href='#Page_252'>252</a>, <a href='#Page_257'>257</a><br />
+Stained Glass, <a href='#Page_71'>71</a><br />
+Straw Awnings, <a href='#Page_267'>267</a>-<a href='#Page_268'>268</a><br />
+Stuart, <a href='#Page_192'>192</a>, <a href='#Page_193'>193</a>, <a href='#Page_194'>194</a>,
+<a href='#Page_199'>199</a><br />
+Sun-producing, <a href='#Page_33'>33</a>, <a href='#Page_284'>284</a><br />
+Sun-proof, <a href='#Page_233'>233</a><br />
+Sun-rooms, <a href='#Page_251'>251</a>, <a href='#Page_293'>293</a><br />
+<br />
+Table decoration, <a href='#Page_288'>288</a>-<a href='#Page_289'>289</a>, <a href='#Page_300'>300</a>,
+<a href='#Page_338'>338</a><br />
+Table-garden, <a href='#Page_339'>339</a><br />
+Tables, <a href='#Page_291'>291</a>, <a href='#Page_299'>299</a><br />
+Tableware, <a href='#Page_292'>292</a><br />
+Taffeta, <a href='#Page_241'>241</a>-<a href='#Page_242'>242</a>, <a href='#Page_275'>275</a><br />
+Tapestry, <a href='#Page_70'>70</a>, <a href='#Page_71'>71</a>, <a href='#Page_134'>134</a>, <a href='#Page_139'>139</a>,
+<a href='#Page_151'>151</a>-<a href='#Page_152'>152</a>, <a href='#Page_165'>165</a>, <a href='#Page_182'>182</a>,
+<a href='#Page_201'>201</a>, <a href='#Page_206'>206</a>, <a href='#Page_210'>210</a><br />
+Tea-tables, <a href='#Page_309'>309</a><br />
+Textiles, <a href='#Page_61'>61</a>-<a href='#Page_62'>62</a><br />
+Titian, <a href='#Page_154'>154</a><br />
+Tone-on-tone, <a href='#Page_15'>15</a><br />
+Tudor, <a href='#Page_23'>23</a><br />
+Twin beds, <a href='#Page_10'>10</a><br />
+<br />
+Urbino, <a href='#Page_155'>155</a><br />
+<br />
+Valance, <a href='#Page_204'>204</a>, <a href='#Page_233'>233</a><br />
+Values, <a href='#Page_47'>47</a><br />
+Van Eyck, <a href='#Page_162'>162</a><br />
+Vanity-room, <a href='#Page_269'>269</a><br />
+<i>&quot;Vargueos&quot;</i>, <a href='#Page_162'>162</a><br />
+&quot;Vase pattern&quot;, <a href='#Page_165'>165</a><br />
+Vases, <a href='#Page_50'>50</a>, <a href='#Page_51'>51</a>, <a href='#Page_138'>138</a>, <a href='#Page_165'>165</a>,
+<a href='#Page_233'>233</a>, <a href='#Page_242'>242</a>, <a href='#Page_301'>301</a>, <a href='#Page_302'>302</a><br />
+Venetian Glass, <a href='#Page_337'>337</a>, <a href='#Page_338'>338</a><br />
+Venice, <a href='#Page_150'>150</a>, <a href='#Page_337'>337</a>, <a href='#Page_338'>338</a><br />
+Vernis Martin, <a href='#Page_189'>189</a><br />
+Victorian Period, <a href='#Page_133'>133</a>, <a href='#Page_219'>219</a>, <a href='#Page_220'>220</a><br />
+Vinci, Leonardo da, <a href='#Page_154'>154</a><br />
+Virginia Homes, <a href='#Page_209'>209</a><br />
+Vitrine, <a href='#Page_318'>318</a><br />
+<br />
+Wainscoting, <a href='#Page_42'>42</a>, <a href='#Page_199'>199</a>-<a href='#Page_200'>200</a><br />
+Wall-papers, <a href='#Page_204'>204</a>, <a href='#Page_209'>209</a>, <a href='#Page_211'>211</a>,
+<a href='#Page_219'>219</a>, <a href='#Page_232'>232</a>, <a href='#Page_309'>309</a><br />
+Walls, <a href='#Page_3'>3</a>, <a href='#Page_9'>9</a>, <a href='#Page_10'>10</a>, <a href='#Page_15'>15</a>,
+<a href='#Page_16'>16</a>, <a href='#Page_33'>33</a>, <a href='#Page_41'>41</a>, <a href='#Page_47'>47</a>,
+<a href='#Page_182'>182</a>, <a href='#Page_201'>201</a>, <a href='#Page_206'>206</a>, <a href='#Page_210'>210</a>,
+<a href='#Page_224'>224</a>, <a href='#Page_236'>236</a>, <a href='#Page_243'>243</a>, <a href='#Page_244'>244</a>,
+<a href='#Page_260'>260</a>, <a href='#Page_285'>285</a>, <a href='#Page_299'>299</a>, <a href='#Page_300'>300</a>,
+<a href='#Page_323'>323</a><br />
+Warm colours, <a href='#Page_33'>33</a>, <a href='#Page_285'>285</a><br />
+Wedgewood, <a href='#Page_189'>189</a>, <a href='#Page_197'>197</a>, <a href='#Page_290'>290</a>,
+<a href='#Page_293'>293</a>, <a href='#Page_325'>325</a>-<a href='#Page_326'>326</a><br />
+Wicker Furniture, <a href='#Page_252'>252</a><br />
+William and Mary Period, <a href='#Page_191'>191</a>, <a href='#Page_193'>193</a>, <a href='#Page_201'>201</a>,
+<a href='#Page_202'>202</a>,  <a href='#Page_204'>204</a><br />
+Window-boxes, <a href='#Page_259'>259</a>, <a href='#Page_267'>267</a><br />
+Wren, Sir Christopher, <a href='#Page_194'>194</a>, <a href='#Page_201'>201</a><br />
+<br />
+<h4>THE END</h4>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Art of Interior Decoration, by Grace Wood
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@@ -0,0 +1,5986 @@
+The Project Gutenberg EBook of The Art of Interior Decoration, by Grace Wood
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art of Interior Decoration
+
+Author: Grace Wood
+
+Release Date: December 8, 2004 [EBook #14298]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF INTERIOR DECORATION ***
+
+
+
+
+Produced by Stan Goodman, Karen Dalrymple, and the Online Distributed
+Proofreading Team
+
+
+
+
+
+THE ART OF INTERIOR DECORATION
+
+
+PLATE I
+
+     There is something unusually exquisite about this composition.
+     You will discover at a glance perfect balance, repose--line,
+     everywhere, yet with it infinite grace and a winning charm. One
+     can imagine a tea tray brought in, a table placed and those two
+     attractive chairs drawn together so that my lady and a friend may
+     chat over the tea cups.
+
+     The mirror is an Italian Louis XVI.
+
+     The sconces, table and chairs, French.
+
+     The vases, Italian, all antiques.
+
+     A becoming mellow light comes through the shade of deep cream
+     Italian parchment paper with Louis XVI decorations.
+
+     It should be said that the vases are Italian medicine
+     jars--literally that. They were once used by the Italian
+     chemists, for their drugs, and some are of astonishing
+     workmanship and have great intrinsic value, as well as the added
+     value of age and uniqueness.
+
+     The colour scheme is as attractive as the lines. The walls are
+     grey, curtains of green and grey, antique taffeta being used,
+     while the chairs have green silk on their seats and the table is
+     of green and faded gold. The green used is a wonderfully
+     beautiful shade.
+
+[Illustration: _Portion of a Drawing Room, Perfect in Composition and
+Detail_]
+
+
+
+THE ART OF INTERIOR
+DECORATION
+
+
+BY
+GRACE WOOD
+AND
+EMILY BURBANK
+
+
+_ILLUSTRATED_
+
+
+NEW YORK
+DODD, MEAD AND COMPANY
+1917
+
+
+
+DEDICATED
+TO
+A.M.M.
+
+_At the age of eighty, an inspiration to all who meet her, because she
+is the embodiment of what this book stands for; namely, fidelity to
+the principles of Classic Art and watchfulness for the vital new note
+struck in the cause of the Beautiful._
+
+
+
+
+
+FOREWORD
+
+
+If you would have your rooms interesting as well as beautiful, make
+them say something, give them a spinal column by keeping all
+ornamentation subservient to line.
+
+Before you buy anything, try to imagine how you want each room to look
+when completed; get the picture well in your mind, as a painter would;
+think out the main features, for the details all depend upon these and
+will quickly suggest themselves. This is, in the long run, the
+quickest and the most economical method of furnishing.
+
+There is a theory that no room can be created all at once, that it
+must grow gradually. In a sense this is a fact, so far as it refers to
+the amateur. The professional is always occupied with creating and
+recreating rooms and can instantly summon to mind complete schemes of
+decoration. The amateur can also learn to mentally furnish rooms. It
+is a fascinating pastime when one gets the knack of it.
+
+Beautiful things can be obtained anywhere and for the minimum price,
+if one has a feeling for line and colour, or for either. If the lover
+of the beautiful was not born with this art instinct, it may be
+quickly acquired. A decorator creates or rearranges one room; the
+owner does the next, alone, or with assistance, and in a season or two
+has spread his or her own wings and worked out legitimate schemes,
+teeming with individuality. One observes, is pleased with results and
+asks oneself why. This is the birth of _Good Taste_. Next, one
+experiments, makes mistakes, rights them, masters a period, outgrows
+or wearies of it, and takes up another.
+
+Progress is rapid and certain in this fascinating
+amusement,--study--call it what you will, if a few of the laws
+underlying all successful interior decoration are kept in mind.
+
+These are:
+
+     HARMONY
+
+in line and colour scheme;
+
+     SIMPLICITY
+
+in decoration and number of objects in room, which is to be dictated
+by usefulness of said objects; and insistence upon
+
+     SPACES
+
+which, like rests in music, have as much value as the objects
+dispersed about the room.
+
+Treat your rooms like "still life," see to it that each group, such as
+a table, sofa, and one or two chairs make a "composition," suggesting
+comfort as well as beauty. Never have an isolated chair, unless it is
+placed against the wall, as part of the decorative scheme.
+
+In preparing this book the chief aim has been clearness and brevity,
+the slogan of our day!
+
+We give a broad outline of the historical periods in furnishing, with
+a view to quick reference work.
+
+The thirty-two illustrations will be analysed for the practical
+instruction of the reader who may want to furnish a house and is in
+search of definite ideas as to lines of furniture, colour schemes for
+upholstery and hangings, and the placing of furniture and ornaments in
+such a way as to make the composition of rooms appear harmonious from
+the artist's point of view.
+
+The index will render possible a quick reference to illustrations and
+explanatory text, so that the book may be a guide for those ambitious
+to try their hand at the art of interior decoration.
+
+The manner of presentation is consciously didactic, the authors
+believing that this is the simplest method by which such a book can
+offer clear, terse suggestions. They have aimed at keeping "near to
+the bone of fact" and when the brief statements of the fundamental
+laws of interior decoration give way to narrative, it is with the hope
+of opening up vistas of personal application to embryo collectors or
+students of periods.
+
+
+
+
+CONTENTS
+
+
+FOREWORD
+
+
+CHAPTER I. HOW TO REARRANGE A ROOM
+
+Method of procedure.--Inherited eyesores.--Line.--Colour.--Treatment
+of small rooms and suites.--Old ceilings.--Old floors.--To paint brass
+bedsteads.--Hangings.--Owning two or three antique pieces of
+furniture, how proceed.--Appropriateness to setting.--How to give your
+home a personal quality.
+
+
+CHAPTER II. HOW TO CREATE A ROOM
+
+Mere comfort.--Period rooms.--Starting a collection of antique
+furniture.--Reproductions.--Painted furniture.--Order of procedure in
+creating a room.--How to decide upon colour scheme.--Study
+values.--Period ballroom.--A distinguished room.--Each room a
+stage "set."--Background.--Flowers as decoration.--Placing
+ornaments.--Tapestry.--Tendency to antique tempered by vivid Bakst
+colours.
+
+
+CHAPTER III. HOW TO DETERMINE CHARACTER OF HANGINGS AND
+FURNITURE-COVERING FOR A GIVEN ROOM
+
+Silk, velvet, corduroy, rep, leather, use of antique silks,
+chintz.--When and how used.
+
+
+CHAPTER IV. THE STORY OF TEXTILES
+
+Materials woven by hand and machine, embroidered, or the combination
+of the two known as Tapestry.--Painted tapestry.--Art fostered by the
+Church.--Decorated walls and ceilings, 13th century, England.
+
+
+CHAPTER V. CANDLESTICKS, LAMPS, FIXTURES FOR GAS AND ELECTRICITY, AND
+SHADES
+
+Fixtures, as well as mantelpiece, must follow architect's
+scheme.--Plan wall space for furniture.--Shades for lights.--Important
+as to line and colour.
+
+
+CHAPTER VI. WINDOW SHADES AND AWNINGS
+
+Coloured gauze sash-curtains.--Window shades of glazed linen, with
+design in colours.--Striped canvas awnings.
+
+
+CHAPTER VII. TREATMENT OF PICTURES AND PICTURE FRAMES
+
+Selecting pictures.--Pictures as pure decoration.--"Staring" a
+picture.--Restraint necessary in hanging pictures.--Hanging
+miniatures.
+
+
+CHAPTER VIII. TREATMENT OF PIANO CASES
+
+Where interest centres abound piano.--Where piano is part of ensemble.
+
+
+CHAPTER IX. TREATMENT OF DINING-ROOM BUFFETS AND DRESSING-TABLES
+
+Articles placed upon them.
+
+
+CHAPTER X. TREATMENT OF WORK TABLES, BIRD CAGES, DOG BASKETS, AND
+FISH GLOBES
+
+Value as colour notes.
+
+
+CHAPTER XI. TREATMENT OF FIREPLACES
+
+Proportions, tiles, andirons, grates.
+
+
+CHAPTER XII. TREATMENT OF BATHROOMS
+
+A man's bathroom.--A woman's bathroom.--Bathroom fixtures.--Bathroom
+glassware.
+
+
+CHAPTER XIII. PERIOD ROOMS
+
+Chiselling of
+metals.--Ormoulu.--Chippendale.--Colonial.--Victorian.--The art of
+furniture making.--How to hang a mirror.--Appropriate furniture.--A
+home must have human quality, a personal note.--Mrs. John L.
+Gardner's Italian Palace in Boston.--The study of colour
+schemes.--Tapestries.--A narrow hall.
+
+
+CHAPTER XIV. PERIODS IN FURNITURE
+
+The story of the evolution of periods.--
+Assyria.--Egypt.--Greece.--Rome.--France.
+--England.--America.--Epoch-making styles.
+
+
+CHAPTER XV. CONTINUATION OF PERIODS IN FURNITURE
+
+Greece.--Rome.--Byzantium.--Dark Ages.--Middle
+Ages.--Gothic.--Moorish.--Spanish.--Anglo-Saxon.--Caesar's
+Table.--Charlemagne's Chair.--Venice.
+
+
+CHAPTER XVI. THE GOTHIC PERIOD
+
+Interior decoration of Feudal Castle.--Tapestry.--Hallmarks of Gothic
+oak carving.
+
+
+CHAPTER XVII. THE RENAISSANCE
+
+Italy.--The Medici.--Great architects, painters, designers, and workers
+in metals.--Marvellous pottery.--Furniture inlaying.--Hallmarks
+of Renaissance.--Oak carving.--Metal work.--Renaissance in Germany
+and Spain.
+
+
+CHAPTER XVIII. FRENCH FURNITURE
+
+Renaissance of classic period.--Francis I, Henry II, and the
+Louis.--Architecture, mural decoration, tapestry, furniture, wrought
+metals, ormoulu, silks, velvets, porcelains.
+
+
+CHAPTER XIX. THE PERIODS OF THE THREE LOUIS
+
+How to distinguish them.--Louis XIV.--Louis XV.--Louis
+XVI.--Outline.--Decoration.--Colouring.--Mural Decoration.--Tapestry.
+
+
+CHAPTER XX. CHARTS SHOWING HISTORICAL EVOLUTION OF FURNITURE
+
+French and English.
+
+
+CHAPTER XXI. THE MAHOGANY PERIOD
+
+Chippendale.--Heppelwhite.--Sheraton.--The Adam
+Brothers.--Characteristics of these and the preceding English periods;
+Gothic, Elizabethan, Jacobean, William and Mary, Queen Anne.--William
+Morris.--Pre-Raphaelites.
+
+
+CHAPTER XXII. THE COLONIAL PERIOD
+
+Furniture.--Landscape paper.--The story of the evolution of wall
+decoration.
+
+
+CHAPTER XXIII. THE REVIVAL OF DIRECTOIRE AND EMPIRE FURNITURE
+
+Shown in modern painted furniture.
+
+
+CHAPTER XXIV. THE VICTORIAN PERIOD
+
+Architecture and interior decoration become unrelated.--Machine-made
+furniture.--Victorian cross-stitch, beadwork, wax and linen
+flowers.--Bristol glass.--Value to-day as notes of variety.
+
+
+CHAPTER XXV. PAINTED FURNITURE
+
+Including "mission" furniture.--Treatment of an unplastered
+cottage.--Furniture, colour-scheme.
+
+
+CHAPTER XXVI. TREATMENT OF AN INEXPENSIVE BEDROOM
+
+Factory furniture.--Chintz.--The cheapest
+mirrors.--Floors.--Walls.--Pictures.--Treatment of old floors.
+
+
+CHAPTER XXVII. TREATMENT OF A GUEST ROOM
+
+Where economy is not a matter of importance.--Panelled walls.--Louis
+XV painted furniture.--Taffeta curtains and bed-cover.--Chintz
+chair-covers.--Cream net sash-curtains.--Figured linen window-shades.
+
+
+CHAPTER XXVIII. A MODERN HOUSE IN WHICH GENUINE JACOBEAN FURNITURE Is
+APPROPRIATELY SET
+
+Traditional colour-scheme of crimson and gold.
+
+
+CHAPTER XXIX. UNCONVENTIONAL BREAKFAST-ROOMS AND SPORTS BALCONIES
+
+Porch-rooms.--Appropriate furnishings.--Colour schemes.
+
+
+CHAPTER XXX. SUN-ROOMS
+
+Colour schemes according to climate and season.--A small, cheap,
+summer house converted into one of some pretentions by altering vital
+details.
+
+
+CHAPTER XXXI. TREATMENT OF A WOMAN'S DRESSING-ROOM
+
+Solving problems of the toilet.--Shoe cabinets.--Jewel
+cabinets.--Dressing tables.
+
+
+CHAPTER XXXII. THE TREATMENT OF CLOSETS
+
+Variety of closets.--Colour scheme.--Chintz covered boxes.
+
+
+CHAPTER XXXIII. TREATMENT OF A NARROW HALL
+
+Furniture.--Device for breaking length of hall.
+
+
+CHAPTER XXXIV. TREATMENT OF A VERY SHADED LIVING-ROOM
+
+In a warm climate.--In a cool climate.--Warm and cold colours.
+
+
+CHAPTER XXXV. SERVANTS' ROOMS
+
+Practical and suitable attractiveness.
+
+
+CHAPTER XXXVI. TABLE DECORATION
+
+Appropriateness the keynote.--Tableware.--Linen, lace, and
+flowers.--Japanese simplicity.--Background.
+
+
+CHAPTER XXXVII. WHAT TO AVOID IN INTERIOR DECORATION: RULES FOR
+BEGINNERS
+
+Appropriateness.--Intelligent elimination.--Furnishings.--Colour
+scheme.--Small suites.--Background.--Placing rugs and hangings.--Treatment
+of long wall-space.--Men's rooms.--Table decoration.--Tea table.--How
+to train the taste, eye, and judgment.
+
+
+CHAPTER XXXVIII. FADS IN COLLECTING
+
+A panier fleuri collection.--A typical experience in collecting.--A
+"find" in an obscure American junk-shop.--Getting on the track of some
+Italian pottery.--Collections used as decoration.--A "find" in Spain.
+
+CHAPTER XXXIX. WEDGWOOD POTTERY, OLD AND MODERN
+
+The history of Wedgwood.--Josiah Wedgwood, the founder.
+
+
+CHAPTER XL. ITALIAN POTTERY
+
+Statuettes.
+
+
+CHAPTER XLI. VENETIAN GLASS, OLD AND MODERN
+
+Murano Museum collection.--Table-gardens in Venetian glass.
+
+
+IN CONCLUSION
+
+Four Fundamental Principles of Interior Decoration Re-stated.
+
+
+
+
+ILLUSTRATIONS
+
+
+PLATE I Portion of a Drawing-room, Perfect in Composition and Detail.
+
+PLATE II Bedroom in Country House. Modern Painted Furniture.
+
+PLATE III Suggestion for Treatment of a Very Small Bedroom.
+
+PLATE IV A Man's Office in Wall Street.
+
+PLATE V A Corner of the Same Office.
+
+PLATE VI Another View of the Same Office.
+
+PLATE VII Corner of a Room, Showing Painted Furniture, Antique and
+Modern.
+
+PLATE VIII Example of a Perfect Mantel, Ornaments and Mirror.
+
+PLATE IX Dining-room in Country House, Showing Modern Painted
+Furniture.
+
+PLATE X Dining-room Furniture, Italian Renaissance, Antique.
+
+PLATE XI Corner of Dining-room in New York Apartment, Showing Section
+of Italian Refectory Table and Italian Chairs, both Antique and
+Renaissance in Style.
+
+PLATE XII An Italian Louis XVI Salon in a New York Apartment.
+
+PLATE XIII Another Side of the Same Italian Louis XVI Salon.
+
+PLATE XIV A Narrow Hall Where Effect of Width is Attained by Use of
+Tapestry with Vista.
+
+PLATE XV Venetian Glass, Antique and Modern.
+
+PLATE XVI Corner of a Room in a Small Empire Suite.
+
+PLATE XVII An Example of Perfect Balance and Beauty in Mantel
+Arrangement.
+
+PLATE XVIII Corner of a Drawing-room, Furniture Showing Directoire
+Influence.
+
+PLATE XIX Entrance Hall in New York Duplex Apartment. Italian
+Furniture.
+
+PLATE XX Combination of Studio and Living-room in New York Duplex
+Apartment.
+
+PLATE XXI Part of a Victorian Parlour in One of the Few Remaining New
+York Victorian Mansions.
+
+PLATE XXII Two Styles of Day-beds, Modern Painted.
+
+PLATE XXIII Boudoir in New York Apartment. Painted Furniture, Antique
+and Reproductions.
+
+PLATE XXIV Example of Lack of Balance in Mantel Arrangement.
+
+PLATE XXV Treatment of Ground Lying Between House and Much Travelled
+Country Road.
+
+PLATE XXVI An Extension Roof in New York Converted into a Balcony.
+
+PLATE XXVII A Common-place Barn Made Interesting.
+
+PLATE XXVIII Narrow Entrance Hall of a New York Antique Shop.
+
+PLATE XXIX Example of a Charming Hall Spoiled by Too Pronounced a Rug.
+
+PLATE XXX A Man's Library.
+
+PLATE XXXI A Collection of Empire Furniture, Ornaments, and China.
+
+PLATE XXXII Italian Reproductions in Pottery After Classic Models.
+
+
+     "Those who duly consider the influence of the _fine-arts_ on the
+     _human mind_, will not think it a small benefit to the world, to
+     diffuse their productions as wide, and preserve them as long as
+     possible. The multiplying of copies of fine work, in beautiful
+     and durable materials, must obviously have the same effect in
+     respect to the arts as the invention of printing has upon
+     literature and the sciences: by their means the principal
+     productions of both kinds will be forever preserved, and will
+     effectually prevent the return of ignorant and barbarous ages."
+
+     JOSIAH WEDGWOOD: Catalogue of 1787.
+
+One of the most joyful obligations in life should be the planning and
+executing of BEAUTIFUL HOMES, keeping ever in mind that distinction is
+not a matter of scale, since a vast palace may find its rival in the
+smallest group of rooms, provided the latter obeys the law of _good
+line, correct proportions, harmonious colour scheme and
+appropriateness_: a law insisting that all useful things be beautiful
+things.
+
+
+
+
+THE ART OF INTERIOR DECORATION
+
+
+
+
+CHAPTER I
+
+HOW TO REARRANGE A ROOM
+
+
+Lucky is the man or woman of taste who has no inherited eyesores
+which, because of association, must not be banished! When these exist
+in large numbers one thing only remains to be done: look them over,
+see to what period the majority belong, and proceed as if you _wanted_
+a mid-Victorian, late Colonial or brass-bedstead room.
+
+To rearrange a room successfully, begin by taking everything out of it
+(in reality or in your mind), then decide how you want it to look, or
+how, owing to what you own and must retain, you are obliged to have it
+look. Design and colour of wall decorations, hangings, carpets,
+lighting fixtures, lamps and ornaments on mantel, depend upon the
+character of your furniture.
+
+It is the mantel and its arrangement of ornaments that sound the
+keynote upon first entering a room.
+
+Conventional simplicity in number and arrangement of ornaments gives
+balance and repose, hence dignity. Dignity once established, one can
+afford to be individual, and introduce a riot of colours, provided
+they are all in the same key. Luxurious cushions, soft rugs and a
+hundred and one feminine touches will create atmosphere and knit
+together the austere scheme of line--the anatomy of your room. Colour
+and textiles are the flesh of interior decoration.
+
+In furnishing a small room you can add greatly to its apparent size by
+using plain paper and making the woodwork the same colour, or slightly
+darker in tone. If you cannot find wall paper of exactly the colour
+and shade you wish, it is often possible to use the wrong side of a
+paper and produce exactly the desired effect.
+
+In repapering old rooms with imperfect ceilings it is easy to disguise
+this by using a paper with a small design in the same tone. A
+perfectly plain ceiling paper will show every defect in the surface of
+the ceiling.
+
+If your house or flat is small you can gain a great effect of space
+by keeping the same colour scheme throughout--that is, the same colour
+or related colours. To make a small hall and each of several small
+rooms on the same floor different in any pronounced way, is to cut up
+your home into a restless, unmeaning checkerboard, where one feels
+conscious of the walls and all limitations. The effect of restful
+spaciousness may be obtained by taking the same small suite and
+treating its walls, floors and draperies, as has been suggested, in
+the same colour scheme or a scheme of related keys in colour. That is,
+wood browns, beiges and yellows; violets, mauves and pinks; different
+tones of greys; different tones of yellows, greens and blues.
+
+Now having established your suite and hall all in one key, so that
+there is absolutely no jarring note as one passes from room to room,
+you may be sure of having achieved that most desirable of all
+qualities in interior decoration--repose. We have seen the idea here
+suggested carried out in small summer homes with most successful
+results; the same colour used on walls and furniture, while exactly
+the same chintz was employed in every bedroom, opening out of one
+hall. By this means it was possible to give to a small, unimportant
+cottage, a note of distinction otherwise quite impossible. Here,
+however, let us say that, if the same chintz is to be used in every
+room, it must be neutral in colour--a chintz in which the colour
+scheme is, say, yellows in different tones, browns in different tones,
+or greens or greys. To vary the character of each room, introduce
+different colours in the furniture covers, the sofa-cushions and
+lamp-shades. Our point is to urge the repetition of a main background
+in a small group of rooms; but to escape monotony by planning that the
+accessories in each room shall strike individual notes of decorative,
+contrasting colour.
+
+
+PLATE II
+
+     A room with modern painted furniture is shown here. Lines and
+     decorations Empire.
+
+     Note the lyre backs of chairs and head board in day-bed.
+     Treatment of this bed is that suggested where twin beds are used
+     and room affords wall space for but one of them.
+
+[Illustration: _Bedroom in Country House. Modern Painted Furniture._]
+
+
+       *       *       *       *       *
+
+What to do with old floors is a question many of us have faced. If
+your house has been built with floors of wide, common boards which
+have become rough and separated by age, in some cases allowing dust to
+sift through from the cellar, and you do not wish to go to the expense
+of all-over carpets, you have the choice of several methods. The
+simplest and least expensive is to paint or stain the floors. In this
+case employ a floor painter and begin by removing all old paint.
+Paint removers come for the purpose. Then have the floors planed to
+make them even. Next, fill the cracks with putty. The most practical
+method is to stain the floors some dark colour; mahogany, walnut,
+weathered oak, black, green or any colour you may prefer, and then wax
+them. This protects the colour. In a room where daintiness is desired,
+and economy is not important, as for instance in a room with white
+painted furniture, you may have white floors and a square carpet rug
+of some plain dark toned velvet; or, if preferred, the painted border
+may be in come delicate colour to match the wall paper. To resume, if
+you like a dull finish, have the wax rubbed in at intervals, but if
+you like a glossy background for rugs, use a heavy varnish after the
+floors are coloured. This treatment we suggest for more or less formal
+rooms. In bedrooms, put down an inexpensive filling as a background
+for rugs, or should yours be a summer home, use straw matting.
+
+For halls and dining-rooms a plain dark-coloured linoleum, costing not
+less than two dollars a yard makes and inexpensive floor covering.
+If it is waxed it becomes not only very durable but, also, extremely
+effective, suggesting the dark tiles in Italian houses. We do not
+advise the purchase of the linoleums which represent inlaid floors, as
+they are invariably unsuccessful imitations.
+
+If it is necessary to economise and your brass bedstead must be used
+even though you dislike it, you can have it painted the colour of your
+walls. It requires a number of coats. A soft pearl grey is good. Then
+use a colour, or colours, in your silk or chintz bedspread. Sun-proof
+material in a solid colour makes an attractive cover, with a narrow
+fringe in several colours straight around the edges and also, forming
+a circle or square on the top of the bed-cover.
+
+       *       *       *       *       *
+
+If your gas or electric fixtures are ugly and you cannot afford more
+attractive ones, buy very cheap, perfectly plain, ones and paint them
+to match the walls, giving decorative value to them with coloured silk
+shades.
+
+
+PLATE III
+
+     Shows one end of a very small bedroom with modern painted
+     furniture, so simple in line and decoration that it would be
+     equally appropriate either for a young man or for a young woman.
+     We say "young," because there is something charmingly fresh and
+     youthful about this type of furniture.
+
+     The colour is pale pistache green, with mulberry lines, the same
+     combination of colours being repeated in painting the walls which
+     have a grey background lined with mulberry--the broad stripe--and
+     a narrow green line. The bed cover is mulberry, the lamp shade is
+     green with mulberry and grey in the fringe.
+
+     On the walls are delightful old prints framed in black glass with
+     gold lines, and a narrow moulding of gilded oak, an old style
+     revived.
+
+     A square of antique silk covers the night table, and the floor is
+     polished hard wood.
+
+     Here is your hall bedroom, the wee guest room in a flat, or the
+     extra guest room under the eaves of your country house, made
+     equally beguiling. The result of this artistic simplicity is a
+     restful sense of space.
+
+[Illustration: _Suggestion for Treatment of a Very Small Bedroom_]
+
+
+If you wish to use twin beds and have not wall space for them, treat
+one like a couch or day-bed. See Plate II. Your cabinet-maker can
+remove the footboard, then draw the bed out into the room, place in a
+position convenient to the light either by day or night, after which
+put a cover of cretonne or silk over it and cushions of the same.
+Never put a spotted material on a spotted material. If your couch or
+sofa is done in a figured material of different colours, make your
+sofa cushions of plain material to tone down the sofa. If the sofa is
+a plain colour, then tone it up--make it more decorative by using
+cushions of several colours.
+
+If you like your room, but find it cold in atmosphere, try deep cream
+gauze for sash curtains. They are wonderful atmosphere producers. The
+advantage of two tiers of sash curtains (see Plate IX) is that one can
+part and push back one tier for air, light or looking out, and still
+use the other tier to modify the light in the room.
+
+Another way to produce atmosphere in a cold room is to use a
+tone-on-tone paper. That is, a paper striped in two depths of the same
+colour. In choosing any wall paper it is imperative that you try a
+large sample of it in the room for which it is intended, as the
+reflection from a nearby building or brick wall can entirely change a
+beautiful yellow into a thick mustard colour. How a wall paper looks
+in the shop is no criterion. As stated sometimes the _wrong side_ of
+wall paper gives you the tone you desire.
+
+When rearranging your room do not desecrate the few good antiques you
+happen to own by the use of a too modern colour scheme. Have the
+necessary modern pieces you have bought to supplement your treasures
+stained or painted in a dull, dark colour in harmony with the
+antiques, and then use subdued colours in the floor coverings,
+curtains and cushions.
+
+If you own no good old ornaments, try to get a few good shapes and
+colours in inexpensive reproductions of the desired period.
+
+If your room is small, and the bathroom opens out of it, add to the
+size of the room by using the same colour scheme in the bathroom, and
+conceal the plumbing and fixtures by a low screen. If the connecting
+door is kept open, the effect is to enlarge greatly the appearance of
+the small bedroom, whereas if the bedroom decorations are dark and the
+bathroom has a light floor and walls, it abruptly cuts itself off and
+emphasises the smallness of the bedroom.
+
+Everything depends upon the appropriateness of the furniture to its
+setting. We recall some much admired dining-room chairs in the home of
+the Maclaines of Lochbuie in Argyleshire, west coast of Scotland. The
+chairs in question are covered with sealskin from the seals caught off
+that rugged coast. They are quite delightful in a remote country
+house; but they would not be tolerated in London.
+
+The question of placing photographs is not one to be treated lightly.
+Remember, intimate photographs should be placed in intimate rooms,
+while photographs of artists and all celebrities are appropriate for
+the living room or library. It is extremely seldom that a photograph
+unless of public interest is not out of place in a formal room.
+
+To repeat, never forget that your house or flat is _your_ home, and,
+that to have any charm whatever of a personal sort, it must suggest
+_you_--not simply the taste of a professional decorator. So work with
+your decorator (if you prefer to employ one) by giving your personal
+attention to styles and colours, and selecting those most sympathetic
+to your own nature. Your architect will be grateful if you will show
+the same interest in the details of building your home, rather than
+assuming the attitude that you have engaged him in order to rid
+yourself of such bother.
+
+If you are building a pretentious house and decide upon some clearly
+defined period of architecture, let us say, Georgian (English
+eighteenth century) we would advise keeping your first floor mainly in
+that period as to furniture and hangings, but upstairs let yourself
+go, that is, make your rooms any style you like. Go in for a gay riot
+of colour, such combinations as are known as Bakst colouring,--if that
+happens to be your fancy. This Russian painter and designer was
+fortunate in having the theatre in which to demonstrate his
+experiments in vivid colour combinations, and sometimes we quite
+forget that he was but one of many who have used sunset palettes.
+
+
+PLATE IV
+
+     Here we have a man's office in Wall Street, New York, showing how
+     a lawyer with large interests surrounds himself with necessities
+     which contribute to his comfort, sense of beauty and art
+     instincts.
+
+     The desk is big, solid and commodious, yet artistically unusual.
+
+[Illustration: _A Man's Office in Wall Street_]
+
+
+Recently the fair butterfly daughters of a mother whose taste has
+grown sophisticated, complained--"But, Mother, we dislike
+_periods_, and here you are building a Tudor house!" forgetting, by
+the way, that the so-called Bakst interiors, adored by them, are
+equally a _period_.
+
+This home, a very wonderful one, is being worked out on the plan
+suggested, that is, the first floor is decorated in the period of the
+exterior of the house, while the personal rooms on the upper floors
+reflect, to a certain extent, the personality of their occupants.
+Remember there must always be a certain relationship between all the
+rooms in one suite, the relationship indicated by lines and a
+background of the same, or a harmonising colour-scheme.
+
+
+
+
+CHAPTER II
+
+HOW TO CREATE A ROOM
+
+
+One so often hears the complaint, "I could not possibly set out alone
+to furnish a room! I don't know anything about _periods_. Why, a Louis
+XVI chair and an Empire chair are quite the same to me. Then the
+question of antiques and reproductions--why any one could mislead me!"
+
+If you have absolutely no interest in the arranging or rearranging of
+your rooms, house or houses, of course, leave it to a decorator and
+give your attention to whatever does interest you. On the other hand,
+as with bridge, if you really want to play the game, you can learn it.
+The first rule is to determine the actual use to which you intend
+putting the room. Is it to be a bedroom merely, or a combination of
+bedroom and boudoir? Is it to be a formal reception-room, or a
+living-room? Is it to be a family library, or a man's study? If it is
+a small flat, do you aim at absolute comfort, artistically achieved,
+or do you aim at formality at the expense of comfort?
+
+If you lean toward both comfort and formality, and own a country house
+and a city abode, there will be no difficulty in solving the problem.
+Formality may be left to the town house or flat, while during
+week-ends, holidays and summers you can revel in supreme comfort.
+
+Every man or woman is capable of creating comfort. It is a question of
+those deep chairs with wide seats and backs, soft springs, thick,
+downy cushions, of tables and bookcases conveniently placed, lights
+where you want them, beds to the individual taste,--double, single, or
+twins!
+
+The getting together of a period room, one period or periods in
+combination, is difficult, especially if you are entirely ignorant of
+the subject. However, here is your cue. Let us suppose you need, or
+want, a desk--an antique desk. Go about from one dealer to the other
+until you find the very piece you have dreamed of; one that gives
+pleasure to you, as well as to the dealer. Then take an experienced
+friend to look at it. If you have every reason to suppose that the
+desk is genuine, buy it. Next, read up on the furniture of the
+particular period to which your desk belongs, in as serious a manner
+as you do when you buy a prize dog at the show. Now you have made an
+intelligent beginning as a collector. Reading informs you, but you
+must buy old furniture to be educated on that subject. Be eternally on
+the lookout; the really good pieces, veritable antiques, are rare;
+most of them are in museums, in private collections or in the hands of
+the most expensive dealers. I refer to those unique pieces, many of
+them signed by the maker and in perfect condition because during all
+their existence they have been jealously preserved, often by the very
+family and in the very house for which they were made. Our chances for
+picking up antiques are reduced to pieces which on account of reversed
+circumstances have been turned out of house and home, and, as with
+human wanderers, much jolting about has told upon them. Most of these
+are fortified in various directions, but they are treasures all the
+same, and have a beauty value in line colour and workmanship and a
+wonderful fitness for the purposes for which they were intended.
+
+"Surely we are many men of many minds!"
+
+
+PLATE V
+
+     The sofa large, strong and luxuriously comfortable; the curtains
+     simple, durable and masculine in gender. The tapestry and
+     architectural picture, decorative and appropriately impersonal,
+     as the wall decorations should be in a room used merely for
+     transacting business.
+
+[Illustration: _A Corner of the Same Office_]
+
+
+Some prefer antiques a bit dilapidated; a missing detail serving as a
+hallmark to calm doubts; others insist upon completeness to the eye
+and solidity for use; while the connoisseur, with unlimited means,
+recognises nothing less than signed sofas and chairs, and other
+_objets d'art_. To repeat:--be always on the lookout, remembering that
+it is the man who knows the points of a good dog, horse or car who can
+pick a winner.
+
+Wonderful reproductions are made in New York City and other cities,
+and thousands bought every day. They are beautiful and desirable
+pieces of furniture, ornaments or silks; but the lover of the _vrai
+antique_ learns to detect, almost at a glance, the lack of that
+quality which a fine _old_ piece has. It is not alone that the
+materials must be old. There is a certain quality gained from the long
+association of its parts. One knows when a piece has "found itself,"
+as Kipling would put it. Time gives an inimitable finish to any
+surface.
+
+If you are young in years, immature in taste, and limited as to bank
+account, you will doubtless go in for a frankly modern room, with
+cheerful painted furniture, gay or soft-toned chintzes, and
+inexpensive smart floor coverings. To begin this way and gradually to
+collect what you want, piece by piece, is to get the most amusement
+possible out of furnishing. When you have the essential pieces for any
+one room, you can undertake an _ensemble_. Some of the rarest
+collections have been got together in this way, and, if one's fortune
+expands instead of contracting, old pieces may be always replaced by
+those still more desirable, more rare, more in keeping with your
+original scheme.
+
+To buy expensive furnishings in haste and without knowledge, and
+within a year or two discover everything to be in bad taste, is a
+tragedy to a person with an instinctive aversion to waste. Antique or
+modern, every beautiful thing bought is a cherished heirloom in
+embryo. Remember, we may inherit a good antique or _objet d'art_, buy
+one, or bequeath one. Let us never be guilty of the reverse,--a
+bar-sinister piece of furniture! Sympathy with unborn posterity should
+make us careful.
+
+It is always excusable to retain an ugly, inartistic thing--if it is
+_useful_; but an ornament must be beautiful in line or in colour, or
+it belies its name. Practise that genuine, obvious loyalty which hides
+away on a safe, but invisible shelf, the bad taste of our ancestors
+and friends.
+
+Having settled upon a type of furniture, turn your attention to the
+walls. Always let the location of your room decide the colour of its
+walls. The room with a sunny exposure may have any colour you like,
+warm or cold, but your north room or any room more or less sunless,
+requires the warm, sun-producing yellows, pinks, apple-greens, beige
+and wood-colours, never the cold colours, such as greys, mauves,
+violets and blues, unless in combination with the warm tones. If it is
+your intention to hang pictures on the walls, use plain papers.
+Remember you must never put a spot on a spot! The colour of your walls
+once established, keep in mind two things: that to be agreeable to the
+artistic eye your ceilings must be lighter than your sidewalls, and
+your floors darker. Broadly speaking, it is Nature's own arrangement,
+green trees and hillsides, the sky above, and the dark earth beneath
+our feet. A ceiling, if lighter in tone than the walls, gives a sense
+of airiness to a room. Floors, whether of exposed wood, completely
+carpeted, or covered by rugs, must be enough darker than your
+sidewalls to "hold down your room," as the decorators say.
+
+If colour is to play a conspicuous part, brightly figured silks and
+cretonnes being used for hangings and upholstery, the floor covering
+should be indefinite both as to colour and design. On the other hand,
+when rugs or carpets are of a definite design in pronounced colours,
+particularly if you are arranging a living-room, make your walls,
+draperies and chair-covers plain, and observe great restraint in the
+use of colour. Those who work with them know that there is no such
+thing as an ugly colour, for all colours are beautiful. Whether a
+colour makes a beautiful or an ugly effect depends entirely upon its
+juxtaposition to other tones. How well French milliners and
+dressmakers understand this! To make the point quite clear, let us
+take magenta. Used alone, nothing has more style, more beautiful
+distinction, but in wrong combination magenta can be amazingly,
+depressingly ugly. Magenta with blue is ravishing, beautiful in
+the subtle way old tapestries are: it touches the imagination whenever
+that combination is found.
+
+
+PLATE VI
+
+     The table is modern, but made on the lines of a refectory table,
+     well suited in length, width and solidity for board meetings,
+     etc.
+
+     The chairs are Italian in style.
+
+[Illustration: _Another View of the Same Office_]
+
+
+We grow up to, into, and out of colour schemes. Each of the Seven Ages
+of Man has its appropriate setting in colour as in line. One learns
+the dexterous manipulation of colour from furnishing, as an artist
+learns from painting.
+
+Refuse to accept a colour scheme, unless it appeals to your individual
+taste--no matter who suggests it. To one not very sensitive to colour
+here is a valuable suggestion. Find a bit of beautiful old silk
+brocade, or a cretonne you especially like, and use its colour
+combinations for your room--a usual device of decorators. Let us
+suppose your silk or cretonne to have a deep-cream background, and
+scattered on it green foliage, faded salmon-pink roses and little,
+fine blue flowers. Use its prevailing colour, the deep cream, for
+walls and possibly woodwork; make the draperies of taffeta or rep in
+soft apple-greens; use the same colour for upholstery, make shades for
+lamp and electric lights of salmon-pink, then bring in a touch of blue
+in a sofa cushion, a footstool or small chair, or in a beautiful vase
+which charms by its shape as well by reproducing the exact tone of
+blue you desire. There are some who insist no room is complete without
+its note of blue. Many a room has been built up around some highly
+prized treasure,--lovely vase or an old Japanese print.
+
+A thing always to be avoided is monotony in colour. Who can not recall
+barren rooms, without a spark of attraction despite priceless
+treasures, dispersed in a meaningless way? That sort of setting puts a
+blight on any gathering. "Well," you will ask, "given the task of
+converting such a sterile stretch of monotony into a blooming joy, how
+should one begin?" It is quite simple. Picture to yourself how the
+room would look if you scattered flowers about it, roses, tulips,
+mignonette, flowers of yellow and blue, in the pell-mell confusion of
+a blooming garden. Now imitate the flower colours by _objets d'art_ so
+judiciously placed that in a trice you will admire what you once found
+cold. As if by magic, a white, cream, beige or grey room may be
+transformed into a smiling bower, teeming with personality, a room
+where wit and wisdom are spontaneously let loose.
+
+If your taste be for chintzes and figured silks, take it as a safe
+rule, that given a material with a light background, it should be the
+same in tone as your walls; the idea being that by this method you get
+the full decorative value of the pattern on chintz or silk.
+
+Figured materials can increase or diminish the size of a room, open up
+vistas, push back your walls, or block the vision. For this reason it
+is unsafe to buy material before trying the effect of it in its
+destined abode.
+
+Remember that the matter of _background_ is of the greatest importance
+when arranging your furniture and ornaments. See that your piano is so
+placed that the pianist has an unbroken background, of wall, tapestry,
+a large piece of rare old sills, or a mirror. Clyde Fitch, past-master
+at interior decoration, placed his piano in front of broad windows,
+across which at night were drawn crimson damask curtains. Some of us
+will never forget Geraldine Farrar, as she sat against that background
+wearing a dull, clinging blue-green gown, going over the score,--from
+memory,--of "Salome."
+
+The aim is to make the performer at the piano the object of interest,
+therefore place no diverting objects, such as pictures or ornaments,
+on a line with the listener's eye, except as a vague background.
+
+There can be no more becoming setting for a group of people dining by
+candle or electric light, than walls panelled with dark wood to the
+ceiling, or a high wainscoting.
+
+A beautiful sitting-room, not to be forgotten, had light violet walls,
+dull-gold frames on the furniture which was covered in deep-cream
+brocades, bits of old purple velvets and violet silks on the tables,
+under large bowls of Benares bronze filled with violets. The grand
+piano was protected by a piece of old brocade in faded yellows, and
+our hostess, a well-known singer, usually wore a simple Florentine
+tea-gown of soft violet velvet, which together with the lighter violet
+walls, set off her fair skin and black hair to beautiful advantage.
+
+Put a figured, many-coloured sofa cushion behind the head of a pretty
+woman, and if the dominating colour is becoming to her, she is still
+pretty, but change it to a solid black, purple or dull-gold and see
+how instantly the degree of her beauty is enhanced by being
+thrown into relief.
+
+
+PLATE VII
+
+     Gives attractive corner by a window, the heavy silk brocade
+     curtains of which are drawn. A standard electric lamp lights the
+     desk, both modern-painted pieces, and the beautiful old flower
+     picture, black background with a profusion of colours in lovely
+     soft tones, is framed by a dull-gold moulding and gives immense
+     distinction. The chair is Venetian Louis XV, the same period as
+     desk in style.
+
+     Not to be ignored in this picture is a tin scrap basket
+     beautifully proportioned and painted a vivid emerald green; a
+     valuable addition a note of cheerful colour. The desk and wooden
+     standard of lamp are painted a deep blue-plum colour, touched
+     with gold, and the silk curtains are soft mulberry, in two tones.
+
+[Illustration: _Corner of Room, Showing Painted Furniture, Antique and
+Modern_]
+
+
+Study values--just why and how much any decorative article decorates,
+and remember in furnishing a room, decorating a wall or dining-room
+table, it is not the intrinsic value or individual beauty of any one
+article which counts. Each picture on the wall, each piece of
+furniture, each bit of silver, glass, china, linen or lace, each yard
+of chintz or silk, every carpet or rug must be beautiful and effective
+_in relation to the others used_, for the _art_ of interior decoration
+lies in this subtle, or obvious, relationship of furnishings.
+
+We acknowledge as legitimate all schemes of interior decoration and
+insist that what makes any scheme good or bad, successful, or
+unsuccessful presuming a knowledge of the fundamentals of the art, is
+the fact that it is planned in reference to the type of man or woman
+who is to live in it.
+
+A new note has been struck of late in the arranging of bizarre,
+delightful rooms which on entering we pronounce "very amusing."
+
+Original they certainly are, in colour combinations, tropical in the
+impression they make,--or should we say Oriental?
+
+They have come to us via Russia, Bakst, Munich and Martine of Paris.
+Like Rheinhardt's staging of "Sumurun," because these blazing interiors
+strike us at an unaccustomed angle, some are merely astonished, others
+charmed as well. There are temperaments ideally set in these interiors,
+and there are houses where they are in place. We cannot regard them as
+epoch-making, but granted that there is no attempt to conform to two of
+the rules for furnishing,--_appropriateness_ and _practicality_,
+the results are refreshingly new and entertaining. This is one of the
+instances where exaggeration has served as a healthy antidote to the
+tendency toward extreme dinginess rampant about ten years ago, resulting
+from an obsession to antique everything. The reaction from this, a flaming
+rainbow of colours, struck a blow to the artistic sense, drew
+attention back to the value of colour and started the creative impulse
+along the line of a happy medium.
+
+Whether it be a furnished porch, personal suite (as bedroom, boudoir
+and bath), a family living-room, dining-room, formal reception-room,
+or period ballroom, never allow members of your household or servants
+to destroy the effect you have achieved with careful thought and
+outlay of money, by ruthlessly moving chairs and tables from one room
+to another. Keep your wicker furniture on the porch, for which it was
+intended. If it strays into the adjacent living-room, done in quite
+another scheme, it will absolutely thwart your efforts at harmony,
+while your porch-room done in wicker and gay chintzes, striped awnings
+and geranium rail-boxes, cries out against the intrusion of a chair
+dragged out from the house. Remember that should you intend using your
+period ballroom from time to time as an audience room for concerts and
+lectures, you must provide a complete equipment of small, very light
+(so as to be quickly moved) chairs, in your "period," as a necessary
+part of your decoration.
+
+The current idea that a distinguished room remains distinguished
+because costly tapestries and old masters hang on its walls, even when
+the floor is strewn with vulgar, hired chairs, is an absurd mistake.
+Each room from kitchen to ballroom is a stage "set,"--a harmonious
+background for certain scenes in life's drama. It is the man or woman
+who grasps this principle of a distinguished home who can create an
+interior which endures, one which will hold its own despite the ebb
+and flow of fashion. Imposing dimensions and great outlay of money do
+not necessarily imply distinction, a quality depending upon unerring
+good taste in the minutest details, one which may be achieved equally
+in a stately mansion, in a city flat, or in a cottage by the sea.
+
+The question of background is absorbingly interesting. A vase, with or
+without flowers, to add to the composition of your room, that is, to
+make "a good picture," must be placed so that its background sets it
+off. Let the Venetian glass vase holding one rose stand in such a
+position that your green curtain is its background, and not a
+photograph or other picture. One flower, carefully placed in a room,
+will have more real decorative value than dozens of costly roses
+strewn about in the wrong vases, against mottled, line-destroying
+backgrounds.
+
+Flowers are always more beautiful in a plain vase, whether of glass,
+pottery, porcelain or silver. If a vase chances to have a decoration
+in colour, then make a point of having the flowers it holds accord in
+colour, if not in shade, with the colour or colours in the vase.
+
+There is a general rule that no ornament should ever be placed in
+front of a picture. The exception to this rule occurs when the picture
+is one of the large, architectural variety, whose purpose is primarily
+mural decoration,--an intentional background, as tapestries often are,
+serving its purpose as nature does when a vase or statue is placed in
+a park or garden. One sees in portraits by some of the old masters
+this idea of landscape used as background. Bear in mind, however, that
+if there is a central design--a definite composition in the picture,
+or tapestry, no ornament should ever be so placed as to interfere with
+it. If you happen to own a tapestry which is not large enough for your
+space by one, two or three feet, frame it with a plain border of
+velvet or velveteen, to match the dominating colour, and a shade
+darker than it appears in the tapestry. This expedient heightens the
+decorative effect of the tapestry.
+
+
+
+
+CHAPTER III
+
+HOW TO DETERMINE CHARACTER OF HANGINGS AND FURNITURE-COVERING FOR A
+GIVEN ROOM
+
+
+In a measure, the materials for hangings and furniture-coverings are
+determined more or less by the amount one wishes to spend in this
+direction. For choice, one would say silk or velvet for formal rooms;
+velvets, corduroys or chintz for living-rooms; leather and corduroy
+with rep hangings for a man's study or smoking-room; thin silks and
+chintz for bedrooms; chintz for nurseries, breakfast-rooms and
+porches.
+
+In England, slip-covers of chintz (glazed cretonne) appear, also, in
+formal rooms; but are removed when the owner is entertaining. If the
+permanent upholstery is of chintz, then at once your room becomes
+informal. If you are planning the living-room for a small house or
+apartment, which must serve as reception-room during the winter
+months, far more dignity, and some elegance can be obtained for the
+same expenditure, by using plain velveteen, modern silk brocades in
+one colour, or some of the modern reps to be had in very smart shades
+of all colours.
+
+If your furniture is choice, rarely beautiful in quality, line and
+colour, hangings and covers must accord. Genuine antiques demand
+antique silks for hangings and table covers; but no decorator, if at
+all practical, will cover a chair or sofa in the frail old silks, for
+they go to pieces almost in the mounting. Waive sentiment in this
+case, for the modern reproductions are satisfactory to the eye and
+improve in tone with age.
+
+If you own only a small piece of antique silk, make a square of it for
+the centre of the table, or cleverly combine several small bits, if
+these are all you have, into an interesting cover or cushion. Nothing
+in the world gives such a note of distinction to a room as the use of
+rare, old silks, properly placed.
+
+The fashion for cretonne and chintz has led to their indiscriminate
+use by professionals as well as amateurs, and this craze has caused a
+prejudice against them. Chintz used with judgment can be most
+attractive. In America the term chintz includes cretonne and stamped
+linen. If you are planning for them, put together, for consideration,
+all your bright coloured chintz, and in quite another part of your
+room, or decorator's shop, the chintz of dull, faded colours, as they
+require different treatment. A general rule for this material--bright
+or dull--is that if you would have your chintz _decorate_, be careful
+not to use it too lavishly. If it is intended for curtains, then cover
+only one chair with it and cover the rest in a solid colour. If you
+want chintz for all of your chairs and sofa, make your curtains, sofa
+cushions and lamp shades of a solid colour, and be sure that you take
+one of the leading colours in the chintz. Next indicate your intention
+at harmony, by "bringing together" the plain curtains or chairs, and
+your chintz, with a narrow fringe or border of still another colour,
+which figures in the chintz. Let us suppose chintz to be black with a
+design in greens, mulberry and buff. Make your curtains plain
+mulberry, edged with narrow pale green fringe with black and buff
+in it, or should your chintz be grey with a design in faded blues and
+violets and a touch of black, make curtains of the chintz, and cover
+one large chair, keeping the sofa and the remaining chairs grey, with
+the bordering fringe, or gimp, in one or two of the other shades, sofa
+cushions and the lamp shades in blues and violets (lining lamp shades
+with thin pink silk), and use a little black in the bordering fringe.
+
+
+PLATE VIII
+
+     Shows an ideal mantel arrangement, faultless as a composition and
+     beautiful and rare in detail. The exquisite white marble mantel
+     is Italian, not French, of the time of Louis XVI.
+
+     Though the designs of this period are almost identical, one
+     quickly learns to detect the difference in feeling between the
+     work of the two countries. The Italians are freer, broader in
+     their treatment, show more movement and in a way more grace,
+     where the French work is more detailed and precise, hence at
+     times, by contrast, seems stilted and rigid.
+
+     Enchantingly graceful are the two candelabra, also Louis XVI,
+     while the central ornament is ideally chosen for size and design.
+
+     The dull gold frame of the mirror is very beautiful, and the
+     painting above the glass interesting and unusual as to subject
+     and execution.
+
+     The chair is a good example of Italian Louis XV.
+
+[Illustration: _Example of a Perfect Mantel, Ornaments and Mirror_]
+
+
+If you decide upon a very brilliant chintz use it only in one chair, a
+screen, or in a valance over plain curtains with straps to hold them
+back, or perhaps a sofa cushion. Whether a chintz is bright or dull,
+its pattern is important. As with silks, brocaded in different
+colours, therefore never use chintz where a chair or sofa calls for
+tufting. A tufted piece of furniture always looks best done in plain
+materials.
+
+In using a chintz in which both colour and design are indefinite, the
+kind which gives more or less an impression of faded tapestry, you
+will find that the very indefiniteness of the pattern makes it
+possible to use the chintz with more freedom, being always sure of a
+harmonious background. The one thing to guard against is that on
+entering a room you must not be conscious either of several colours,
+or of any set design.
+
+
+
+
+CHAPTER IV
+
+THE STORY OF TEXTILES
+
+
+The story of the evolution of textiles (any woven material) is
+fascinating, and like the history of every art, runs parallel with the
+history of culture and progress in the art of living,--physical,
+mental and spiritual.
+
+To those who feel they would enjoy an exhaustive history of textiles
+we recommend a descriptive catalogue relating to the collection of
+textiles in the South Kensington Museum, prepared by the Very Rev.
+Daniel Rock, D.D. (1870).
+
+In the introduction to that catalogue one gets the story of woven
+linens, cottons, silks, paper, gold and silver threads, interspersed
+with precious jewels and glass beads--all materials woven by hand or
+machine.
+
+The story of textiles includes: 1st, woven materials; 2nd, embroidered
+materials; 3rd, a combination of the two, known as "tapestry." If one
+reads their wonderful story, starting in Assyria, then progressing to
+Egypt, the Orient, Greece, Rome and Western Europe, in any history of
+textiles, one may obtain quickly and easily a clear idea of this
+department of interior decoration from the very earliest times.
+
+The first European silk is said to have been in the form of
+transparent gauze, dyed lovely tones for women of the Greek islands, a
+form of costume later condemned by Greek philosophers.
+
+We know that embroidery was an art three thousand years ago, in fact
+the figured garments seen on the Assyrian and Egyptian bas-reliefs are
+supposed to represent materials with embroidered figures--not woven
+patterns--whereas in the Bible, when we read of embroidery, according
+to the translators, this sometimes means woven stripes.
+
+
+PLATE IX
+
+     An ideal dining-room of its kind, modern painted furniture,
+     Empire in design. In this case yellow with decoration in white.
+     Curtains, thin yellow silk.
+
+     Note the Empire electric light fixtures in hand-carved gilded
+     wood, reproductions of an antique silver applique. Even the steam
+     radiators are here cleverly concealed by wooden cases made after
+     Empire designs.
+
+     The walls are white and panelled in wood also white.
+
+[Illustration: _Dining-room in Country House, Showing Modern Painted
+Furniture. Style Directoire._]
+
+
+The earliest garments of Egypt were of cotton and hemp, or mallow,
+resembling flax. The older Egyptians never knew silks in any form, nor
+did the Israelites, nor any of the ancients. The earliest account of
+this material is given by Aristotle (fourth century). It was
+brought into Western Europe from China, via India, the Red Sea
+and Persia, and the first to weave it outside the Orient was a maiden
+on the Isle of Cos, off the coast of Asia Minor, producing a thin
+gauze-like tissue worn by herself and companions, the material
+resembling the Seven Veils of Salome. To-day those tiny bits of gauze
+one sees laid in between the leaves of old manuscript to protect the
+illuminations, as our publishers use sheets of tissue paper, are said
+to be examples of this earliest form of woven silk.
+
+The Romans used silk at first only for their women, as it was
+considered not a masculine material, but gradually they adopted it for
+the festival robes of men, Titus and Vespasian being among those said
+to have worn it.
+
+The first silk looms were set up in the royal palaces of the Roman
+kings in the year 533 A.D. The raw material was brought from the East
+for a long time but in the sixth century two Greek monks, while in
+China, studied the method of rearing silk worms and obtaining the
+silk, and on their departure are said to have concealed the eggs of
+silk worms in their staves. They are accredited with introducing the
+manufacture of silk into Greece and hence into Western Europe. After
+that Greece, Persia and Asia Minor made this material, and Byzantium
+was famed for its silks, the actual making of which got into the hands
+of the Jews and was for a long time controlled by them.
+
+Metals (gold, silver and copper) were flattened out and cut into
+narrow strips for winding around cotton twists. These were the gold
+and silver threads used in weaving. The Moors and Spaniards instead of
+metals used strips of gilded parchment for weaving with the silk.
+
+We know that England was weaving silk in the thirteenth century, and
+velvets seem to have been used at a very early date. The introduction
+of silk and velvet into different countries had an immediate and
+much-needed influence in civilising the manners of society. It is hard
+to realise that in the thirteenth century when Edward I married
+Eleanor of Castile, the highest nobles of England when resting at
+their ease, stretched at full length on the straw-covered floors of
+baronial halls, and jeered at the Spanish courtiers who hung the walls
+and stretched the floors of Edward's castle with silks in preparation
+for his Spanish bride.
+
+The progress of art and culture was always from the East and moved
+slowly. Do not go so far back as the thirteenth century. James I of
+England owned no stockings when he was James VI of Scotland, and had
+to borrow a pair in which to receive the English ambassador.
+
+In the eleventh century Italy manufactured her own silks, and into
+them were woven precious stones, corals, seed pearls and coloured
+glass beads which were made in Greece and Venice, as well as gold and
+silver spangles (twelfth and thirteenth centuries).
+
+Here is an item on interior decorations from Proverbs vii, 16; "I have
+woven my bed with cords, I have covered it with painted tapestry
+brought from Egypt." There were painted tapestries made in Western
+Europe at a very early date, and collectors eagerly seek them (see
+Plate XIV). In the fourteenth century these painted tapestries were
+referred to as "Stained Cloth."
+
+Embroidery as an art, as we have already seen, antedates silk
+weaving. The youngest of the three arts is tapestry. The oldest
+embroidery stitches are: "the feather stitch," so called because they
+all took one direction, the stitches over-lapping, like the feathers
+of a bird; and "cross-stitch" or "cushion" style, because used on
+church cushions, made for kneeling when at prayer or to hold the Mass
+book.
+
+Hand-woven tapestries are called "comb-wrought" because the instrument
+used in weaving was comb-like.
+
+"Cut-work" is embroidery that is cut out and appliqued, or sewed on
+another material.
+
+Carpets which were used in Western Europe in the Middle Ages are
+seldom seen. The Kensington Museum owns two specimens, both of them
+Spanish, one of the fourteenth and one of the fifteenth century.
+
+In speaking of Gothic art we called attention to the fostering of art
+by the Church during the Dark Ages. This continued, and we find that
+in Henry VIII's time those who visited monasteries and afterward wrote
+accounts of them call attention to the fact that each monk was
+occupied either with painting, carving, modelling, embroidering or
+writing. They worked primarily for the Church, decorating it for the
+glory of God, but the homes of the rich and powerful laity, even so
+early as the reign of Henry III (1216-1272), boasted some very
+beautiful interior decorations, tapestries, painted ceilings and
+stained glass, as well as carved panelling.
+
+Bostwick Castle, Scotland, had its vaulted ceiling painted with
+towers, battlements and pinnacles, a style of mural decoration which
+one sees in the oldest castles of Germany. It recalls the illumination
+in old manuscripts.
+
+
+
+
+CHAPTER V
+
+CANDLESTICKS, LAMPS, FIXTURES FOR GAS AND ELECTRICITY, AND SHADES
+
+
+Candlesticks, lamps, and fixtures for gas and electricity must accord
+with the lines of your architecture and furniture. The mantelpiece is
+the connecting link between the architecture and the furnishing of a
+room. It is the architect's contribution to the furnishing, and for
+this reason the keynote for the decorator.
+
+In the same way lighting fixtures are links between the construction
+and decoration of a room, and can contribute to, or seriously divert
+from, the decorator's design.
+
+It is important that fixtures be so placed as to appear a part of the
+decoration and not merely to illuminate conveniently a corner of the
+room, a writing-desk, table or piano.
+
+
+PLATE X
+
+     The dining-room of this apartment is Italian Renaissance--oak,
+     almost black from age, and carved.
+
+     The seat pads and lambrequin over window are of deep red velvet.
+     The walls are stretched with dull red _brocotello_ (a combination
+     of silk and linen), very old and valuable. The chandelier is
+     Italian carved wood, gilded.
+
+     Attention is called to the treatment of the windows. No curtains
+     are used, instead, boxes are planted with ivy which is trained to
+     climb the green lattice and helps to temper the light, while the
+     window shades themselves are of a fascinating glazed linen,
+     having a soft yellow background and design of fruit and vines in
+     brilliant colours.
+
+[Illustration: _Dining-room Furniture, Italian Renaissance_]
+
+
+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.
+
+[Illustration: _Corner of Dining-room in New York Apartment, Showing
+Section of Italian Refectory Table and Italian Chairs, Both Antique
+and Renaissance_]
+
+
+_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.
+
+[Illustration: _An Italian Louis XVI Salon in a New York Apartment_]
+
+
+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.
+
+[Illustration: _Another Side of Same Italian Louis XVI Salon_]
+
+
+
+
+
+
+
+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.
+
+[Illustration: _A Narrow Hall Where Effect of Width Is Attained by
+Use of Tapestry with Vista_]
+
+
+
+
+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.
+
+[Illustration: _Venetian Glass, Antique and Modern_]
+
+
+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 chateau 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.
+
+[Illustration: _Corner of a Room in a Small Empire Suite_]
+
+
+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 naive 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.
+
+FOOTNOTES:
+
+[Footnote 1: Louis XIV, XV, and XVI.]
+
+
+
+
+CHAPTER XIV
+
+PERIODS IN FURNITURE
+
+
+Periods in furniture are amazingly interesting if one plunges into the
+story, not with tense nerves, but gaily, for mere amusement, and then
+floats gently, in a drifting mood. One gathers in this way many
+sparkling historical anecdotes, and much substantial data really not
+so cumbersome as some imagine!
+
+To know anything at all about a subject one must begin at the
+beginning, and to make the long run seems a mere spin in an auto, let
+us at once remind you that the whole fascinating tale lies between the
+covers of one delightful book, the "Illustrated History of Furniture,"
+by Frederick Litchfield, published by Truslove & Hanson, London, and
+by John Lane, New York. There are other books--many of them--but first
+exhaust Litchfield and apply what he tells you as you wander through
+public and private collections of furniture.
+
+If you care for furniture at all, this book, which tells all that is
+known of its history, will prove highly instructive.
+
+One cannot speak of the gradual development of furniture and
+furnishing; it is more a case of _waves of types_, and the story
+begins on the crest of a wave in Assyria, about 3000 years before
+Christ! Yes, seriously, interior decoration was an art back in that
+period and can be traced without any lost links in the chain of
+evidence.
+
+From Assyria we turn to Egypt and learn from the frescoes and
+bas-reliefs on walls of ruined tombs, that about that same time, 3000
+B.C., rooms on the banks of the Nile were decorated more or less as
+they are to-day. The cultured classes had beautiful ceilings, gilded
+furniture, cushions and mattresses of dyed linen and wools, stuffed
+with downy feathers taken from water fowl, curtains that were
+suspended between columns, and, what is still more interesting to the
+lover of furniture, we find that the style known as Empire when
+revived by Napoleon I was at that time in vogue. Even more remarkable
+is the fact that parts of legs and rails of furniture were turned as
+perfectly (I quote Litchfield) as if by a modern lathe. The variety
+of beautiful woods used by the Egyptians for furniture included ebony,
+cedar, sycamore and acacia. Marquetry was employed as well as
+wonderful inlaying with ivory, from both the elephant and
+hippopotamus. Footstools had little feet made like lion's claws or
+bull's hoofs. According to Austin Leyard, the very earliest Assyrian
+chairs, as well as those of Egypt, had the legs terminating in the
+same lion's feet or bull's hoofs, which reappear in the Greek, Roman,
+Empire and even Sheraton furniture of England (eighteenth century).
+
+The first Assyrian chairs were made without backs and of beautifully
+wrought gold and bronze, an art highly developed at that time. In
+Egypt we find the heads of animals capping the backs of chairs in the
+way that we now see done on Spanish chairs.
+
+The pilasters shown on the Empire furniture, Plate XVI, capped by
+women's heads with little gold feet at base, and caryatides of a kind,
+were souvenirs of the Egyptian throne seats which rested on the backs
+of slaves--possibly prisoners of war. These chairs were wonderful
+works of art in gold or bronze. We fancy we can see those interiors,
+the chairs and beds covered with woven materials in rich colours and
+leopard skins thrown over chairs, the carpets of a woven palm-fibre
+and mats of the same, which were used as seats.
+
+Early Egyptian rooms were beautiful in line because simple; never
+crowded with superfluous furnishings. It is amusing to see on the very
+earliest bas-reliefs Egyptian belles and beaux reclining against what
+we know to-day as Empire rolls,--seen also on beds in old French
+prints of the fourteenth century. Who knows, even with the Egyptians
+this may have been a revived style!
+
+One talks of new notes in colour scheme. The Bakst thing was being
+done in Assyria, 700 B.C.! Sir George Green proved it when he opened
+up six rooms of a king's palace and found the walls all done in
+horizontal stripes of red, yellow and green! Also, he states that each
+entrance had the same number of pilasters. Oh wise Assyrian King and
+truly neutral, if as is supposed, those rooms were for his six wives!
+
+In furniture, the epoch-making styles have been those showing _line_,
+and if decorated, then only with such decorations as were subservient
+to line; pure Greek and purest Roman, Gothic and early Renaissance,
+the best of the Louis, Directoire and First Empire, Chippendale, Adam,
+Sheraton and Heppelwhite.
+
+The bad styles are those where ornamentations envelop and conceal line
+as in late Renaissance, the Italian Rococo, the Portuguese Barrocco
+(baroque), the curving and contorted degenerate forms of Louis XIV and
+XV and the Victorian--all examples of the same thing, _i.e._: perfect
+line achieved, acclaimed, flattered, losing its head and going to the
+bad in extravagant exuberance of over-ornamentation.
+
+There is a psychic connection between the _outline_ of furniture and
+the _inline_ of man.
+
+Perfect line, chaste ornamentation, the elimination of the superfluous
+was the result of the Greek idea of restraint--self-control in all
+things and in all expression. The immense authority of the law-makers
+enforced simple austerity as the right and only setting for the daily
+life of an Athenian, worthy of the name. There were exceptions, but as
+a rule all citizens, regardless of their wealth and station, had
+impressed upon them the civic obligation to express their taste for
+the beautiful, in the erecting of public buildings in their city of
+Athens, monuments of perfect art, by God-like artists, Phidias,
+Apelles, and Praxiteles.
+
+
+
+
+CHAPTER XV
+
+CONTINUATION OF PERIODS IN FURNITURE
+
+
+From Greece, culture, borne on the wings of the arts, moved on to
+Rome, and at first, Roman architecture and decoration reproduced only
+the classic Greek types; but, as Rome grew, her arts took on another
+and very different outline, showing how the history of decorative art
+is to a fascinating degree the history of customs and manners.
+
+Rome became prosperous, greedy, powerful and imperious, enslaving the
+civilised world, and, not having the restraining laws of Greece, waxed
+luxurious and licentious, and chafed, in consequence, at the austere
+rigidity of the Greek style of furnishing.
+
+We know that in the time of Augustus Caesar the Romans had wonderful
+furniture of the most costly kind, made from cedar, pine, elm, olive,
+ash, ilex, beach and maple, carved to represent the legs, feet, hoofs
+and heads of animals, as in earlier days was the fashion in Assyria,
+Egypt and Greece, while intricate carvings in relief, showed Greek
+subjects taken from mythology and legend. Caesar, it is related, owned
+a table costing a million sesterces ($40,000).
+
+But gradually the pure line swerved, ever more and more influenced by
+the Orient, for Rome, always successful in war, had established
+colonies in the East. Soon Byzantine art reached Rome, bringing its
+arabesques and geometrical designs, its warm, glowing colours, soft
+cushions, gorgeous hangings, embroideries, and rich carpets. In fact
+all the glowing luxury that the _new_ Roman craved.
+
+The effect of this _mesalliance_ upon all Art, including interior
+decoration, was to cause its immediate decline. Elaboration and
+_banal_ designs, too much splendour of gold and silver and ivory
+inlaid with gold, resulted in a decadent art which reflected a
+decadent race and Rome fell! Not all at once; it took five hundred
+years for the neighbouring races to crush her power, but continuous
+hectoring did it, in 476 A.D. Then began the Dark Ages merging into
+the Middle Ages (fifth to fifteenth centuries).
+
+Dark they were, but what picturesque and productive darkness! Rome
+fell, but the Carlovingian family arose, and with it the great nations
+of Western Europe, to give us, especially in France, another supreme
+flowering of interior decoration. Britain was torn from the grasp of
+Rome by the Saxons, Danes and Normans, and as a result the great
+Anglo-Saxon race was born to create art periods. Mahomet appeared and
+scored as an epoch-maker, recording a remarkable life and a spiritual
+cycle. The Moors conquered Spain, but in so doing enriched her arts a
+thousandfold, leaving the Alhambra as a beacon-light through the ages.
+Finally the crusades united all warring races against the infidels.
+Blood was shed, but at the same time routes were opened up, by which
+the arts, as well as the commerce, of the Orient, reached Europe. And
+so the Byzantine continued to contend with Gothic art--that art which
+preceded from the Christian Church and stretched like a canopy over
+Western Europe, all through the Middle Ages. It was in the churches
+and monasteries that Christian art, driven from pillar to post by
+wars, was obliged to take refuge, and there produced that marvellous
+development known as the Gothic style,--of the Church, for the Church,
+by the Church, perfected in countless Gothic cathedrals,--crystallised
+glorias lifting their manifold spires to heaven,--ethereal monuments
+of an intrepid Faith which gave material form to its adoration, its
+fasting and prayer, in an unrivalled art.
+
+There is one early Gothic chair which has come down to us,
+Charlemagne's, made of gilt-bronze and preserved in the Louvre, at
+Paris. Any knowledge beyond this one piece, as to what Carlovingian
+furniture was like (the eighth century) we get only from old
+manuscripts which show it to have been the pseudo-classic, that is,
+the classic modified by Byzantine influence, and very like the Empire
+style of Napoleon I. Here is the reason for the type. Constantinople
+was the capital of the Eastern Empire, when in 726 A.D., Emperor Leo
+III prohibited image worship, and the artists and artisans of his part
+of the world, in order to earn a livelihood, scattered over Europe,
+settling in the various capitals, where they were eagerly welcomed and
+employed.
+
+Even so late as the tenth to fourteenth centuries the knowledge we
+have of Gothic furniture still comes from illustrated manuscripts and
+missals preserved in museums or in the national libraries.
+
+Rome fell as an empire in the fifth century. In the eighth century,
+Venice asserted herself, later becoming the great, wealthy, Merchant
+City of Eastern Europe, the golden gate between Byzantium and the West
+(eleventh to fifteenth centuries). Her merchants visiting every
+country naturally carried home all art expressions, but, so far as we
+know, her own chief artistic output in very early days, was in the
+nature of richly carved wooden furniture, no specimens of which
+remain.
+
+
+
+
+CHAPTER XVI
+
+THE GOTHIC PERIOD
+
+
+The Gothic Period is the pointed period, and dominated the art of
+Europe from about the tenth to the fifteenth century. Its origin was
+Teutonic, its development and perfection French.
+
+At first, the house of a feudal lord meant one large hall with a
+raised dais, curtained off for him and his immediate family, and
+subdivided into sleeping apartments for the women. On this dais a
+table ran crossways, at which the lord and his family with their
+guests, ate, while a few steps lower, at a long table running
+lengthwise of the hall, sat the retainers. The hall was, also, the
+living-room for all within the walls of the castle. Sand was strewn on
+the stone floor and the dogs of the knights ate what was thrown to
+them, gnawing the bones at their leisure. This rude scene was
+surrounded by wonderful tapestries hung from the walls:--woman's
+record of man's deeds.
+
+Later, we read of stairs and of another room known as the _Parloir_ or
+talking-room, and here begins the sub-division of homes, which in
+democratic America has arrived at a point where more than 200 rooms
+are often sheltered under one private roof!
+
+Oak chests figured prominently among the furnishings of a Gothic home,
+because the possessions of those feudal lords, who were constantly at
+war with one another, often had to be moved in haste. As men's lives
+became more settled, their possessions gradually multiplied; but even
+at the end of the eleventh century bedsteads were provided only for
+the nobility, probably on account of expense, as they were very grand
+affairs, carved and draped. To that time and later belong the
+wonderfully carved presses or wardrobes.
+
+Carved wood panelling was an important addition to interior decoration
+during the reign of Henry III (1216-72).
+
+In the thirteenth and fourteenth centuries England with Flanders led
+in the production of mediaeval art.
+
+Hallmarks of the Gothic period are animals and reptiles carved to
+ornament the structural parts of furniture and to ornament panels.
+Favourite subjects with the wood carvers of that time were scenes from
+the lives of the saints (the Church dominated the State) and from the
+romances, chanted by the minstrels.
+
+
+
+
+CHAPTER XVII
+
+THE RENAISSANCE
+
+
+Following the Gothic Period came the Renaissance of Greek art which
+began in Italy under the leadership of Leonardo Da Vinci and Raphael,
+who, rejecting the existing types of degraded decorative art, in Italy
+a combination of the Byzantine and Gothic--turned to the antique, the
+purest Greek styles of Pericles' time. The result was another period
+of perfect line and proportion, called the Italian Renaissance, a
+great wave of art which swept over all Europe, gaining impetus from
+the wise patronage of the ruling Medicis. One of them (Pope Leo X with
+the co-operation of Italy's reigning dukes and princes) employed and
+so developed the extraordinary powers of Michael Angelo, Titian,
+Raphael, Andrea del Sarto and Correggio.
+
+By the end of the fifteenth century, Classic Greek art was engrossing
+the mind of Western Europe, classical literature was becoming the
+fashion and there was even an attempt to make Latin the popular
+language.
+
+It was during the Renaissance that Palladio rebuilt the palaces of
+Italy,--beautiful beyond words, and that Benvenuto Cellini designed in
+gold, silver and bronze in a manner never since equalled. From that
+same period dates the world-famous Majolica of Urbino, Pesaro and
+Gubbio, shown in our museums. So far as house-furnishing went, aside
+from palaces, there was but little that was appropriate for intimate
+domestic life. The early Renaissance furniture was palatial,
+architectural in outline and, one might almost say, in proportions.
+The tables were impossibly high, the chairs were stiff, and the
+cabinets immense and formal in outline. It had, however, much stately
+beauty, and very lovely are certain old pieces of carved and gilded
+wood where the gilt, put on over a red preparation and highly
+burnished, has rubbed off with time, and shows a soft glow of colour
+through the gold.
+
+But as always, the curse of over-elaboration to please perverted
+minds, was resorted to by cabinet-makers who copied mosaics with their
+inlaying, and invented that form known as _pietra-dura_--polished
+bits of marble, agates, pebbles and lapis lazuli. Ivory was carved
+and used as bas-reliefs and ivory and tortoise shell, brass and
+mother-of-pearl used as inlay. Elaborate Arabesque designs inlaid
+were souvenirs of the Orient, and where the cabinetmaker's saw left
+a line, the cuts were filled in with black wood or stained glue, which
+brought out the design and so gave an added decorative effect. Skilled
+artisans had other designs bitten into wood by acids, and shading was
+managed by pouring hot sand on the surface of the wood. Hallmarks of
+the Renaissance are designs which were taken from Greek and Roman
+mythology, and allegories representing the elements, seasons, months
+and virtues. Also, battle scenes and triumphal marches.
+
+The insatiable love for decoration found still another expression in
+silver and gold plaques of the highest artistic quality, embossed and
+engraved for those princes of Florence, Urbino, Ferrara, Rome, Venice
+and Naples, who vied with one another in extravagance until the
+inevitable reaction came.
+
+
+PLATE XVII
+
+     An example of good mantel decoration. The vases and clock are
+     Empire, the chairs Directoire, and footstools Louis XV.
+
+     A low bowl of modern green Venetian glass holds flowers.
+
+[Illustration: _An Example of Perfect Balance and Beauty in Mantel
+Arrangement_]
+
+
+Edmund Bonneffe says that in the latter part of the Renaissance,
+while the effort of the Italians seems to have been to disguise wood,
+French cabinet-makers emphasised its value--an interesting point to
+bear in mind.
+
+       *       *       *       *       *
+
+If we trace the Renaissance movement in Germany we find that it was
+Albrecht Duerer who led it. Then, as always, the Germans were foremost
+in wood carving; with Holland and Belgium they are responsible for
+much of the antique oak furniture on Renaissance lines. The
+Scandinavians have also done wonderful wood carving, which is easily
+confused with the early wood carving of the Russians, for the reason
+that the Swedes settled Finland, and Russia's Ruric rulers (before the
+Romanoff house,--sixteenth century) were from Finland.
+
+In the sixteenth century metal work in steel, iron and brass reached
+its height in Germany and Italy. It is supposed that the elaborate
+mounts in furniture which were later perfected in France had their
+origin in iron corners and hinge-plates used, at first, merely to
+strengthen, but as the men who worked in metals became more and more
+skilful, the mounts were made with the intent of mere decoration and
+to draw attention to the beauty of the wood itself.
+
+Before Duerer turned Germany's mind toward the Greek revival of Art,
+the craftsmen of his country had been following Dutch models. This was
+natural enough, for Charles V was king at that time, of Holland,
+Germany and Spain, and the arts of the three countries, as well as
+their commerce were interchangeable. In fact it was the Dutch painter,
+Van Eyck, who took the Renaissance into Spain when called thereto
+paint royalty. Sculptors, tapestry weavers, books on art, etc.,
+followed.
+
+That was the Spanish awakening, but the art of Spain during the
+sixteenth century shows that the two most powerful influences were
+Moorish and Italian. The most characteristically Spanish furniture of
+that period are those cabinets,--"_Vargueos_," made of wood ornamented
+on the outside with wrought iron, while inside are little columns made
+of fine bone, painted and gilded. Much of the old Spanish furniture
+reproduces German and Italian styles. Embossed leather put on with
+heavy nails has always been characteristic of Spain, and in the
+seventeenth century very fine Spanish mahogany and chestnut were
+decorated with tortoise-shell inlaid with ivory, so as to make
+elaborate pictures in the Italian style. (See Baron Davillier on
+Spanish Furniture.).
+
+
+
+
+CHAPTER XVIII
+
+FRENCH FURNITURE
+
+
+The classic periods in French furniture were those known as Francis I,
+Henry II and the three Louis,--XIV, XV, and XVI. One can get an idea
+of all French periods in furnishing by visiting the collection in
+Paris belonging to the government, "Mobilier National," in the new
+wing of the Louvre.
+
+It is always necessary to consult political history in order to
+understand artistic invasions. Turn to it now and you will find that
+Charles VIII of France held Naples for two years (1495-6), and when he
+went home took with him Italian artists to decorate his palaces. Read
+on and find that later Henry II married Catherine de Medici and loved
+Diane de Poitiers, and that, fortunately for France, both his queen
+and his mistress were patronesses of the arts. So France bloomed in
+the sunshine of royal favour and Greek influence, as few countries
+ever had. Fontainebleau (begun by Francis I) was the first of a chain
+of French royal palaces, all monuments without and within, to a
+picturesque system of monarchy,--Kings who could do no wrong, wafting
+sceptres over powerless subjects, whose toil produced Art in the form
+of architecture, cabinetmaking, tapestry weaving, mural decoration,
+unrivalled porcelain, exquisitely wrought silver and gold plate,
+silks, lovely as flower gardens (showing the "pomegranate" and "vase"
+patterns) and velvets like the skies! And for what? Did these things
+represent the wise planning of wise monarchs for dependent subjects?
+We know better, for it is only in modern times that simple living and
+small incomes have achieved surroundings of artistic beauty and
+comfort.
+
+The marvels of interior decoration during the classic French periods
+were created for kings and their queens, mistresses and favoured
+courtiers. Diane de Poitiers wished--perhaps only dreamed--and an
+epoch-making art project was born. Madame du Barry admired and made
+her own the since famous du Barry rose colour, and the Sevres
+porcelain factories reproduced it for her. But how to produce this
+particular illusive shade of deep, purplish-pink became a forgotten
+art, when the seductive person of the king's mistress was no more.
+
+If you would learn all there is to know concerning the sixteenth
+century furnishings in France read Edmund Bonneffe's "Sixteenth
+Century Furniture."
+
+It was the Henry II interior decoration and architecture which first
+showed the Renaissance of pure line and classic proportion, followed
+by the never-failing reaction from the simple line to the undulating
+over-ornate when decoration repeated the elaboration of the most
+luxurious, licentious periods of the past.
+
+One has but to walk through the royal palaces of France to see French
+history beguilingly illustrated, in a series of volumes open to all,
+the pages of which are vibrant with the names and personalities of men
+and women who will always live in history as products of an age of
+great culture and art.
+
+
+PLATE XVIII
+
+     A delightful bit of a room. The furniture, in line, shows a
+     Directoire influence. The striped French satin sofa and one chair
+     is blue, yellow and faun, the Brussels tapestry in faded blues,
+     fauns and greys. Over a charmingly painted table is a Louis XV
+     gilt applique, the screen is dark in tone and has painted panels.
+
+     The rug, done in cross-stitch, black ground and design colours,
+     was discovered in a forgotten corner of a shop, its condition so
+     dingy from the dust of ages that only an expert would have
+     recognised its possibilities.
+
+[Illustration: _Corner of a Drawing Room, Furniture Showing Directoire
+influence_]
+
+
+The Louis XIV, XV and XVI periods in furniture are all related. Rare
+brocades, flowered and in stripes, bronze mounts as garlands,
+bow-knots and rosettes, on intricate inlaying, mark their common
+relationship. The story of these periods is that gradually decoration
+becomes over-elaborated and in the end dominates the Greek outline.
+
+The three Louis mark a succession of great periods. Louis XIV, though
+beautiful at its best, is of the three the most ornate and is
+characterised in its worst stage by the extremely bowed (cabriole)
+legs of the furniture, ludicrously suggestive of certain debauched
+courtiers who surrounded the _Grande Monarch_.
+
+Louis XV legs show a curve, also, but no longer the stoggy, squat
+cabriole of the over-fed gallant. Instead we are entranced by an
+ethereal grace and lightness of movement in every line and decoration.
+Here cabriole means but a courtly knee swiftly bending to salute some
+beauty's hand. So subtly waving is the curving outline of this
+furniture that one scarcely knows where it begins or ends, and it is
+the same with the decorations--exquisitely delicate waving traceries
+of vines and flora, gold on gold, inlay, or paint in delicate tones.
+All this gives to the Louis XV period supremacy over Louis XVI, whose
+round, grooved, tapering straight legs, one tires of more quickly,
+although fine gold and lovely paint make this type winning and
+beloved.
+
+From Louis XVI we pass to the Directoire, when, following the
+Revolution, the voice of the populace decried all ostentation and
+everything savouring of the superfluous. The Great Napoleon in his
+first period affected simplicity and there were no longer bronze
+mounts, in rosettes, garlands and bow-knots, elaborate inlaying, nor
+painted furniture with lovely flowering surfaces; in the most severe
+examples not even fluted legs! Instead, simple but delicately
+proportioned furniture with slender, squarely cut, chastely tapering
+legs, arms and backs, was the fashion. In fact, the Directoire type is
+one of ideal proportions, graceful outlines with a flowing movement
+and the decoration when present, kept well within bounds, entirely
+subservient to the main structural material. One feels an almost
+Quaker-like quality about the Directoire, whether of natural wood or
+plain painted surface.
+
+With Napoleon's assumption of regal power and habits, we get the
+Empire (he had been to Rome and Egypt), pseudo-classic in outline and
+richly ornamented with mounts in ormoulu characteristic of the Louis.
+
+The Empire period in furniture was dethroned by the succeeding regime.
+
+When we see old French chairs with leather seats and backs, sometimes
+embossed, in the Portuguese style, with small regular design, put on
+with heavy nails and twisted or straight stretchers (pieces of wood
+extending between legs of chairs), we know that they belong to the
+time of Henry IV or Louis XIII. Some of the large chairs show the
+shell design in their broad, elaborate stretchers.
+
+The beautiful small side tables of the Louis and First Empire called
+consoles, were made for the display of their marvellously wrought
+pieces of silver, hammered and chiselled by hand,--"museum pieces,"
+indeed, and lucky is the collector who chances upon any specimen
+adrift.
+
+
+
+
+CHAPTER XIX
+
+THE PERIODS OF THE THREE LOUIS
+
+
+The only way to learn how to distinguish the three _Louis_ is to study
+these periods in collections of furniture and objects of art, or,
+where this is impossible, to go through books showing interiors of
+those periods. In this way one learns to visualise the salient
+features of any period and gradually to acquire a _feeling_ for them,
+that subtle sense which is not dependent wholly upon outline,
+decoration, nor colour, but upon the combined result.
+
+French writers who specialise along the lines of interior decoration
+often refer to the three types as follows:
+
+Period of Louis XIV--heavily, stolidly masculine;
+
+Period of Louis XV--coquettishly feminine;
+
+Period of Louis XVI--lightly, alertly masculine.
+
+One soon sees why, for Louis XIV furniture does suggest masculinity
+by its weight and size. It is squarely made, straight (classic) in
+line, equally balanced, heavily ponderous and magnificent. Over its
+surface, masses of decoration immobile as stone carving, are evenly
+dispersed, and contribute a grandiose air to all this furniture.
+
+There was impressive gallantry to the Louis XIV style, a ceremonious
+masculine gallantry, while Louis XV furniture--the period dominated by
+women when "poetry and sculpture sang of love" and life revolved about
+the boudoir--shows a type entirely _intime_, sinuously, lightly,
+gracefully, coquettishly feminine, bending and courtesying, with no
+fixed outline, no equal balance of proportions. Louis XV was the
+period when outline and decoration were merged in one and the _shell_
+which figured in Louis XIV merely as an ornament, gave its form (in a
+curved outline) and its name "rococo" (Italian for shell) to the
+style.
+
+As a reaction from this we get the Louis XVI period, again masculine
+in its straight rigidity of line, its perfectly poised proportions,
+the directness of its appeal to the eye, a "reflection of the more
+serious mental attitude of the nation." Louis XVI had an aristocratic
+sobriety and was masculine in a light, alert, mental way, if one can
+so express it, which stimulates the imagination, in direct contrast to
+the material and literal type of Louis XIV which, as we have said, was
+masculine in its ponderous magnificence, and unyielding
+over-ornamentation.
+
+So much for _outline_. Now for the _decoration_ of the three periods.
+
+Remember that the Louis XIV, XV and XVI periods took their ideas for
+decoration from the Greeks, via Italy, and the extreme Orient. A
+national touch was added by means of their Sevres porcelain medallions
+set into furniture, and the finely chiselled bronzes known as ormoulu,
+a superior alloy of metals of a rich gold colour. The subjects for
+these chiselled bronzes were taken from Greek and Roman mythology;
+gods, goddesses, and cupids the insignia of which were torches,
+quivers, arrows, and tridents. There were, also, wreaths, garlands,
+festoons and draperies, as well as rosettes, ribbons, bow-knots,
+medallion heads, and the shell and acanthus leaf. One finds these in
+various combinations or as individual motives on the furniture of
+the Louis.
+
+
+PLATE XIX
+
+     Shows the red-tiled entrance hall of a duplex apartment in New
+     York.
+
+     On the walls are two Italian mirrors (Louis XVI), a side table
+     (console) of the same epoch, and two Italian carved chairs.
+
+[Illustration: _Entrance Hall in New York Duplex Apartment. Italian
+Furniture_]
+
+
+The backgrounds for these mounts were the woods finely inlaid with
+ivory shell and brass in the style of the Italian Renaissance.
+Oriental lacquer and painted furniture, at that time heavily gilded.
+
+The legs of chairs, sofas and tables of the Louis XIV period were
+cabrioles (curved outward)--a development of the animal legs of carved
+wood, bronze or gold, used by the ancient Assyrians, Egyptians and
+Greeks as supports for tables and chairs. Square grooved legs also
+appeared in this type.
+
+The same grooves are found on round tapering legs of Louis XVI's time.
+In fact that type of leg is far more typical of the Louis XVI period
+than the cabriole or square legs grooved, but one sees all three
+styles.
+
+Other hallmarks of the Louis XVI period are the straight outlines,
+perfectly balanced proportions, the rosettes, ribbon and bow-knot with
+torch and arrows in chiselled bronze.
+
+That all "painting and sculpture sang of love" is as true of Louis XVI
+as of Louis XV. In both reigns the colouring was that of
+spring-tender greens, pale blossoms, the grey of mists, sky-blues,
+and yellows of sunshine.
+
+During Louis XV's time soft cushions fitted into the sinuous lines of
+the furniture, and as some Frenchman has put it, "a vague, discreet
+perfume pervaded the whole period, in contrast to the heavier odour of
+the First Empire."
+
+The walls and ceilings of the three Louis were richly decorated in
+accordance with a scheme, surpassing in magnificence any other period.
+
+An intricate system of mouldings (to master which, students at the
+Ecole des Beaux Arts, Paris, must devote years) encrusted sidewalls
+and ceilings, forming panels and medallions, over-doors and
+chimney-pieces, into which were let paintings by the great masters of
+the time, whose subjects reflected the moods and interests of each
+period. The Louis XV and XVI paintings are tender and vague as to
+subject and the colours veiled in a greyish tone, full of sentiment.
+
+That was the great period of tapestry weaving--Beauvais, Arras and
+Gobelin, and these filled panels or hung before doors.
+
+It may be said that the period of Louis XVI profited by antiquity,
+but continued French traditions; it was a renaissance of line and
+decoration kept alive, while the First Empire was classic form
+inanimate, because an abrupt innovation rather than an influence and a
+development. One may go farther and quote the French claim that the
+colour scheme of Louis XVI was intensely suggestive and personal,
+while the Empire colouring was literal and impersonal.
+
+Under Louis XVI furniture was all but lost in a crowd of other
+articles, tapestry, draperies of velvet, flowered silks, little
+objects of art in porcelain, more or less useless, silver and ormoulu,
+exquisitely decorated with a precieuse intricacy of chiselled designs.
+
+The Louis XVI period was rigid in its aristocratic sobriety, for
+although torch and arrows figured, as did love-birds, in
+decoration--(souvenirs of the painter Boucher), everything was set and
+decorous, even the arrow was often the warrior's not cupid's; in the
+same way the torch was that of the ancients, and when a medallion
+showed a pastoral subject, its frame of straight lines linked it to
+the period. Even if Cupid appeared, he was decorously framed or
+pedestaled.
+
+To be sure, Marie Antoinette and the ladies of her court played at
+farming in the Park of the Petite Trainon, at Versailles; but they
+wore silk gowns and powdered wigs. To be rustic was the fad of the day
+(there was a cult for gardening in England); but shepherdesses were
+confined to tapestries, and, while the aristocracy held the stage, it
+played the game of life in gloves.
+
+There was about the interior decoration of Louis XVI, as about the
+lives of aristocratic society of that time, a "penetrating perfume of
+love and gallantry," to which all admirers of the beautiful must ever
+return for refreshment and standards of beauty and grace.
+
+Speaking generally of the three Louis one can say that on a background
+of a great variety of wonderful inlaid woods, ivory, shell,
+mother-of-pearl and brass, or woods painted and gilded, following the
+Italian Renaissance, or lacquered in the manner of the Orient, were
+ormoulu wrought and finely chiselled, showing Greek mythological
+subjects; gods, goddesses and their insignia, with garlands,
+wreaths, festoons, draperies, ribbons, bow-knots, rosettes and
+medallions of cameo, Sevres porcelain, or Wedgwood paste. Among the
+lost arts of that time are inlaying as done by Boule and the finish
+known as Vernis Martin.
+
+
+PLATE XX
+
+     This large studio is a marked example of comfort and interest
+     where the laws of appropriateness, practicableness, proportion
+     and balance are so observed as to communicate at once a sense of
+     restfulness.
+
+     Here the comfortable antiques and beautifully proportioned modern
+     furniture make an ideal combination of living-room and painter's
+     studio.
+
+[Illustration: _Combination of Studio and Living Room in a New York
+Duplex Apartment_]
+
+
+Tapestries and mural paintings were framed by a marvellous system of
+mouldings which covered ceilings and sidewalls.
+
+The colour scheme was such as would naturally be dictated by the
+general mood of artificiality in an age when dreams were lived and the
+ruling classes obsessed by a passion for amusements, invented to
+divert the mind from actualities. This colour scheme was beautifully
+light in tone and harmoniously gay, whether in tapestries, draperies
+and upholstery of velvets, or flowered silks, frescoes or painted
+furniture. It had the appearance of being intended to act as a
+soporific upon society, whose aim it was to ignore those jarring
+contrasts which lay beneath the surface of every age.
+
+
+
+
+CHAPTER XX
+
+CHARTS SHOWING HISTORICAL EVOLUTION OF FURNITURE
+
+
+LOUIS XIV, 1643 to        {Compressed regularity   {Straight, square,
+  1715                    {  giving way in         {  grooved and very
+Key-note                  {  reaction to a         {  squat cabriole
+  The Grand               {  ponderous ugliness.   {  legs.
+  Audience Rooms          {                        {
+
+
+THE REGENCY AND           {The Reign of Woman.     {Cabriole legs of a
+  LOUIS XV, 1715 to       {                        {  perfect lightness
+  1774                    {                        {  and grace.
+Key-note                  {                        {
+  The Boudoir             {                        {
+
+
+                          {The transition style     {Legs tapering
+                          {  between the Bourbon    {  straight, rounded
+                          {  Interior Decoration    {  and grooved. A
+                          {  and that of            {  few square-grooved
+                          {  the "Directorate"      {  legs and
+LOUIS XVI, 1774 to        {  and "Empire,"          {  a few graceful,
+  1793                    {  characterised by a     {  slender cabriole
+Key-note                  {  return to the classic  {  legs.
+  The Salon _Intime_      {  line which reflects    {
+                          {  a more serious turn    {
+                          {  of mind on part of     {
+                          {  the Nation in an age   {
+                          {  of great mental        {
+                          {  activity.              {
+
+                          {Classic lines.
+                          {Classic decorations with subjects taken from
+                          {  Greek mythologies.
+                          {Winged figures, emblems of liberty; antique
+                          {  heads of helmeted warriors, made like
+                          {  medallions, wreaths, lyres, torches,
+                          {  rosettes, etc.
+                          {Besides the wonderful mounts of Ormoulu,
+                          {  designed by the great sculptors and painters
+                          {  of the period, there was a great deal
+                          {  of fine brass inlaying.
+                          {Antique vases taken from ancient tombs were
+THE FIRST EMPIRE,         {  placed in recesses in the walls of rooms
+  NAPOLEON I, 1804        {  after the style of the ancient "Columbaria."
+  to 1814                 {Every effort was made to surround Napoleon I
+                          {  with the dignity and austere sumptuousness
+                          {  of a great Roman Emperor. As we have said,
+                          {  he had been in Rome and he had been in Egypt;
+                          {  the art of the French Empire was reminiscent
+                          {  of both. Napoleon would outstrip the other
+                          {  conquerors of the world.
+                          {Some Empire furniture shows the same fine
+                          {  turning which characterizes Jacobean furniture
+                          {  of both oak and walnut periods. We refer to
+                          {  the round, not spiral, turning. See legs of
+                          {  Empire sofa on which Madame Recamier reclines
+                          {  in the well-known portrait by David (Louvre).
+
+
+
+ENGLISH FURNITURE
+
+
+                          {Gothic, through 14th Century.
+THE OAK PERIOD            {Renaissance, 16th Century.
+  (including early        {Elizabethan, 16th Century.
+  Jacobean)               {Jacobean or Stuart, 17th Century; James I,
+                          {  Charles I and II, and James II, 1603-1688.
+
+                          {Late Jacobean.
+THE WALNUT PERIOD         {William and Mary, 1688.
+                          {Queen Anne, 1702.
+
+"MAHOGANY" PERIOD         {Chippendale.             {18th Century.
+  (and other imported     {HEPPELWHITE.             {
+  woods), or              {SHERATON                 {
+  CHIPPENDALE PERIOD.     {THE ADAM BROTHERS.       {
+
+
+                          {Almost no furniture exists of the 13th
+                          {  Century. We get the majority of our
+GOTHIC PERIOD,            {  ideas from illustrated manuscripts of
+  Through 14th Century.   {  that time. The furniture was carved
+                          {  oak or plain oak ornamented with
+                          {  iron scroll work, intended both for
+                          {  strength and decoration.
+
+RENAISSANCE OR            {The characteristic, heavy, wide mouldings
+  ELIZABETHAN,            {  and small panels, and heavy round
+  16th Century.           {  carving.
+
+
+                          {Panels large and mouldings very narrow and
+                          {  flat, or no mouldings at all, and flat
+                          {  carving. The classic influence shown during
+JACOBEAN OR               {  the period of the Commonwealth in designs,
+  STUART PERIOD,          {  pilastars and pediments was the result of a
+  17th Century.           {  classic  reaction, all elaboration being
+                          {  resented.
+WALNUT PERIOD,            {The Restoration brought in elaborate
+  late 17th Century.      {  carving. Dutch influence is exemplified
+                          {  in the fashion for inlaying imported from
+                          {  Holland, as well as the tulip design.
+                          {  Turned legs, stretchers, borders and spiral
+                          {  turnings, characterized Jacobean style.
+
+In the GOTHIC PERIOD (extending      {
+  through 14th Century), as          {
+  the delightful irregularity in     {
+  line and decoration shows,         {Tables, chests, presses (wardrobes),
+  there was NO SET TYPE; each        {  chairs and benches or
+  piece was an individual creation   {  settles.
+  and showed the personality         {
+  of maker.                          {
+
+
+During RENAISSANCE OR ELIZABETHAN    {
+PERIOD (16th Century)                {Table chests, presses, chairs,
+types begin to establish             {  benches, settles, and small
+and repeat themselves.               {  chests of drawers.
+
+
+                                     {Inlaying in ebony, ivory,
+                                     {  mother-of-pearl, and ebonised
+                                     {  oblong bosses of the jewel type
+                                     {  (last half of 17th Century).
+In the JACOBEAN (17th Century)       {  The tulip design introduced
+there was already a set type,        {  from Holland as decoration.
+pieces made all alike, turned        {Turned and carved frames and
+out by the hundreds.                 {  stretchers; caned seats and
+                                     {  backs to chairs, velvet cushions,
+                                     {  velvet satin damask and
+                                     {  needlework upholstery, the
+                                     {  seats stuffed.
+
+
+
+Henry VIII made England _Protestant_, it having been Roman
+Catholic for several hundred years before the coming of the Anglo-Saxons
+and for a thousand years after.
+
+
+                {QUEEN ELIZABETH.
+PROTESTANT.     {
+                {"The Elizabethan Period."
+
+STUART.         {JAMES I. 1603.
+ROMAN CATHOLIC. {
+"JACOBEAN."     {CHARLES I. (Puritan Revolution), 1628.
+
+                {Oliver Cromwell. 1649.
+PURITAN.        {
+                {Commonwealth.
+
+STUART.         {Charles II. (1660), Restoration.
+ROMAN CATHOLIC. {
+"JACOBEAN."     {James II. (1686), Deposition and Flight.
+
+                {William--Prince of Orange (Holland), 1688.
+PROTESTANT.     {  Who had married the English Princess
+                {  Mary and was the only available _Protestant_
+                {  (1688).
+
+PROTESTANT.     --Queen Anne (1702-1714).
+
+
+
+
+CHAPTER XXI
+
+THE MAHOGANY PERIOD
+
+
+It is interesting to note that the Great Fire of London started the
+importation of foreign woods from across the Baltic, as great
+quantities were needed at once for the purpose of rebuilding. These
+soft woods aroused the invention of the cabinet-makers, and were
+especially useful for inlaying; so we find in addition to oak, that
+mahogany, pear and lime woods were used in fine furniture, it being
+lime-wood that Grinling Gibbons carved when working with Sir
+Christopher Wren, the famous architect (seventeenth century).
+
+During the early Georgian period the oak carvings were merely poor
+imitations of Elizabethan and Stuart designs. There seemed to have
+been no artist wood-carvers with originality, which may have been
+partly due to a lack of stimulus, as the fashion in the decoration of
+furniture turned toward inlaying.
+
+     THE PERIOD OF WILLIAM III AND QUEEN MARY AND EARLY GEORGIAN
+
+are characterised by _turned_ work, giving way to _flattened forms_,
+and the disappearance of the elaborate front stretcher on Charles II
+chairs.
+
+The coming of mahogany into England and its great popularity there
+gives its name to that period when Chippendale, Heppelwhite, Sheraton
+and the Adam Brothers were the great creative cabinet-makers. The
+entire period is often called CHIPPENDALE, because Chippendale's books
+on furniture, written to stimulate trade by arousing good taste and
+educating his public, are considered the best of that time. There were
+three editions: 1754, 1759, and 1762.
+
+The work was entitled "The Gentleman and Cabinet-maker's Director and
+Useful Designs of Household Furniture in the Gothic, Chinese and
+Modern Taste" (and there was still more to the title!).
+
+Chippendale's genius lay in taking the best wherever he found it and
+blending the whole into a type so graceful, beautiful, perfectly
+proportioned, light in weight and appearance, and so singularly suited
+to the uses for which it was intended, that it amounted to creation.
+
+The "Chinese Craze" in England was partly due to a book so called,
+written by Sir William Chambers, architect, who went to China and not
+only studied, but sketched, the furniture, he saw there.
+
+Thomas Sheraton, we are assured, was the most cultivated of this group
+of cabinet-makers. The three men made both good and bad styles. The
+work of the three men can be distinguished one from the other and,
+also, it can be very easily confused. To read up a period helps; but
+to really know any type of furniture with certainty, one must become
+familiar with its various and varying characteristics.
+
+The houses and furniture designed and made by the Adam brothers were
+an epoch in themselves. These creations were the result of the
+co-operation of a little band of artists, consisting of Michael Angelo
+Pergolesi, who published in 1777, "Designs for Various Ornaments";
+Angelica Kauffman and Cipriani, two artist-painters who decorated the
+walls, ceilings, woodwork and furniture designed by the Adam brothers;
+and another colleague, the great Josiah Wedgwood, whose medallions and
+plaques, cameo-like creations in his jasper paste, showed both classic
+form and spirit.
+
+The Adam brothers' creations were rare exotics, with no forerunners
+and no imitators, like nothing the world had ever seen--yet reflecting
+the purest Greek period in line and design.
+
+One of the characteristics of the Mahogany Period was the cabriole
+leg, which is, also, associated with Italian and French furniture of
+the seventeenth and eighteenth centuries. As a matter of fact this
+form of leg is as old as the Romans and is really the same as the
+animal legs of wood or bronze, used as supports for tripods and tables
+by Assyrians, Egyptians and Greeks. The cabriole leg may be defined as
+"a convex curve above a concave one, with the point of junction
+smoothed away. On Italian console tables and French commodes we see
+the two simple curves disguised by terminal figures."
+
+The rocaille (shell) ornament on the Chippendale as well as the
+cabriole leg copied from Italy and France, and the Dutch foot from
+Holland, substantiate our claim that Chippendale used what he found
+wherever he found it irrespective of the stigma of plagiarism.
+
+There is a beautiful book by F.S. Robinson in which the entire subject
+of English furniture is treated in a most charming fashion.
+
+Now let us return a moment to the Jacobean period. It was under
+Charles I that couches and settles became prominent pieces of
+furniture. Some of the Jacobean chairs are like those made in Italy,
+in the seventeenth century, with crossed legs, backs and seats covered
+with red velvet. Other Jacobean chairs had scrollwork carved and
+pierced, with central panel in the back of embroidery, while the seat
+was of cane.
+
+Some of the Jacobean cabinets had panels of ebony, the other parts
+inlaid with mother-of-pearl and ivory.
+
+The silver Jacobean furniture is interesting and the best examples of
+this type are said to be those belonging to Lord Sackville. They are
+of ebony with silver mountings.
+
+Yorkshire is noted for its Jacobean furniture, but some famous rooms
+done in this style are at Langleys, in Essex, the seat of Col.
+Tufnell, where the ceilings and mantels are especially fine and the
+library boasts interesting panelled walls, once enlivened by stained
+glass windows, when this room was used as a private chapel for the
+family.
+
+Jacobean carving was never ornate.
+
+Twenty years later came the Queen Anne period. Queen Anne chairs show
+a solid splat, sometimes vase-shaped, and strap-work arabesques. Most
+of the legs were cabriole, instead of the twisted turnings (on Stuart
+lines) which had been Supports for chairs, cabinets and tables. The
+Queen Anne chair legs terminated when cabriole, in claws and balls or
+simple balls. Settees for two were then called "love seats," and
+"pole-screens" belonged to this period, tall, slender poles with
+small, sliding screens.
+
+Queen Anne hangings were of rich damasks, silks and velvets, and the
+wainscot of rooms was painted some pale colour as an effective
+background to set off the dark, turned walnut or gorgeous lacquer
+made in red, green or black, and ornamented with gold. Some of the
+Queen Anne pieces of this variety had hinges and lockplates of chased
+brass. Another variety was of oak, veneered with walnut and inlaid.
+
+The very high ceilings of the Queen Anne period led to the use of
+"tall boys" or family bureaus, those many-storied conveniences which
+comprised a book-case above, writing desk in the middle, and drawers
+below.
+
+Lockwood says in giving the history of chairs, in his "Cabinet Makers
+from 1750 to 1840": "Extravagance of taste and fluctuation of fashion
+had reached high water mark due to increase of wealth in England and
+her colonies. From the plain, stately pieces of Queen Anne the public
+turned to the rococo French designs of early Chippendale, then tiring
+of that, veered back to classic lines, as done by the Adam brothers,
+and so on, from heavy Chippendale to the overlight and perishable
+Heppelwhite. Then public taste turned to the gaudily painted Sheraton
+and finally, took to copying the French Empire."
+
+The American Revolutionary War stopped the exportation of furniture
+to America, with the result that cabinet-makers in the United States
+copied Chippendale and neglected all other later artists. When America
+began again to import models, Sheraton was an established and not a
+transitional type. Beautiful specimens are shown in the Nichols house,
+at Salem, Mass., furnished in 1783. The furniture used by George
+Washington when President of the United States in 1789, and now in the
+City Hall, New York, is pure Sheraton. (See Colonial Furniture, Luke
+Vincent Lockwood.)
+
+Sir Christopher Wren, architect, with Grinling Gibbons, designer and
+wood-carver, were chiefly responsible for the beautifully elaborate
+mouldings on ceilings and walls, carved from oak and used for forming
+large panels with wide bevels, into which were sometimes set
+tapestries.
+
+The Italian stucco mouldings were also used at that time. The fashion
+for elaborate ceilings and sidewalls had come to England via Italy and
+France. The most elaborate ones of those times were executed under
+Charles II and William III, the ceilings rivalling those of Louis XIV.
+
+William and Mary (1687-1702) brought over with them from Holland,
+Dutch cabinet makers, which accounts for the marked Dutch influence on
+the Mahogany Period, an influence which shows in a Dutch style of
+inlaying, cabriole legs and the tulip design. A sure sign of the
+William and Mary period is the presence of jasmine, as designed for
+inlaying in bone, ivory or hollywood.
+
+Lacquer came to England via Holland, the Dutch having imported Chinese
+workmen.
+
+The entire Mahogany Period, including the Adam brothers, used the
+shell as a design and the backs of settees resembled several chair
+backs places side by side.
+
+A feature of the Mahogany Period were the knife-boxes and cases for
+bottles, made of mahogany and often inlaid, which stood upon pedestals
+constructed for the purpose, at each side of the sideboard. Later the
+pedestals became a part of the sideboard. The urn-shaped knife-boxes
+were extremely graceful as made by Adam, Chippendale and Heppelwhite.
+
+It is impossible to clearly define all of the work of the
+cabinet-makers of the mahogany or any other period, for reasons
+already stated. So one must be prepared to find Chippendale sofas
+which show the shapes originated by him and, also, at times, show
+Louis XVI legs and Louis XV outline. Chippendale's contemporaries were
+quite as apt to vary their types, and it is only by experience that
+one can learn to distinguish between the different artists, to
+appreciate the hall marks of creative individuality.
+
+The early Chippendale was almost identical with Queen Anne furniture
+and continued the use of cabriole leg and claw and ball feet. The top
+of the Chippendale chairs were bow-shaped with ends extending beyond
+the sides of the back and usually turned _up_. If turned down they
+never rounded into the sides, as in the case of Queen Anne chairs. The
+splats have an upward movement and were joined to chair seats, and not
+to a cross-rail. They were pierced and showed elaborate ribbon and
+other designs in carving. There were, also, "ladder backs," and the
+Chinese Chippendale chairs, with lattice work open carved and
+extending over entire backs. The characteristic Chippendale leg is
+cabriole with claw and ball foot.
+
+The setting for Chippendale furniture was a panelled dado, classic
+mantelpiece, architraves and frieze, and stretched over sidewalks,
+above dado, was silk or paper showing a large pattern harmonising with
+the furniture. The Chinese craze brought about a fashion for Chinese
+wall papers with Chinese designs. This Chinese fashion continued for
+fifty years.
+
+Chippendale carved the posts of his bedsteads, and so the bed curtains
+were drawn back and only a short valance was used around the top,
+whereas in the time of William and Mary bed curtains enveloped all the
+woodwork. Still earlier in the Elizabethan period bed posts were
+elaborately carved.
+
+In the eighteenth century it was the fashion to embroider the bed
+curtains.
+
+The Chippendale china-cabinets with glass fronts, were the outcome of
+the fad for collecting Chinese and French porcelain, and excellent
+taste was displayed in collecting these small articles within definite
+and appropriate limits. Cabinets with glass doors were also used as
+receptacles for silverware.
+
+Thomas Sheraton (1760-1786), another great name in the Mahogany
+Period, admired Louis XV and Louis XVI and one can easily trace French
+influence in the "light, rhythmic style" he originated. Sheraton's
+contribution to interior decoration was furniture. His rooms, walls,
+ceilings, over-doors, windows and chimney pieces, are considered very
+poor; which accounts for the fact that Sheraton furniture as well as
+Heppelwhite was used in Adam rooms.
+
+Sheraton made a specialty of pieces of furniture designed to serve
+several purposes, and therefore adapted for use in small rooms; such
+as dressing-tables with folding mirrors, library step-ladders
+convertible into tables, etc.
+
+The backs of Sheraton chairs had straight tops and several small
+splats joined to a cross-rail, and not to the seat. The legs were
+straight.
+
+Sheraton introduced the use of turned work on the legs and outer
+supports of the backs of chairs, and produced fine examples of painted
+furniture, especially painted satin-wood. He, also, did some very fine
+inlaying and used cane in the seats and backs of chairs which he
+painted black and gold. Among those who decorated for him was Angelica
+Kauffman.
+
+Heppelwhite chairs are unmistakable on account of their _shield_,
+_heart_ or _oval_ backs and open splats, which were not joined to
+the seat in the centre of backs. The most beautiful were those with carved
+Prince of Wales feathers, held together by a bow-knot delicately
+carved. They were sometimes painted. The legs of Heppelwhite furniture
+were straight.
+
+We see in the book published by A. Heppelwhite & Co., a curious
+statement to the effect that cabriole chairs were those having stuffed
+backs. This idea must have arisen from the fact that many chairs of
+the eighteenth century with cabriole legs, did have stuffed backs.
+
+Robert Adam, born in 1785, was an architect and decorative artist. The
+Adam rooms, walls, ceilings, mantels, etc., are the most perfect of
+the period; beautiful classic mouldings encrust ceilings and
+sidewalls, forming panels into which were let paintings, while in
+drawing-rooms the side panels were either recessed so as to hold
+statuary in the antique style, or were covered with damask or
+tapestry. It is stated that damask and tapestry were never used on the
+walls of Adam dining-rooms. James Adam, a brother, worked with
+Robert.
+
+Every period had its own weak points, so we find the Adam brothers at
+times making wall-brackets which were too heavy with ram's heads,
+garlands, etc., and the Adam chairs were undoubtedly bad. They had
+backs with straight tops, rather like Sheraton chairs, and several
+small splats joining top rail to seat. The bad chairs by Adam, were
+improved upon by Sheraton and Heppelwhite. The legs of Adam furniture
+were straight.
+
+The ideal eighteenth century interior in England was undoubtedly an
+Adam room with Heppelwhite or Sheraton furniture.
+
+Sir John Soane, architect, had one of the last good house interiors,
+for the ugly Georgian style came on the scene about 1812. Grinling
+Gibbons' carvings of heavy fruits and flowers, festoons and masks made
+to be used architecturally we now see used on furniture, and often
+heavily gilded.
+
+William Morris was an epoch maker in English interior decoration, for
+he stood out for the "great, simple note" in furnishings. The
+pre-Raphaelites worked successfully to the same end, reviving classic
+simplicity and establishing _the value of elimination_. The good,
+modern furniture of to-day, designed with reference to meeting the
+demands of modern conditions, undoubtedly received a great impetus
+from that reaction to the simple and harmonious.
+
+
+
+
+CHAPTER XXII
+
+THE COLONIAL PERIOD
+
+
+The furniture made in America during the eighteenth and early
+nineteenth centuries was reproduced from English models and shows the
+influence of Chippendale, Sheraton, Heppelwhite and the Adam brothers.
+For those interested in these early types of American output, the Sage
+and other collections in the Metropolitan Museum, New York, give a
+delightful object lesson, and there has been much written on the
+subject in case any data is desired.
+
+If some of our readers own heirlooms and plan reproducing Colonial
+interiors of the finest type, we would advise making an effort to see
+some of the beautiful New England or Virginia homes, which remain
+quite as they were in the old days; fine square rooms with hand-carved
+woodwork, painted white, their walls panelled in wood and painted the
+same white. Into these panels were set hand-painted wall paper. The
+authors saw some made for a house in Peabody, near Salem,
+Massachusetts, some time between 1760 and 1800, and were amazed to
+find that the colours were as vivid as when first put on.
+
+Here let us say that the study of interior decoration throws a strong
+light on the history of walls. In Gothic days the stone or wood of the
+feudal hall was partially concealed by tapestries,--the needlework of
+the women of the household, a record of the gallant deeds of men used
+as interior decoration. Later of course, the making of tapestries
+became a great industry in Italy, France and Belgium, an industry
+patronised by kings and the nobility, and subsidised by governments.
+
+Next we have walls sheathed with wood panelling. Then during the late
+Renaissance, painted portraits were let into these panels and became a
+part of the walls. Later, the upper half, or two-thirds of the
+panelling, was left off, and only a low panelling, or "dado,"
+remained. This, too, disappeared in time.
+
+Landscape paper was the bridge between the panelled walls with
+pictures built into them, and the painted or papered walls with
+pictures hung on them. The paper which we have already referred to, is
+one of the finest examples of its kind, and while there is only enough
+for one side of a room, it is valued at $5,000. The design is eight
+feet high, each strip 22 inches wide, and there are eighteen of the
+original twenty strips. Two breaks occur, numbers 16 and 18. The owner
+believes that the Puritan attitude of her ancestors caused them to
+destroy the panels which showed nude figures engaged in battle. This
+paper is now the property of Mrs. Eliza Brown of Salem, Massachusetts.
+It was found in her grandfather's attic in Gloucester, and was given
+to Mrs. Brown by her grandmother. It was in an army chest belonging to
+Judutham Baldwin, a Colonel of Engineers in the Revolutionary Army,
+who laid out the forts in Boston Harbour.
+
+Kate Sanborn, in her book on "Old Wall Papers" speaks of this
+particular paper. "Paper from the Ham House at Peabody, Massachusetts,
+now occupied by Dr. Worcester. Shows tropical scenes. These scenes are
+quite similar to those of the Pizarro paper and may have been the
+work of the same designer." (The so-called "Pizarro in Peru" paper is
+shown in plate 34 and 35 of the same book, and is in Duxbury, Mass.)
+Pizarro's invasion of Peru was in 1531. The colouring of Mrs. Brown's
+paper is white background with foliage in vivid greens, while figures
+of Peruvians wear costumes of brilliant blues and vermillion reds, a
+striking contrast to their soft, brown skins.
+
+This paper is now in the market, but let us hope it may finally rest
+in a museum.
+
+
+
+
+CHAPTER XXIII
+
+THE REVIVAL OF DIRECTOIRE AND EMPIRE FURNITURE
+
+
+The revival of Directoire and Empire furniture within the past few
+years, is attributed by some, to that highly artistic, and altogether
+illuminating publication, the _Gazette do Bon Ton_--Arts, Modes and
+Frivolities--published in Paris by the Librarie Centrale des Beaux
+Arts, 13 rue Lafayette and contributed to by the leading artists of
+Paris--the ultra moderns.
+
+There was a time, fifteen or twenty years ago, when one could buy
+Empire furniture at very low figures, for in those days there was many
+a chance to pick up such pieces. To-day, a genuine antique or a
+hand-made reproduction of an antique made sixty years ago, will
+command a large price, and even in Paris one has difficulty in finding
+them in the shops at any price.
+
+Empire furniture ceased to be admired in America when the public got
+"fed up" on this type by its indiscriminate use in hotels and other
+public buildings.
+
+The best designers of modern painted furniture are partly responsible
+for the revived interest in both Empire and Directoire. From their
+reproductions of the beautiful simple outlines, we, as a people, are
+once more beginning to _feel_ line and to recognise it as an intrinsic
+part of beauty.
+
+
+PLATE XXI
+
+     A Victorian group in a small portion of a very large parlour, 70
+     x 40 feet, one of the few remaining, if not the last, of the old
+     Victorian mansions in New York City, very interesting as a
+     specimen of the most elegant style of furnishing in the first
+     half of the nineteenth century.
+
+     We would call attention to the heavy moulding of ceilings, the
+     walls painted in panels (painted panels or wall paper to
+     represent panels, is a Victorian hallmark), beautifully
+     hand-carved woodwork, elaboration of design and colon carpet,
+     woven in one piece for the room; in fact the characteristic
+     richness of elaboration everywhere: Pictures in gilded carved
+     frames, hung on double silk cords with tassels, heavily carved
+     furniture made in England, showing fruits, flowers and medallion
+     heads, and a similar elaboration and combination of flora and
+     figures on bronze gas fixtures.
+
+     Heavy curtains of satin damask hung at the windows, held back by
+     great cords and tassels, from enormous brass cornices in the form
+     of gigantic flowers.
+
+     Also of the period is an immense glass case of stuffed birds,
+     standing in the corner of the large dining-room. This interior
+     was at the height of its glory at the time of the Civil War, and
+     one is told of wonderful parties when the uniforms of the
+     Northern officers decorated the stately rooms and large shaded
+     gardens adjoining the house.
+
+     As things go in New York it may be but a matter of months before
+     this picturesque landmark is swept away by relentless Progress.
+
+[Illustration: _Part of a Victorian Parlour in One of the Few
+Remaining New York Victorian Mansions_]
+
+
+
+
+CHAPTER XXIV
+
+THE VICTORIAN PERIOD
+
+
+Gradually architecture and interior decoration drew apart, becoming
+two distinct professions, until during the Victorian era the two were
+unrelated with the result that the period of Victorian furniture is
+one of the worst on record.
+
+There were two reasons for this divorce of the arts, which for
+centuries had been one in origin and spirit; first, the application of
+steam to machinery (1815) leading to machine-made furniture, and
+second, the invention of wall-paper which gradually took the place of
+wood panelling and shut off the architects from all jurisdiction over
+the decoration of the home.
+
+With the advent of machine-made furniture came cheap imitations of
+antiques and the rapid decadence of this art. Hand-made reproductions
+are quite another thing. Sir Richard Wallace (of the Wallace
+Collection, London) is said to have given $40,000 for a reproduction
+of the _bureau du Louvre_.
+
+Fortunately, of late years a tide has set in which favours simple,
+well made furniture, designed with fine lines and having special
+reference to the purposes for which each piece is intended, and to-day
+our houses can be beautiful even if only very simple and inexpensive
+furniture is used.
+
+In the Victorian prime, even the carved furniture, so much of which
+was made in England both for that country and the United States (see
+Plate XXI), was not of the finest workmanship, compared with carvings
+of the same time in Belgium, France, Germany and Austria.
+
+To-day Victorian cross-stitch and bead work in chairs, screens,
+footstools and bell-pulls, artificial flowers of wax and linen, and
+stuffed birds, as well as Bristol glass in blue, green and violet, are
+brought out from their hiding places and serve as touches of colour to
+give some of the notes of variety which good interior decoration
+demands.
+
+To be fascinating, a person must not be too rigidly one type. There
+must be moments of relaxation, of light and shade in mood, or one is
+not charmed even by great beauty. So your perfect room must not be
+kept too rigidly in one style. To have attraction it must have variety
+in both line and colour, and reflect the taste of generations of home
+lovers. The contents of dusty garrets may add piquancy to modern
+decorations, giving a touch of the unusual which is very charming.
+
+
+
+
+CHAPTER XXV
+
+PAINTED FURNITURE
+
+
+Painted furniture is, at present, the vogue, so if you own a piece
+made by the Adam brothers of England, decorated by the hand of
+Angelica Kauffman, or Pergolesi, from Greek designs, now is the moment
+to "star" it.
+
+Different in decoration, but equal in charm, is the seventeenth and
+eighteenth century painted lacquers of Italy, France, China and Japan.
+In those days great masters laboured at cabinetmaking and decorating,
+while distinguished artists carved the woodwork of rooms, and painted
+the ceilings and walls of even private dwellings.
+
+To-day we have reproductions (good and bad) of the veteran types, and
+some commendable inventions, more or less classic in line, and
+original in colouring and style of decoration. At times, one wishes
+there was less evident effort to be original. We long for the repose
+of classic colour schemes and classic line. In art, the line and the
+combination of colours which have continued most popular throughout
+the ages, are very apt to be those with which one can live longest and
+not tire. For this reason, a frank copy of an antique piece of painted
+furniture is generally more satisfactory than a modern original.
+
+If you are using dull coloured carpets and hangings, have your modern
+reproductions antiqued. If you prefer gay, cheering tones, let the
+painted furniture be bright. These schemes are equally interesting in
+different ways. It is stupid to decry new things, since every grey
+antique had its frivolous, vivid youth.
+
+One American decorator has succeeded in making the stolid,
+uncompromising squareness of mission furniture take on a certain
+lightness and charm by painting it black and discreetly lining it with
+yellow and red. Yellow velour is used for the seat pads and heavy
+hangings, thin yellow silk curtains are hung at the windows, and the
+black woodwork is set off by Japanese gold paper. In a large house, or
+in a summer home where there are young people coming and going, a
+room decorated in this fashion is both gay and charming and makes a
+pleasant contrast to darker rooms. Then, too, yellow is a lovely
+setting for all flowers, the effect being to intensify their beauty,
+as when flooded by sunshine.
+
+Another clever treatment of the mission type, which we include under
+the heading Painted Furniture, is to have it stained a rich dark
+brown, instead of the usual dark green. Give your dealer time to order
+your furniture unfinished from the factory, and have stained to your
+own liking; or, should you by any chance be planning to use mission in
+one of those cottages so often built in Maine, for summer occupancy,
+where the walls are of unplastered, unstained, dove-tailed boards, and
+the floors are unstained and covered with matting rugs, try using this
+furniture in its _natural_ colour--unfinished. The effect is
+delightfully harmonious and artistic and quite Japanese in feeling.
+
+In such a cottage, the living-room has a raftered ceiling, the
+sidewalls, woodwork, settles by the fireplaces, open bookcases and
+floor, are all stained dark walnut. The floor colour is very dark,
+the sidewalls, woodwork and book shelves are a trifle lighter, and the
+ceiling boards still lighter between the almost black, heavy rafters.
+The mission furniture is dark brown, the hangings and cushions are of
+mahogany-coloured corduroy, and the floor is strewn with skins of
+animals. There are no pictures, the idea being to avoid jarring notes
+in another key. Instead, copper and brass bowls contribute a note of
+variety, as well as large jars filled with great branches of flowers,
+gathered in the nearby woods. The chimney is exposed. It and the large
+open fireplace are of rough, dark mottled brick.
+
+A room of this character would be utterly spoiled by introducing white
+as ornaments, table covers, window curtains or picture-mats; it is a
+colour scheme of dull wood-browns, old reds and greens in various
+tones. If you want your friends' photographs about you in such a room,
+congregate them on one or two shelves above your books.
+
+
+
+
+CHAPTER XXVI
+
+TREATMENT OF AN INEXPENSIVE BEDROOM
+
+
+The experience of the author is that the most attractive, inexpensive
+furniture is that made by the Leavens factory in Boston. This
+furniture is so popular with all interior decorators that it needs no
+further advertising. Order for each single iron bed two _foot boards_,
+instead of a head and a footboard. This the factory will supply upon
+demand. Then have your bed painted one of the colours you have chosen
+as in the colour scheme for your room. Say, the prevailing note of
+your chintz. Have two rolls made, to use at the head and foot (which
+are now of equal height) and cover these and the bed with chintz, or,
+if preferred, with sun-proof material in one of the other colours in
+your chintz. By this treatment your cheap iron bed of ungainly
+proportions, has attained the quality of an interesting, as well as
+unique, "day-bed."
+
+
+PLATE XXII
+
+     Two designs for day-beds which are done in colours to suit the
+     scheme of any room.
+
+     These beds are fitted with box springs and a luxurious mattress
+     of feathers or down, covered with silk or chintz, coverlet and
+     cushions of similar material, in colours harmonising with beds.
+     If desired, these lounges can be made higher from the floor.
+
+[Illustration: _Two Styles of Day-beds_]
+
+
+The most attractive cheap bureau is one ordered "in the plain" from
+the factory, and painted like the bed. If you would entirely remove
+the factory look, have the mirror taken off the bureau and hang it on
+the wall over what, by your operation, has become a chest of drawers.
+If you want a long mirror in your rooms, the cheapest variety is
+mirror glass, fastened to the back of doors with picture moulding to
+match woodwork. This is also the cheapest variety of over-mantel
+mirrors. We have seen it used with great success, let into walls of
+narrow halls and bedrooms and framed with a dull-gold moulding in the
+style of room.
+
+For chairs, use the straight wooden ones which are made to match the
+bureau, and paint them like the bed and bureau.
+
+For comfortable arm-chairs, wicker ones with chintz-covered pads for
+seat and back are best for the price, and these can also be painted.
+
+Cheap tables, which match the bureau, when painted will do nicely as a
+small writing-table or a night-table for water, clock, book, etc.
+
+If the floors are new and of hard wood, wax them and use a square of
+plain velvet carpet in a dark tone of your dominant colour. Or if
+economy is your aim, use attractive rag rugs which are very cheap and
+will wash.
+
+If your floors are old and you intend using a large velvet square,
+paint the edges of the floor white, or some pale shade to match the
+colour of the walls. Or, use filling all over the floor. If you cannot
+afford either and must use small rugs, stain or paint your floors a
+dark colour, to be practical, and use only necessary rugs; that is,
+one before bed, bureau and fireplace.
+
+Sofas are always expensive. That is one reason for advising that beds
+be treated like "day-beds."
+
+Wall papers, at ten cents a roll, come in charming colours and
+designs, and with a few cheap French coloured prints, framed in
+passepartout, your room is attractive at once.
+
+If your prints are black and white use broad passepartout in same
+colour as the wall paper, only a tone deeper. If you use favourite
+photographs, suppress all margins and frame with narrow black
+passepartout.
+
+For curtains use one of the sixty-or seventy-cent chintzes which come
+in attractive designs and colours, or what is still cheaper,
+sun-proof material, fifty inches wide (from $1.10 to $1.50 a yard),
+and split it in half for curtains, edging them with a narrow fringe of
+a contrasting colour which appears in the chintz of chair-pads.
+Another variety of cheap curtains is heavy cream scrim with straps
+(for looping back) and valance of chintz. These come cheaper than all
+chintz curtains and are very effective, suggesting the now popular and
+expensive combination of plain toned taffetas combined with chintz.
+
+Use for sash curtains plain scrim or marquesette.
+
+Let your lamps be made of inexpensive one-toned pottery vases,
+choosing for these still another colour which appears in the chintz.
+The lamp shades can be made of a pretty near-silk, in a plain colour,
+with a fringe made up of one, two or three of the colours in the
+chintz.
+
+If you happen to have your heart set on deep rose walls and your
+bedroom furniture is mahogany, find a chintz with rose and French
+blue, and then cover your arm-chair pads and bed with chintz, but make
+your curtains of blue sun-proof material, having a narrow fringe of
+rose, and use a deep rose carpet, or rugs, or if preferred, a dull
+brown carpet to harmonise with the furniture. A plain red Wilton
+carpet will dye an artistic deep mulberry brown. They are often bought
+in the red and dyed to get this shade of brown.
+
+For attractive cheap dining-room furniture, buy simple shapes,
+unfinished, and have the table, sideboard and chairs painted dark or
+light, as you prefer.
+
+In your dining-room and halls, if the house is old and floors bad, and
+economy necessary, use a solid dark linoleum, either deep blue or red,
+and have it _waxed_, as an economical measure as well as to improve
+its appearance.
+
+In a small home, where no great formality is observed, well chosen
+doilies may be used on all occasions, instead of table cloths. By this
+expedient you suppress one large item on the laundry bill, the care of
+the doilies in such cases falling to the waitress.
+
+To make comfortable, convenient and therefore livable, a part of a
+house, formerly an attic, or an extension with small rooms and low
+ceilings, seems to be the special province of a certain type of mind,
+which works best when there is a tax on the imagination.
+
+When reclaiming attic rooms, one of the problems is how to get wall
+space, especially if there are dormer windows and very slanting
+ceilings. One way, is to place a dressing table _in_ the dormer, under
+windows, covering the sides of the dormer recess with mirror glass,
+edged with narrow moulding. The dressing-table is not stationary,
+therefore it can be easily moved by a maid, when the rooms are
+cleaned.
+
+
+
+
+CHAPTER XXVII
+
+TREATMENT OF A GUEST ROOM
+
+(Where economy is not an item of importance)
+
+
+Here we can indulge our tastes for beautiful quality of materials and
+fine workmanship, as well as good line and colour, so we describe a
+room which has elegant distinction and atmosphere, yet is not a
+so-called period room--rather a modern room, in the sense that it
+combines beautiful lines and exquisite colouring with every modern
+development for genuine comfort and convenience.
+
+The walls are panelled and painted a soft taupe--there are no
+pictures; simply one very beautiful mirror in a dull-gold frame, a
+Louis XVI reproduction.
+
+
+PLATE XXIII
+
+     In another suite we have a boudoir done in sage greens and soft
+     browns. The curtains of taffeta, in stripes of the two colours.
+     Two tiers of creme net form sash curtains.
+
+     The carpet is a rich mulberry brown, day-bed a reproduction of an
+     antique, painted in faded greens with _panier fleuri_ design on
+     back, in lovely faded colours, taffeta cushions of sage green and
+     an occasional note about the room of mulberry and dull blue.
+     Electric light shades are of decorated parchment paper.
+
+     Really an enchanting nest, and as it is in a New York apartment,
+     and occasionally used as a bedroom, a piece of furniture has been
+     designed for it similar to the wardrobe shown in picture, only
+     not so high. The glass door, when open, disclose a toilet table,
+     completely fitted out, the presence of which one would never
+     suspect.
+
+[Illustration: _Boudoir in New York Apartment. Painted Furniture,
+Antique and Reproductions._]
+
+
+The carpet made of dark taupe velvet covers the entire floor. The
+furniture is Louis XV, of the wonderful painted sort, the beautiful
+bed with its low head and foot boards exactly the same height, curving
+backward; the edges a waved line, the ground-colour a lovely
+pistache green, and the decoration gay old-fashioned garden flowers in
+every possible shade. The bureau has three or four drawers and a bowed
+front with clambering flowers. These two pieces, and a delightful
+night-table are exact copies of the Clyde Fitch set in the Cooper
+Hewitt Museum, at New York; the originals are genuine antiques, and
+their colour soft from age.
+
+A graceful dressing-table, with winged mirrors, has been designed to
+go with this set, and is painted like the bureau. The glass is a
+modern reproduction of the lovely old eighteenth century mirror glass
+which has designs cut into it, forming a frame.
+
+For chairs, all-over upholstered ones are used, of good lines and
+proportions; two or three for comfort, and a low slipper-chair for
+convenience. These are covered in a chintz with a light green ground,
+like the furniture, and flowered in roses and violets, green foliage
+and lovely blue sprays.
+
+The window curtains are of soft, apple-green taffeta, trimmed with a
+broad puffing of the same silk, edged on each side by black
+moss-trimming, two inches wide. These curtains hang from dull-gold
+cornices of wood, with open carving, through which one gets glimpses
+of the green taffeta of the curtains.
+
+The sash-curtains are of the very finest cream net, and the window
+shades are of glazed linen, a deep cream ground, with a pattern
+showing a green lattice over which climb pink roses. The shades are
+edged at the bottom with a narrow pink fringe.
+
+The bed has a cover of green taffeta exactly like curtains, with the
+same trimming of puffed taffeta, edged with a black moss-trimming.
+
+The mantelpiece is true to artistic standards and realises the
+responsibility of its position as keynote to the room. Placed upon it
+are a beautiful old clock and two vases, correct as to line and
+colour.
+
+Always be careful not to spoil a beautiful mantel or beautiful
+ornaments by having them out of proportion one with the other. Plate
+XXIV shows a mantel which fails as a composition because the bust, an
+original by Behnes, beautiful in itself, is too heavy for the mantel
+it stands on and too large for the mirror which reflects it and
+serves as its background.
+
+Keep everything in correct proportion to the whole. We have in mind
+the instance of some rarely beautiful walls taken from an ancient
+monastery in Parma, Italy. They were ideal in their original setting,
+but since they have been transported to America, no setting seems
+right. They belonged in a building where there were a succession of
+small rooms with low ceilings, each room perfect like so many pearls
+on a string. Here in America their only suitable place would be a
+museum, or to frame the tiny "devotional" of some precieuse Flower of
+Modernity.
+
+
+
+
+CHAPTER XXVIII
+
+A MODERN HOUSE IN WHICH GENUINE JACOBEAN FURNITURE IS APPROPRIATELY
+SET
+
+
+An original scheme for a dining-room was recently carried out in a
+country house in England by a woman whose hobby is illuminating. It
+will appeal to experts in the advance guard of interior decoration.
+The woman in question was stimulated for her task by coming into
+possession of some interesting Jacobean pieces of furniture, of oak,
+squarely and solidly made, with flat carvings, characteristic of the
+period.
+
+
+PLATE XXIV
+
+     A beautiful mantel, a beautiful mirror, beautiful ornaments, and
+     a rare and beautiful marble bust by Behnes, but because the bust
+     is too large for both mantel and reflecting mirror, the
+     composition is poor.
+
+[Illustration: _Example of Lack of Balance in Mantel Arrangement_]
+
+
+The large Jacobean chest happened to be lined, as many of those old
+chests were, with quaint figured paper, showing a coat-of-arms
+alternating with another design in large squares of black and grey.
+This paper, the owner had reproduced to cover the walls of her
+dining-room, and then she stained her woodwork black (giving the
+effect of old black oak), also, the four corner cupboards, but
+the _inside_ of these cupboards--doors and all--she made a rich
+Pompeian red and lackered it. The doors are left open and one sees on
+the shelves of the corner cupboards a wonderful collection of old
+china, much of it done in rich gold. At night the whole is illuminated
+with invisible electric bulbs. The gleaming effect is quite
+marvellous.
+
+The seat-pads on chairs, are made of hides, gilded all over, and on
+the gilt the owner has painted large baskets holding fruit and flowers
+done in gay colours. The long Jacobean bench has a golden cushion with
+baskets painted on it in gay colours.
+
+A part of the wonderful gold china is used at every meal, and the rest
+of it being left on the shelves of the four cupboards with their
+Pompeian red lining, when lit up, forms part of the glowing blaze of
+colour, concentrated in all four corners of this unique room.
+
+The Jacobean library in this house has the same black oak effect for
+panelling and at the windows, hang long, red silk curtains, with deep
+borders of gold on which are painted gay flowers. This blaze of colour
+is truly Jacobean and recalls the bedroom at Knole, occupied by James
+I where the bed-curtains were of red silk embroidered in gorgeous
+gold, and the high post bedstead heavily carved, covered with gold and
+silver tissue, lined with red silk, its head-board carved and gilded.
+
+Another room at Knole was known as the "Spangle" bedroom. James I gave
+the furniture in it to Lionel, Earl of Middlesex. Bed curtains, as
+well as the seats of chairs and stools, are of crimson, heavily
+embroidered in gold and silver.
+
+
+
+
+CHAPTER XXIX
+
+UNCONVENTIONAL BREAKFAST-ROOMS AND SPORTS BALCONIES
+
+
+"Sun-rooms" are now a feature of country and some town houses. One of
+the first we remember was in Madrid, at the home of Canovas del
+Castillo, Prime Minister during the Regency. Dejeuner used to be
+served at one end of the conservatory, in the shadow of tall palms,
+while fountains played, birds with gay plumage sang, and the air was
+as fragrant as the tropics. For comfort, deep red rugs were put down
+on the white marble floors. Which reminds us that in many Spanish
+hand-made rugs, what is known as "Isabella white" figures
+conspicuously. The term arises from the following story. It seems that
+Queen Isabella during the progress of some war, vowed she would not
+have her linen washed until her army returned victorious. The war was
+long, hence the term!
+
+In furnishing a conservatory or porch breakfast room, it is best to
+use some variety of informal tables and chairs, such as painted
+furniture, willow or bamboo, and coloured, not white, table cloths,
+doilies and napkins, to avoid the glare from the reflection of strong
+light. Also, informal china, glass, etc.
+
+Screens, if necessary, should have frames to accord with the
+furniture, and the panels should be of wood, or some simple material
+such as sacking or rough linen, which comes in lovely vivid,
+out-of-door colours.
+
+The bizarre and fascinating sports balconies overlooking squash
+courts, tennis courts, golf links, croquet grounds, etc., are among
+the newest inventions of the decorator. Furnished porches we have all
+grown accustomed to, and when made so as to be enclosed by glass, in
+inclement weather, they may be treated like inside rooms in the way of
+comforts and conveniences.
+
+The smart porch-room is furnished with only such chairs, tables, sofas
+and rugs as are appropriate to a place not thoroughly protected from
+the elements, for while glass is provided for protection, a summer
+shower can outstrip a slow-footed servant and valuable articles
+made for indoors cannot long brave the effect of rain and hot sun.
+
+
+PLATE XXV
+
+     In this case the house stood so near the road that there was no
+     privacy, so the ingenious architect-decorator became
+     landscape-gardener and by making a high but ornamental fence and
+     numerous arbours, carried the eye to the green trees beyond and
+     back to the refreshing tangle of shrubs and flowers in the
+     immediate foreground, until the illusion of being secluded was so
+     complete that the nearby road was forgotten.
+
+[Illustration: _Treatment of Ground Lying Between House and Much
+Travelled Country Road_]
+
+
+For this reason furnish your porch with colours which do not fade, and
+with wicker furniture which knows how to contract and expand to order!
+
+The same rule applies to rugs. Put your Oriental rugs indoors, and use
+inexpensive, effective porch rugs which, with a light heart, you can
+renew each season, if necessary.
+
+The sports balcony is fitted out with special reference to the comfort
+of those who figure as audience for sports, and as a lounge between
+games, and each hostess vies with her friends in the originality and
+completeness of equipment, as well as in the costumes she dons in her
+commendable desire to make of herself a part of her scheme of
+decoration.
+
+A country place which affords tennis courts, golf links, cricket and
+polo grounds or has made arrangements for the exercise of any sports,
+usually makes special provision for the comfort of those engaging in
+them, more or less as a country club does. There is a large porch for
+lounging and tea, and a kitchenette where tea, cooling drinks and
+sandwiches are easily and quickly prepared, without interfering with
+the routine of the kitchens. There are hot and cold plunge baths,
+showers, a swimming pool, dressing rooms with every convenience known
+to man or woman, and a room given over to racks which hold implements
+used in the various sports, as well as lockers for sweaters, change of
+linen, socks, etc., belonging to those stopping in the house.
+
+Where sports are a main issue, an entire building is often devoted to
+the comfort of the participants. We have in mind the commodious and
+exceptionally delightful arrangements made for the comfort and
+pleasure of those playing court tennis in a large and architecturally
+fine building erected for the purpose on the estate of the Neville
+Lyttons, Crabber Park, Poundhill, England.
+
+If sport balconies overlook tennis courts or golf links, they are
+fitted out with light-weight, easily moved, stiff chairs for the
+audience, and easy, cushioned arm-chairs and sofas of upholstered
+wicker, for the participants to lounge in between matches.
+
+Card tables are provided, as well as small tea tables, to seat two,
+three or four, while there is always one oblong table at which a
+sociable crowd of young people may gather for chatter and tea!
+
+If you use rail-boxes, or window-boxes, holding growing plants, be
+sure that the flowers are harmonious in colour when seen from the
+lawn, road or street, against their background of _house_ and the
+awnings and chintzes, used on the porch.
+
+The flowers in window-boxes and on porch-rails must first of all
+decorate the _outside_ of your house. Therefore, before you buy your
+chintz for porches, decide as to whether the colour of your house, and
+its awnings, demands red, pink, white, blue, yellow or mauve flowers,
+and then choose your chintz and porch rugs as well as porch
+table-linen, to harmonise.
+
+In selecting porch chairs remember that women want the backs of most
+of the chairs only as high as their shoulders, on account of wearing
+hats.
+
+
+
+
+CHAPTER XXX
+
+SUN-ROOMS
+
+
+There are countless fascinating schemes for arranging sun-rooms. One
+which we have recently seen near Philadelphia, was the result of
+enclosing a large piazza, projecting from an immense house situated in
+the midst of lawns and groves.
+
+The walls are painted orange and striped with pale yellow; the floors
+are covered with the new variety of matting which imitates tiles, and
+shows large squares of colour, blocked off by black. The chintzes used
+are in vivid orange, yellow and green, in a stunning design; the
+wicker chairs are painted orange and black, and from the immense
+iridescent globes of electric light hang long, orange silk tassels.
+
+
+PLATE XXVI
+
+     Shows how to utilise and make really very attractive an extension
+     roof, by converting it into a balcony.
+
+     An awning of broad green and white stripes protect this one in
+     winter as well as summer, and by using artificial ivy, made of
+     tin and painted to exactly imitate nature, one gets, as you see,
+     a charming effect.
+
+[Illustration: _An Extension Roof in New York Converted into a
+Balcony_]
+
+
+Iron fountains, wonderful designs in black and gold, throw water over
+gold and silver fish, or gay water plants; while, in black and gold
+cages, vivid parrots and orange-coloured canaries gleam through
+the bars. Iron vases of black and gold on tall pedestals, are filled
+with trailing ivy and bright coloured plants. Along the walls are
+wicker sofas, painted orange and black, luxuriously comfortable with
+down cushions covered, as are some of the chair cushions, in soft
+lemon, sun-proofed twills.
+
+Here one finds card-tables, tea-tables and smoking-tables, a
+writing-desk fully equipped, and at one end, a wardrobe of black and
+gold, hung with an assortment of silk wraps and "wooleys"--for an
+unprovided and chilly guest, in early spring, when the steam heat is
+off and the glass front open.
+
+Even on a grey, winter day, this orange and gold room seems flooded
+with sun, and gives one a distinctly cheerful sensation when entering
+it from the house.
+
+Of course, if your porch-room is mainly for mid-summer use and your
+house in a warm region, then we commend instead of sun-producing
+colours, cool tones of green, grey or blue. If your porch floor is
+bad, cover it with dark-red linoleum and wax it. The effect is like a
+cool, tiled floor. On this you can use a few porch rugs.
+
+Black and white awnings or awnings in broad, green-and-white stripes,
+or plain green awnings, are deliciously cool-looking, and rail-boxes
+filled with green and white or blue and pale pink flowers are
+refreshing on a summer day.
+
+By the sea, where the air is bracing, and it is not necessary to trick
+the senses with a pretence at coolness, nothing is more satisfactory
+or gay than scarlet geraniums; but if they are used, care must be
+taken that they harmonise with the colour of the awnings and the
+chintz on the porch.
+
+Speaking of rail-boxes reminds us that in making over a small summer
+house and converting a cheap affair into one of some pretensions,
+remember that one of the most telling points is the character of your
+porch railing. So at once remove the cheap one with its small, upright
+slats and the insignificant and frail top rail, and have a solid porch
+railing (or porch fence) built with broad, top rail. Then place all
+around porch, resting on iron brackets, rail-flower boxes, the tops of
+these level with the top of the rail, and paint the boxes the colour
+of the house trimmings. Filled with running vines and gay flowers,
+nothing could be more charming.
+
+Window-boxes make any house lovely and are a large part of that charm
+which appeals to us, whether the house be a mansion in Mayfair or a
+Bavarian farm house. Americans are learning this.
+
+The window and rail-boxes of a house look best when all are planted
+with the same variety of flowers.
+
+Having given a certain air of distinction to your porch-railing, add
+another touch to the appearance of your small, remodelled house by
+having the shutters hung from the top of the windows, instead of from
+the sides. A charming variety of awning or sun-shades, to keep the sun
+and glare out of rooms, is the old English idea of a straw-thatching,
+woven in and out until it makes a broad, long mat which is suspended
+from the top of windows, on the outside of the house, being held out
+and permanently in place, at the customary angle of awnings. We first
+saw this picturesque kind of rustic awnings used on little cottages of
+a large estate in Vermont, cottages once owned and lived in by
+labourers, but bought and put in comfortable condition to be used as
+overflow rooms for guests, in connection with the large family mansion
+(once the picturesque village inn).
+
+The art of making these straw awnings is not generally understood in
+America. In the case to which we refer, one of the gardeners employed
+on the estate, chanced to be an old Englishman who had woven the straw
+window awnings for farm houses in his own country.
+
+The straw awnings, with window-boxes planted with bright geraniums and
+vines, make an inland cottage delightfully picturesque and are
+practical, although by the sea the straw awnings might be destroyed by
+high winds.
+
+
+
+
+CHAPTER XXXI
+
+TREATMENT OF A WOMAN'S DRESSING-ROOM
+
+
+Every house, or flat, which is at all pretentious, should arrange a
+Vanity Room for the use of guests, in which there are full-length
+mirrors, a completely equipped dressing-table with every conceivable
+article to assist a lady in making her toilet, slipper-chairs and
+chairs to rest in, and a completely equipped lavatory adjoining.
+
+The woman who takes her personal appearance seriously, just as any
+artist takes her art (and when dressing is not an art it is not worth
+discussion) can have her dressing-room so arranged with mirrors, black
+walls and strong, cleverly reflected, electric lights, that she stands
+out with a cleancut outline, like a cameo, the minutest detail of her
+toilet disclosed. With such a dressing-room, it is quite impossible to
+suffer at the hands of a careless maid, and one can use the black
+walls as a background for vivid chair covers, sofa cushions and lamp
+shades.
+
+Off this dressing-room should be another, given over to clothes, with
+closets equipped with hooks and shelves, glass cabinets for shoes and
+slippers, and the "show-case" for jewels to be placed in by the maid
+that the owner may make her selection.
+
+At the time of the Louis, knights and courtiers had large rooms
+devoted to the care and display of their wardrobes, and even to-day
+there are men who are serious connoisseurs in the art of clothes.
+
+
+PLATE XXVII
+
+     Interior decoration not infrequently leads to a desire to chic
+     the appearance of one's "out-of-doors." We give an example of a
+     perfectly commonplace barn made interesting by adding green
+     latticework, a small iron balcony, ornamental gate and setting
+     out a few decorative evergreens. Behold a transformation!
+
+[Illustration: _A commonplace Barn Made Interesting_]
+
+
+The dressing-table should be constructed of material in harmony with
+the rest of your furniture. It may be of mahogany, walnut, rose wood,
+satin wood, or some painted variety, or, as is the fashion now, made
+of silk,--a seventeenth and eighteenth century style (in vogue during
+the time of the Louis). These are made of taffeta with lace covers on
+top, and in outline are exactly like the simple dotted-swiss
+dressing-tables with which every one is familiar,--the usual variety,
+so easily made by placing a wooden packing box on its side. In this
+case have your carpenter put shelves inside for boots, shoes and
+slippers. The entire top is covered with felt or flannel, over
+which is stretched silk or sateen, in any colour which may harmonise
+with the room. A flounce, as deep as the box is high, is made of the
+same material as the top, and tacked to the edges of the table-top.
+Cover the whole with dotted or plain swiss. A piece of glass, cut to
+exactly fit the top of the table, is a practical precaution. A large
+mirror, hung above yet resting on the table, is canopied in the old
+style, with the same material with which you cover your
+dressing-table.
+
+If the table is made of the beautiful taffeta, now so popular for this
+purpose, as well as for curtains, it is, of course, not covered with
+swiss or lace, except the top, on which is used a fine, hand-made
+cover, of real lace and hand embroidery, in soft creams,--cream from
+age, or a judicious bath in weak tea. The glass top laid over this
+cover protects the lace.
+
+If the table has drawers, each can be neatly covered with the taffeta,
+as can the frame of any table. A good, up-to-date cabinet-maker
+understands this work as so much of it is now done.
+
+
+
+
+CHAPTER XXXII
+
+THE TREATMENT OF CLOSETS
+
+
+The modern architect turns out his closets so complete as to comfort
+and convenience, that he leaves but little to be done by the
+professional or amateur decorator. Each perfectly equipped bedroom
+suite calls for, at least, two closets: one supplied with hooks,
+padded hangers for coats, and covered hangers for skirts, if the
+closet is for a woman; or, if it is for a man, with such special
+requirements as he may desire. In the case of a woman's suite, one
+closet should consist entirely of shelves. Paint all the closets to
+harmonise with the suite, and let the paint on the shelves have a
+second coat of enamel, so that they may be easily wiped off. Supply
+your shelves with large and small boxes for hats, blouses, laces,
+veils, etc., neatly covered with paper, or chintz, to harmonise with
+the room.
+
+Those who dislike too many mirrors in a room may have full length
+mirrors on the inside of the closet doors.
+
+Either devote certain shelves to your boots, shoes and slippers, or
+have a separate shallow closet for these-shallow because it is most
+convenient to have but one row on a shelf.
+
+Where economy is not an item of importance, see that electric lights
+are placed in all the closets, which are turned on with the action of
+opening the door.
+
+The elaboration of closets, those with drawers of all sizes and
+depths, cedar closets for furs, etc., is merely a matter of the
+architect's planning to meet the specific needs of the occupants of
+any house.
+
+
+
+
+CHAPTER XXXIII
+
+TREATMENT OF A NARROW HALL
+
+
+A long, narrow hall in a house, or apartment, is difficult to arrange,
+but there are methods of treating them which partially corrects their
+defects. One method is shown on Plate XIV.
+
+The best furnishing is a very narrow console (table) with a stiff,
+high-backed chair on either side of it, and on the wall, over console,
+a tapestry, an architectural picture or a family portrait. On the
+console is placed merely a silver card tray.
+
+Have a closet for wraps if possible, or arrange hooks and a table, out
+of right, for this purpose. Keep your walls and woodwork light in
+colour and in the same tone.
+
+
+PLATE XXVIII
+
+     An idea for treatment of a narrow hall, where the practical and
+     beautiful are combined. The hall table and candlesticks are an
+     example of the renaissance of iron, elaborately wrought after
+     classic designs.
+
+     The mirror over table is framed in green glass, the ornaments are
+     of dull gold (iron gilded).
+
+     The Venetian glass jar is in opalescent green, made to hold dried
+     rose leaves, and used here purely as an ornament which catches
+     and reflects the light, important, as the hall is dark.
+
+     The iron of table is black touched with gold, and the marble slab
+     dark-green veined with white.
+
+[Illustration: _Narrow Entrance Hall of a New York Antique Shop_]
+
+
+An interesting treatment of a long narrow hall is to break its length
+with lattice work, which has an open arch, wide enough for one or two
+people to pass through, the arch surmounted by an urn in which
+ivy is planted. The lattice work has lines running up and down--not
+crossed, as is the usual way. It is on hinges so that trunks or
+furniture may be carried through the hall, if necessary. The whole is
+kept in the same colour scheme as the hall.
+
+
+
+
+CHAPTER XXXIV
+
+TREATMENT OF A VERY SHADED LIVING-ROOM
+
+
+By introducing plenty of yellow and orange you can bring sunshine into
+a dark living-room. If your house is in a part of the country where
+the heat is great, a dark living-room in summer is sometimes a
+distinct advantage, so keep the colourings subdued in tone, and,
+therefore, cool looking. If, on the contrary, the living-room is in a
+cool house on the ocean, or a shaded mountainside, and the sun is cut
+off by broad porches, you will cheer up your room, and immensely
+improve it, by using sun-producing colours in chintzes and silks;
+while cut flowers or growing plants, which reproduce the same
+colouring, will intensify the illusion of sunshine.
+
+Sash curtains of thin silk, in bright yellows, are always
+sun-producing, but if you intend using yellows in a room, be careful
+to do so in combination with browns, greens, greys, or carefully
+chosen blues, not with reds or magentas.
+
+Try not to mix warm and cold colours when planning your walls. Grey
+walls call for dull blue or green curtains; white walls for red or
+green curtains; cream walls for yellow, brown buff or apple green
+curtains. If your room is too cold, warm it up by making your
+accessories, such as lamp shades, and sofa pillows, of rose or yellow
+material.
+
+
+
+
+CHAPTER XXXV
+
+SERVANTS' ROOMS
+
+
+Whether you expect to arrange for one servant or a dozen, keep in mind
+the fact that efficiency is dependent upon the conditions under which
+your manor maid-servant rests as well as works, and that it is as
+important that the bedroom be _attractive_ as that it be comfortable.
+
+For servants' rooms it is advised that the matter of furnishing and
+decorating be a scheme which includes comfort, daintiness and
+effectiveness on the simplest, least expensive basis, no matter how
+elaborate the house. There is a moral principle involved here. In the
+case of more than one servant the colour scheme alone needs to be
+varied, for similar furniture will prevent jealousy among the
+servants, while at the same time the task of inventing is reduced to
+the mere multiplying of one room; even the wall paper and chintz being
+alike in pattern, if different in colour.
+
+The simplest iron beds, or wooden furniture can be painted white or
+any colour which may be considered more durable.
+
+In maids' rooms for summer use, a vase provided for flowers is
+sometimes an incentive to personally contribute a touch of beauty.
+That sense of beauty once awakened in a maid does far more than any
+words on the subject of order and daintiness in her own room or in
+those of her employer.
+
+
+
+
+CHAPTER XXXVI
+
+TABLE DECORATION
+
+
+For the young and inexperienced we state a few rules for table
+decoration. If you have furnished your dining-room to accord not only
+with your taste, but the scale upon which you intend living, be
+careful that the dining-table never strikes a false note, never "gets
+out of the picture" by becoming too important as to setting or menu.
+You may live very formally in your town house and very simply, without
+any ostentation, in the country, but be sure that in all of your
+experimenting with table decoration you observe above all the law of
+appropriateness.
+
+Your decoration, flowers, fruit, character of bowl or dish which holds
+them, or _objet d'art_ used in place of either; linen or lace, china,
+glass and silver,--each and all must be in keeping. The money value
+has nothing whatever to do with this question of appropriateness, when
+considered by an artist decorator. Remember that in decorating,
+things are classified according to their colour value, their lines and
+the purpose for which they are intended. The dining-table is to eat
+at, therefore it should primarily hold only such things as are
+required for the serving of the meal. So your real decoration should
+be your silver, glass and china, with its background of linen or lace.
+The central decoration, if of flowers or fruit, must be in a bowl or
+dish decorative in the same sense that the rest of the tableware is.
+
+Flowers should be kept in the same key as your room. One may do this
+and yet have infinite variety. Tall stately lilies, American Beauty
+roses, great bowls of gardenias and orchids are for stately rooms.
+Your small house, flat or bungalow require modest garden flowers such
+as daffodils, jonquils, tulips, lilies-of-the-valley, snapdragons, one
+long-stemmed rose in a vase, or a cluster of shy moss-buds or nodding
+tea-roses.
+
+A table set with art in the key of a small menage and on a scale of
+simple living, often strikes the note of perfection from the expert's
+point of view because perfect of its kind and suitable for the
+occasion. This appropriateness is what makes your "smart" table quite
+as it makes your "smart" woman.
+
+Wedgwood cream colour ware "C.C." is beautiful and always good form.
+For those wanting colour, the same famous makers of England have an
+infinite variety, showing lovely designs.
+
+Unless you are a collector in the museum sense, press into service all
+of your beautiful possessions. If you have to go without them, let it
+be when you no longer own them, and not because they are hoarded out
+of sight. You know the story of the man who bought a barrel of apples
+and each day carefully selected and ate those that were rotten,
+feeling the necessity of not being wasteful. When the barrel was empty
+he realised that be had deliberately wasted all his good apples _by
+not eating one_! Let this be a warning to him who would save his
+treasures. If you love antiques and have joyously hunted them down
+and, perhaps, denied yourself other things to obtain them, you are the
+person to use them, even though the joy be transient and they perish
+at the hand of a careless man or maid-servant. Remember, posterity
+will have its own "fads" and prefer adding the pleasure of pursuit to
+that of mere ownership. So bring out your treasures and use them!
+
+As there are many kinds of dining-rooms, each good if planned and
+worked out with an art instinct, so there are many kinds of tables.
+The usual sort is the round, or square, extension table, laid with
+fine damask and set with conventional china, glass and silver, rare in
+quality and distinguished in design. For those who prefer the unusual
+there are oblong, squarely built Jacobean and Italian refectory
+tables. With these one makes a point of showing the rich colour of the
+time-worn wood and carving, for the old Italian tables often have the
+bevelled edge and legs carved. When this style of table is used, the
+wood instead of a cloth, is our background, and a "runner" with
+doilies of old Italian lace takes the place of linen.
+
+In Feudal Days, when an entire household, master and retainers, sat in
+the baronial hall "above and below the salt," tables were made of
+great length. When used out of their original setting, they must be
+cut down to suit modern conditions. In Krakau, Poland, the writer
+often dined at one of these feudal boards which had been in our
+hostess's family for several hundred years. To get it into her
+dining-room a large piece had been cut out at the centre and the two
+ends pushed together.
+
+       *       *       *       *       *
+
+For those who live informally, delightfully decorative china can be
+had at low prices. It was once made only for the peasants, and comes
+to us from Italy, France, Germany and England. This fact reminds us
+that when we were travelling in Southern Hungary and were asked to
+dine with a Magyar farmer, out on the windy Pasta, instead of their
+usual highly coloured pottery, gay with crude, but decorative flowers,
+they honoured us by covering the table with American ironstone china!
+The Hungarian crockery resembles the Brittany and Italian ware, and
+some of it is most attractive when rightly set.
+
+When once the passion to depart from beaten paths seizes us it is very
+easy to make mistakes. Therefore to the housekeeper, accustomed to
+conventional china, but weary of it, we would commend as a safe
+departure, modern Wedgwood and Italian reproductions of classic
+models, which come in exquisite shapes and in a delicious soft cream
+tone. If one prefers, it is possible to get these varieties decorated
+with charming designs in artistic colourings, as previously stated.
+
+For eating meals out of doors, or in "sun-rooms," where the light is
+strong, the dark peasant pottery, like Brittany, Italian and
+Hungarian, is very effective on dull-blue linen, heavy cream linen or
+coarse lace, such as the peasants make.
+
+Copper lustre, with its dark metallic surface; is enchanting on dark
+wood or coloured linen of the right tone.
+
+Your table must be a _picture_ composed on artistic lines. That is, it
+must combine harmony of line and colour and above all, appropriateness.
+Gradually one acquires skill in inventing unusual effects; but only
+the adept can go against established rules of art and yet produce a
+pleasing _ensemble_. We can all recall exceptions to this rule
+for simplicity, beautiful, artistic tables, covered with rare and
+entrancing objects,--irrelevant, but delighting the eye. Some will
+instantly recall Clyde Fitch's dinners in this connection, but here
+let us emphasise the dictum that for a great master of the art of
+decoration there need be no laws.
+
+A careful study of the Japanese principles of decoration is an ideal
+way of learning the art of simplicity. It is impossible to deny the
+immense decorative value of a single _objet d'art_, as one flower in a
+simple vase, provided it is given the correct background.
+
+Background in decoration is like a pedal-point in music; it must
+support the whole fabric, whether you are planning a house, a room or
+a table.
+
+
+PLATE XXIX
+
+     Shows how a too pronounced rug which is out of character, though
+     a valuable Chinese antique, can destroy the harmony of a
+     composition even where the stage is set with treasures; Louis XV
+     chairs, antique fount with growing plants, candelabra, rare
+     tapestry, reflected by mirror, and a graceful console and a
+     settee with grey-green brocade cushions.
+
+[Illustration: _Example of a Charming Hall Spoiled by Too Pronounced a
+Rug_]
+
+
+
+
+CHAPTER XXXVII
+
+WHAT TO AVOID IN INTERIOR DECORATION: RULES FOR BEGINNERS
+
+
+We all know the saying that it is only those who have mastered the
+steps in dancing who can afford to forget them. It is the same in
+every art. Therefore let us state at once, that all rules may be
+broken by the educated--the masters of their respective arts. For
+beginners we give the following rules as a guide, until they get their
+bearings in this fascinating game of making pictures by manipulating
+lines and colours, as expressed in necessary furnishings.
+
+       *       *       *       *       *
+
+Avoid crowding your rooms, walls or tables, for in creating a _home_
+one must produce the quality of restfulness by order and space.
+
+As to walls, do not use a cold colour in a north or shaded room. Make
+your ceilings lighter in tone than the side walls, using a very pale
+shade of the same colour as the side walls.
+
+Do not put a spotted (figured) surface on other spotted (figured)
+surfaces. A plain wall paper is the proper, because most effective,
+background for pictures.
+
+Avoid the mistake of forgetting that table decoration includes all
+china, glass, silver and linen used in serving any meal.
+
+In attempting the decoration of your dining-room table avoid anything
+inappropriate to the particular meal to be served and the scale of
+service. Do not have too many flowers on your table, or flowers not in
+harmony with the rest of the setting, in variety or colour.
+
+Do not use peasant china, no matter how decorative in itself, on fine
+damask or rare lace. By so doing you strike a false note. The
+background it demands is crash or peasant laces.
+
+Avoid crowding your dining-table or giving it an air of confusion by
+the number of things on it, thus destroying the laws of simplicity,
+line and balance in decoration.
+
+Avoid using on your walls as mere decorations articles such as rugs or
+priests' vestments primarily intended for other purposes.
+
+Avoid the misuse of anything in furnishing. It needs only knowledge
+and patience to find the correct thing for each need. Better do
+without than employ a makeshift in decorating.
+
+Inappropriateness and elaboration can defeat artistic beauty--but
+intelligent elimination never can.
+
+Beware of having about too many vases, or china meant for domestic
+use. The proper place for table china, no matter how rare it is, is in
+the dining-room. If very valuable, one can keep it in cabinets.
+
+Useless bric-a-brac in a dining-room looks worse than it does anywhere
+else.
+
+Your dining-room is the best place for any brasses, copper or pewter
+you may own.
+
+If sitting-room and dining-room connect by a wide opening, keep the
+same colour scheme in both, or, in any case, the same depth of colour.
+This gives an effect of space. It is not uncommon when a house is very
+small, to keep all of the walls and woodwork, and all of the carpets,
+in exactly the same colour and tone. If variety in the colour-scheme
+is desired, it may be introduced by means of cretonnes or silks used
+for hangings and furniture covers.
+
+Avoid the use of thin, old silks on sofas or chair seats.
+
+Avoid too cheap materials for curtains or chair covers, as they will
+surely fade.
+
+Avoid too many small rugs in a room. This gives an impression of
+restless disorder and interferes with the architect's lines. Do not
+place your rugs at strange angles; but let them follow the lines of
+the walls.
+
+Avoid placing ornaments or photographs on a piano which is in
+sufficiently good condition to be used.
+
+Avoid the chance of ludicrous effects. For example, keep a plain
+background behind your piano. Make sure that, when listening to music
+you are not distracted by seeing a bewildering section of a picture
+above the pianist's head, or a silly little vase dodging, as he moves,
+in front of, above, or below his nose!
+
+Avoid placing vases, or a clock, against a chimney piece already
+elaborately decorated by the architect, as a part of his scheme in
+using the moulding of panel to frame a painting over the mantel. In
+the old palaces one sees that a bit of undecorated background is
+provided between mantel and the architect's decoration.
+
+If your room has a long wall space, furnish it with a large cabinet or
+console, or a sofa and two chairs.
+
+Avoid blotting out your architect's cleverest points by thoughtlessly
+misplacing hangings. Whoever decorates should always keep the
+architect's intention in mind.
+
+Avoid having an antique clock which does not go, and is used merely as
+an ornament. Make your rooms _alive_ by having all the clocks running.
+This is one of the subtleties which marks the difference between an
+antique shop, or museum, and a home.
+
+Avoid the desecration of the few good antiques you own, by the use of
+a too modern colour scheme. Have the necessary modern pieces you have
+bought to supplement your treasures, stained or painted a dull dark
+colour in harmony with the antiques, and then use dull colours in the
+floor coverings, curtains and cushions. If you have no good _old_
+ornaments, try to get a few good shapes and colours in inexpensive
+reproductions of the period to which your antiques belong. Avoid the
+mistake of forgetting that every room is a "stage setting," and must
+be a becoming and harmonious background for its occupants.
+
+Avoid arranging a Louis XVI bedroom, with fragile antiques and
+delicate tones, for your husband of athletic proportions and elemental
+tastes. He will not only feel, but look out of place. If he happens to
+be fond of artistic things, give him these in durable shades and
+shapes.
+
+Avoid the omission of a thoroughly masculine sitting-room, library,
+smoking-room or billiard-room for the man, or men, of the house.
+
+Avoid the use of white linen when eating out of doors. Saxe-blue, red
+or taupe linen are restful to the eyes. In fact, after one has used
+coloured linen, white seems glaring and unsympathetic even indoors,
+and one instinctively chooses the old deep-cream laces. Granting this
+to be a bit precieuse, we must admit that the traditional white
+damask, under crystal and silver, or gold plate with rare porcelains,
+has its place and its distinction in certain houses, and with certain
+people.
+
+
+PLATE XXX
+
+     Shows a man's library, masculine gender written all over
+     it-strength, comfort, usefulness and simplicity.
+
+     The mantel is arranged in accordance with rules already stated.
+     It will be noticed that the ornaments on mantel in a way
+     interfere with design of the large architectural picture.
+
+[Illustration: _A Man's Library_]
+
+
+Avoid in a studio, bungalow or a small flat, where the living-room
+and dining-room are the same, all evidences of _dining-room_ (china,
+silver and glass for use). Let the table be covered with a piece of
+old or modern brocade when not set for use. A lamp and books further
+emphasises the note of living-room.
+
+Avoid the use of light-absorbing colours in wall papers if you are
+anxious to create sympathetic cheerfulness in your rooms, and an
+appearance of winning comfort. Almost all dark colours are
+light-absorbing; greens, dull reds, dark greys and mahogany browns
+will make a room dull in character no matter how much sunlight comes
+in, or how many electric lights you use. Perhaps the only dark colour
+which is not light-absorbing is a dark yellow.
+
+Avoid the permanent tea-table. We are glad to record that one seldom
+happens upon one, these days. How the English used to revile them! In
+the simplest homes it is always possible at the tea hour, to have a
+table placed before whoever is to "pour" and a tray on which are cups,
+tea, cream, sugar, lemon, toast, cake or what you will, brought in
+from the pantry or kitchen. There was a time when in America, one
+shuddered at the possibility of dusty cups and those countless faults
+of a seldom-rehearsed tea-table!
+
+Avoid serving a lunch in an artificially lighted room. This, like a
+permanent tea-table, is an almost extinct fashion. Neither was
+sensible, because inappropriate, and therefore bad form. The only
+possible reason for shutting out God's sunlight and using artificial
+lights, is when the function is to begin by daylight and continue
+until after nightfall.
+
+If in doubt as to what is _good_, go often to museums and compare what
+you own, or have seen and think of owning, with objects in museum
+collections.
+
+
+
+
+CHAPTER XXXVIII
+
+FADS IN COLLECTING
+
+
+In a New York home one room is devoted to a so-called _panier fleuri_
+collection which in this case means that each article shows the design
+of a basket holding flowers or fruit. The collection is to-day so
+unique and therefore so valuable, that it has been willed to a museum,
+but its creation as a collection, was entirely a chance occurrence.
+The design of a basket trimmed with flowers happened to appeal to the
+owner, and if we are not mistaken, the now large collection had its
+beginning in the casual purchase of a little old pendant found in a
+forgotten corner of Europe. The owner wore it, her friends saw it, and
+gradually associated the _panier fleuri_ with her, which resulted in
+many beautiful specimens of this design being sought out for her by
+wanderers at home and abroad. To-day this collection includes old
+silks, laces, jewellery, wax pictures, old prints, some pieces of
+antique furniture, snuffboxes and ornaments in glass, china, silver,
+etc.
+
+Every museum is the result of fads in collecting, and when one
+considers all that is meant by this heading, which sounds so trifling
+and unimportant to the layman, it will not seem strange that we
+strongly recommend it as a dissipation!
+
+At first, quite naturally, the collector makes mistakes; but it is
+through his mistakes that he learns, and absolutely nothing gives such
+a zest to a stroll in the city, a tramp in the country, or an
+unexpected delay in an out-of-the-way town, as to have this collecting
+bee in your bonnet. How often when travelling we have rejoiced when
+the loss of a train or a mistake in time-table, meant an unexpected
+opportunity to explore for junk in some old shop, or, perhaps, to
+bargain with a pretty peasant girl who hoarded a beloved heirloom, of
+entrancing interest to us (and worth a pile of money really), while
+she lived happily on cider and cheese!
+
+It is doubtless the experience of every lover of the old and the
+curious, that one never regrets the expenses incurred in this quest of
+the antique, but one does eternally regret one's economies. The
+writer suffers now, after years have elapsed, in some cases, at the
+memory of treasures resisted when chanced upon in Russia, Poland,
+Hungary, Bohemia--where not! Always one says, "Oh, well, I shall come
+back again!" But there are so many "pastures green," and it is often
+difficult to retrace one's steps.
+
+Then, too, these fads open our eyes and ears, so that in passing along
+a street on foot, in a cab or on a bus, or in glancing through a book,
+or, perhaps, in an odd corner of an otherwise colourless town, where
+fate has taken us, we find "grist for our mill"--just the right piece
+of furniture for the waiting place!
+
+Know what you want, _really want it_, and you will find it some time,
+somewhere, somehow!
+
+As a stimulus to beginners in collecting, as well as an illustration
+of that perseverance required of every keen collector, we cite the
+case of running down an Empire dressing-table.
+
+It was our desire to complete a small collection of Empire furniture
+for a suite of rooms, by adding to it as a supplement to the bureau, a
+certain type of Empire dressing-table. It is no exaggeration to say
+that Paris was dragged for what we wanted--the large well-known
+antique shops and the smaller ones of the Latin Quarter being both
+ransacked. Time was flying, the date of our sailing was approaching,
+and as yet the coveted piece had not been found. Three days before we
+left, a fat, red-faced, jolly cabby, after making a vain tour of the
+junk shops in his quarter, demanded to know exactly what it was we
+sought. When told, he looked triumphant, bade us get into his cab,
+lashed his horse and after several rapidly made turns, dashed into an
+out-of-the-way street and drew up before a sort of junk store-house,
+full of rickety, dusty odds and ends of furniture, presided over by a
+stupid old woman who sat outside the door, knitting,--wrapped head and
+all in a shawl. We entered and, there, to our immense relief, stood
+the dressing table! It was grey with dust, the original Empire green
+silk, a rusty grey and hanging in shreds on the back of the original
+glass. There was a marble top set into the wood and grooved in a
+curious way. The whole was intact except for a loose back leg, which
+gave it a swaying, tottering appearance. We passed it in
+silence--being experienced traders! Then, after buying several little
+old picture frames, while Madame continued her knitting, we wandered
+close to the coveted table and asked what was wanted for that broken
+bit "of no use as it stands."
+
+"Thirty francs" (six dollars) was the answer.
+
+Later a well-known New York dealer offered seventy-five dollars for
+the table in the condition in which we found it, and repaired as it is
+to-day it would easily bring a hundred and fifty, anywhere!
+
+As it happened, the money we went out with had been spent on
+unexpected finds, and neither we nor our good-natured cabby were in
+possession of thirty francs! In fact, cabby was rather staggered to
+hear the price, having offered to advance what we needed. He suggested
+sending it home "collect" but Madame would not even consider such an
+idea. However, at last our resourceful jehu came to the rescue. If the
+ladies would seat themselves in the cab, he could place the table in
+front of them, with the cover of the cab raised, and Madame of the
+shop could lock her door and mounting the box by the side of our
+_cocher_, she might drive with us to our destination and collect the
+money herself! He promised to bring her home safely again!
+
+As we had only the next day for boxing and shipping, there was no
+alternative. Before we had even taken in our grotesque appearance, the
+horse was galloping, as only a Paris cab horse can gallop, toward our
+abode in Avenue Henri Martin, past carriages and autos returning from
+the _Bois_, while inside the cab we sat, elated by our success and in
+that whirl of triumphant absorbing joy which only the real collector
+knows.
+
+This same modest little Empire collection had a treasure recently
+added to it, found by chance, in an antique shop in Pennsylvania. It
+was a mirror. The dealer, an Italian, said that he had got it from an
+old house in Bordentown, New Jersey.
+
+"It's genuine English," he said, certain he was playing his winning
+card.
+
+It has the original glass and a heavy, squarely made, mahogany frame.
+Strange to say it corresponds exactly with the bed and bureau in the
+collection, having pilasters surmounted by women's heads of
+gilded wood with small gilded feet showing at base.
+
+
+PLATE XXXI
+
+     An end of a room containing genuine Empire furniture, Empire
+     ornaments and a rare collection of Empire cups, which appear in a
+     _vitrine_ seen near the dull-blue brocade curtains drawn over
+     windows.
+
+     We would especially call attention to the mantelpiece, which was
+     originally the Empire frame of a mirror, and to a book shelf made
+     interesting by having the upper shelf supported by a charming
+     pair of antique bronze cupids.
+
+     This plate is reproduced to show as many Empire pieces as
+     possible; it is not an ideal example of arrangement, either as to
+     furniture in room or certain details. There is too much crowding.
+
+[Illustration: _A Collection of Empire Furniture, Ornaments and
+China_]
+
+
+As the brother of the great Napoleon, Joseph Bonaparte, king of Spain
+and Rome, passed many years of his self-imposed exile in Bordentown,
+in a house made beautiful with furnishings he brought from France, it
+is possible this old mirror has an interesting story, if only it could
+talk! Then, too, it was Bordentown that sheltered a Prince Murat, the
+relative of Joseph Bonaparte. If it was he who conveyed our mirror to
+these shores, a very different, but as highly romantic a tale might
+unfold!
+
+For fear the precious ancient glass should be broken or the frame
+destroyed, we bribed a Pullman-car porter to let us bring its six by
+four feet of antiquity with us, in the train!
+
+When you see a find always take it with you, or the next man may, and
+above all, always be on the lookout.
+
+It was from a French novel by one of the living French writers that we
+first got a clue to a certain obscure Etruscan museum, hidden away in
+the Carrara Mountains, in Italy. That wonderful little museum and its
+adjacent potteries, which cover the face of Italy like ant-hills, are
+to-day contributors to innumerable beautiful interiors in every part
+of America.
+
+We recall a dining-room in Grosvenor Square, London, where a
+world-renowned collection of "powder-blue" vases (the property of Mr.
+J.B. Joel) is made to contribute to a decorative scheme by placing the
+almost priceless vases of old Chinese blue and white porcelain, in
+niches made for them, high up on the black oak panelling. There are no
+pictures nor other decorations on the walls, hence each vase has the
+distinction it deserves, placed as it were, in a shrine.
+
+In the Peter Hewitt Museum, New York, you may see an antique Italian
+china cabinet, made of gilded carved wood, which shows on its
+undulating front, row after row of small niches, lined with red
+velvet. When each deep niche held its porcelain _chef d'oeuvre_, the
+effect must have been that of a gold screen set with gems!
+
+Speaking of red velvet backgrounds, in the same museum, standing near
+the Italian cabinet, is an ancient Spanish one; its elaborate steel
+hinges, locks and ornaments have each a bit of red velvet between
+them and the oak of the cabinet. One sees this on Gothic chests in
+England and occasionally on the antique furniture of other countries.
+The red material stretched back of the metal fret-work, is said to be
+a souvenir of the gruesome custom prevailing in ancient times, of
+warning off invaders by posting on the doors of public buildings, the
+skin of prisoners of war, and holding it in place with open-work
+metal, through which the red skin was plainly seen!
+
+At Cornwall Lodge, in Regents Park, London, the town house of Lady de
+Bathe (Lily Langtry) the dining-room ceiling is a deep sky-blue, while
+the sidewalls of black, serve as a background for her valuable
+collection of old, coloured glass, for the most part English. The
+collection is the result of the owner's eternal vigilance, when
+travelling or at home.
+
+A well-known Paris collector, now dead, found in Spain a bust which
+had been painted black. Its good lines led him to buy it, and, when
+cleaned, it proved to be a genuine Canova, and was sold by this
+dealer, a reliable expert, to an American for five thousand dollars!
+It had been painted during a Revolution, to save it from destruction.
+
+The same dealer on another occasion, when in Spain, found an old silk
+gown of lovely flowered brocade, but with one breadth missing. Several
+years later, in an antique shop in Italy, he found that missing gore
+and had it put back in the gown, thus completing the treasure which
+some ruthless hand had destroyed.
+
+
+
+
+CHAPTER XXXIX
+
+WEDGWOOD POTTERY, OLD AND MODERN
+
+
+Many of our museums have interesting collections of old Wedgwood.
+Altogether the most complete collection we have ever seen is in the
+museum adjoining the Wedgwood factories in Staffordshire, England. The
+curator there, an old man of about seventy, loves to tell the story of
+its founding and growth. He began as a labourer in the potteries and
+has worked his way up to be guardian of the veterans in perfected
+types. Many of the rare and beautiful specimens he has himself dug up
+in the grounds, where from time to time, since 1750, they were thrown
+out as broken, useless debris. The recovery of these bits, their
+preservation and classification, together with valuable donations made
+by English families who have inherited rare specimens, have not only
+placed at the disposal of those interested, the fascinating history of
+Wedgwood, in a thrilling object lesson, but has made the modern
+Wedgwood what it is:--one of the most beautiful varieties of tableware
+in the market to-day.
+
+Josiah Wedgwood is said to have been the first English potter,
+counting from the Roman time to the first quarter of the eighteenth
+century, who made vases to be used for _mere decoration_. Chelsea,
+Worcester and Derby were just then beginning to make fine porcelain.
+In Wedgwood's day it was the rule for young men of title and wealth to
+go abroad, and the souvenirs which they brought back with them, such
+as pictures and vases, helped to form a taste for the antique, in
+England. Then, too, books on Greek art were being written by English
+travellers. Josiah Wedgwood had a natural bent for the pure line and
+classic subjects, but he was, also, possessed with the keen
+businessman's intuition as to what his particular market demanded. So
+he sat about copying the line and decorations of the antique Greek
+vases. He reproduced lines and designs in decoration, but invented the
+"bodies," that is to say, the materials from which the potters moulded
+his wares. He is said to have invented in all, twenty varieties. We
+say that he reproduced Greek designs, and so he did, but John Flaxman,
+his chief decorator, who lived in Rome, where he had a studio and
+clever assistants, studied the classics, imbibed their spirit and
+originated the large majority of Wedgwood's so-called "Greek" designs,
+--those exquisite cameo-like compositions in white, on backgrounds of
+pastel colours, which appeared as miniatures mounted for jewellery,
+medallions let into wall panels, and on furniture and Carrara marble
+mantelpieces, wonderful works of art wrought of his "Jasper" paste,
+which make Josiah Wedgwood outrank any producer of ceramics who has
+ever lived in any age.
+
+Wedgwood's first vases were for use, although they were ornamental,
+too. Those were the pots he made in which to grow bulbs or roots, and
+the "bough pots" which were filled with cut flowers and used to
+ornament the hearth in summer.
+
+Mr. Frederick Rathbone, compiler of the Wedgwood catalogue in 1909, a
+memorial to Josiah Wedgwood made possible by his great-granddaughter,
+says that during his thirty-five years' study of Wedgwood's work, he
+had yet to learn of a single vase which was ever made by him, or sent
+out from his factory at Etruria, which was lacking in grace or beauty.
+
+The Etrurian Museum, Staffordshire, shows Josiah Wedgwood's life work
+from the early Whieldon ware to his perfected Jasper paste. Josiah's
+"trials" or experiments, are the most interesting specimens in the
+museum, and prove that the effort of his life was "converting a rude
+and inconsiderable manufactory into an elegant art and an important
+part of national commerce." Yet, although he is acknowledged by all
+the world to have been the greatest artist in ceramics of his or any
+period, remember pottery was only one of his interests. He was by no
+means a man who concentrated day and night on one line of production.
+He occupied himself with politics, and planned and carried through
+great engineering feats and was, also, deeply interested in the
+education of his children.
+
+When Wedgwood began his work, all tea and coffee pots were
+"salt-glazed," plain, or, if decorated, copies of Oriental patterns,
+which were the only available models, imported for the use of the
+rich. Wedgwood invented in turn his tortoise shell, agate, mottled
+and other coloured wares, and finally his beautiful pale-cream, known
+as "Queen's" ware, in honour of Queen Charlotte, his patron. It is the
+"C.C." (cream colour) which is so popular to-day, either plain or
+decorated. He invented colours, as well as bodies, for the manufacture
+of his earthenware, both for use and for decoration, and built up a
+business employing 15,000 persons in his factories,--and 30,000 in all
+the branches of his business.
+
+In 1896 the census showed 45,914 persons employed in the factories,
+and at that time the annual amount paid in wages was over two million
+pounds (ten million dollars).
+
+We must remember that in 1760, the only way of transporting goods to
+and from the Wedgwood factory was by means of pack-horses. Therefore
+Josiah Wedgwood had to turn his attention to the construction of roads
+and canals. As Mr. Gladstone put it in his address at the opening of
+the Wedgwood Institute at Burslem, Staffordshire, "Wedgwood made the
+raw material of his industry abundant and cheap, which supplied a vent
+for the manufactured article and which opened for it materially a way
+to what we may term the conquest of the outer world." Yet he never
+travelled outside his own country; always employed English workmen to
+carry out his ideas, and succeeded entirely by his own efforts,
+unaided by the state. His first patroness was Catherine II of Russia,
+for whom he made a wonderful table service, and his best customers
+were the court and aristocracy of France, during that country's
+greatest art periods (Louis XV and XVI). In fact Wedgwood ware became
+so fashionable in Paris that the Sevres, Royal Porcelain factory,
+copied the colour and relief of his Jasper plaques and vases. It is
+claimed by connoisseurs, that the Wedgwood useful decorative pottery
+is the only ceramic art in which England is supreme and unassailable.
+
+It has been said at the Wedgwood works, and with great pride, that the
+copying of Wedgwood by the Sevres factories, and the preservation of
+many rare examples of his work to-day, in French museums, to serve as
+models for French designers and craftsman, is a neat compliment to the
+English--"those rude islanders with three hundred religions and only
+one _sauce_"!
+
+
+PLATE XXXII
+
+     In the illustration five of the four vases, four with covers and
+     one without, are reproductions of old pharmacy jars, once used by
+     all Italian druggists to keep their drugs in.
+
+     The really old ones with artistic worth are vanishing from the
+     open market into knowing dealers' or collectors' hands, or the
+     museums have them, but with true Latin perspicuity, when the
+     supply ceased to meet the demand, the great modern Italian
+     potters turned out lovely reproductions, so lovely that they
+     bring high prices in Italy as well as abroad, and are frequently
+     offered to collectors when in Italy as genuine antiques.
+
+[Illustration: _Italian Reproductions in Pottery after Classic Models_]
+
+
+
+
+CHAPTER XL
+
+ITALIAN POTTERY
+
+
+About nine years ago, an American connoisseur, automobiling from Paris
+to Vienna, the route which lies through Northern Italy, quite by
+chance, happened to see some statuettes in the window of a hopeful,
+but unknown, potter's little shop, on a wonderful, ancient, covered
+bridge. You, too, may have seen that rarely beautiful bridge spanning
+the River Brenta, and have looked out through broad arches which occur
+at intervals, on views, so extraordinary that one feels they must be
+on a Gothic tapestry, or the journey just a dream! One cannot forget
+the wild, rushing river of purplish-blues, and the pines, in deep
+greens, which climb up, past ruined castles, perched on jutting rocks,
+toward snow-capped mountain peaks. The views were beautiful, but so
+were the statuettes which had caught our collector's eye. He bought
+some, made inquiries as to facilities for reproduction at these
+potteries, and exchanged addresses. The result was that to-day, that
+humble potter directs several large factories, which are busy reviving
+classic designs, which may be found on sale everywhere in Italy and in
+many other countries as well as America.
+
+
+
+
+CHAPTER XLI
+
+VENETIAN GLASS, OLD AND MODERN
+
+
+If you have been in Venice then you know the Murano Museum and its
+beguiling collection of Venetian glass, that old glass so vastly more
+beautiful in line and decoration than the modern type of, say, fifteen
+years ago, when colours had become bad mixtures, and decorations
+meaningless excrescences.
+
+A bit of inside information given out to some one really interested,
+led to a revival of pure line and lovely, simple colouring, with
+appropriate decorations or none at all. You may already know that
+romantic bit of history. It seems that when the museum was first
+started, about four hundred years ago, the glass blowers agreed to
+donate specimens of their work, provided their descendants should be
+allowed access to the museum for models. This contract made it a
+simple matter for a connoisseur to get reproduced exactly what was
+wanted, and what was not in the market. Elegance, distinguished
+simplicity in shapes, done in glass of a single colour, or in one
+colour with a simple edge in a contrasting shade, or in one colour
+with a whole nosegay of colours to set it off, appearing literally as
+flowers or fruit to surmount the stopper of a bottle, the top of a
+jar, or as decorations on candlesticks.
+
+It was in the Museo Civico of Venice that we saw and fell victims to
+an enchanting antique table decoration--a formal Italian garden, in
+blown glass, once the property of a great Venetian family and redolent
+of those golden days when Venice was the playground of princes, and
+feasting their especial joy; days when visiting royalty and the
+world's greatest folk could have no higher honour bestowed upon them
+than a gift of Venetian glass, often real marvels mounted in silver
+and gold.
+
+We never tired of looking at that fairy garden with its delicate
+copings, balustrades and vases of glass, all abloom with exquisite
+posies in every conceivable shade, wrought of glass--a veritable dream
+thing! Finally, nothing would do but we must know if it had ever been
+copied. The curator said that he believed it had, and an address was
+given us. How it all comes back! We arose at dawn, as time was
+precious, took our coffee in haste and then came that gliding trip in
+the gondola, through countless canals, to a quarter quite unknown to
+us, where at work in a small room, we came upon our glass blower and
+the coveted copy of that lovely table-garden. This man had made four,
+and one was still in his possession. We brought it back to America, a
+gleaming jewelled cobweb, and what happened was that the very ethereal
+quality of its beauty made the average taste ignore it! However, a few
+years have made a vast difference in table, as well as all other
+decorations, and to-day the same Venetian gardens have their faithful
+devotees, as is proved by the continuous procession of the dainty
+wonders, ever moving toward our sturdy shores.
+
+
+
+
+IN CONCLUSION
+
+In bringing our book to an end we would reiterate four fundamental
+principles of Interior Decoration (and all decoration):
+
+Good lines.
+
+Correct proportions.
+
+Harmonious colour scheme (which includes the question of background)
+and
+
+Appropriateness.
+
+Observe these four laws and any house, all interior decoration, and
+any lawn or garden, will be beautiful and satisfying, regardless of
+type and choice of colours.
+
+Whether or not you remain content with your achievement depends upon
+your mental makeup. Really know what you want as a home, _want it_,
+and you can work out any scheme, provided you have intelligence,
+patience and perseverance.
+
+To learn what is meant by _good line_, one must educate oneself by
+making a point of seeing beautiful furniture and furnishings. Visit
+museums, all collections which boast the stamp of approval of experts;
+buy at the best modern and antique shops, and compare what you get
+with the finest examples in the museums. This is the way that
+_connaisseurs_ are made.
+
+
+
+
+INDEX
+
+Acanthus leaf
+Accessories
+Adam, James and Robert
+Alhambra
+Amateur
+Andirons
+Angelo, Michael (See Michelangelo)
+Antique
+"Antiqued"
+Apelles
+Applique
+Appropriate
+Arabesques
+Architectural picture
+Architrave
+Arras
+Assyria
+Athenian
+Attic rooms
+Awnings
+
+Background
+Bakst
+Balance
+Barrocco
+Bathroom
+Beauvais
+Behnes
+Belgium
+Benares
+"Bodies"
+Bohemian glass
+Boucher Francois
+Boudoir
+Boule, Andre Charles
+Bric-a-brac
+Bristol glass
+Brocotello
+Byzantine
+
+Cabriole
+Caesar, Augustus
+Carlovingian
+Carpets (_See_ Floor)
+Ceiling
+Cellini, Benvenuto
+Charlemagne
+Charles I
+Charles II
+Charles V
+Chares VIII
+Charts
+_Chef d'oeuvre_
+Chimney-pieces
+Chinese
+"Chinese Craze"
+Chintz
+Chippendale
+Cipriani, Giovanni Battista
+Classic
+Clocks
+Closets
+Cold Colours
+Collecting
+Colonial
+Colour
+Commode
+Composition
+Connoisseur
+Console
+Correggio, Antonio Allegri
+Cretonne (_See_ Chintz)
+Cross-stitch
+
+Dado
+Dark Ages
+Day-bed
+Decoration
+Decorative
+Dining-tables
+Directoire
+Distinction
+Dressing-room
+Dressing-table
+Du Barry, Madame
+Du Barry rose
+Duerer, Albrecht
+Dutch
+
+Egypt
+Elimination
+Elizabethan
+Empire
+England
+_Ensemble_
+
+Fads
+Feudal
+Fire-dogs (_See_ Andirons)
+Fireplace
+Fixtures
+Flaxman, John
+Floors (_See_ Carpets)
+Flower-pictures
+Flowers
+Fontainebleau
+France
+Francis I
+Franklin Stoves
+French
+Frieze
+
+Georgian
+Germany
+Gibbons, Grinling
+Gimp
+Glass
+Glazed Linen
+Gobelin
+Gothic
+Greek
+Gubbio
+
+Hallmark
+Hangings
+Henry II
+Henry III
+Henry IV
+Henry VIII
+Heppelwhite
+Holland
+Homes
+Hungarian
+
+Inappropriateness
+Iron Work
+Italian
+Italian Louis XVI
+Ivy
+
+Jacobean
+James I
+James II
+James VI
+Japan
+Japanese
+
+Kauffman, Angelica
+Key
+Key Note
+Knife-boxes
+
+Lacquer
+Lamp Shades
+Landscape Paper
+Library, a Man's
+Light-absorbing colours
+Light-producing
+Lines
+Living-room
+Louis XIII
+Louis XIV
+Louis XV
+Louis XVI
+Lustre copper
+
+Mahogany Period
+Majolica
+Man's Room (_See_ Men's Rooms)
+Mantel
+Marie Antoinette
+Marquetry
+Mediaeval Art
+Medici
+Medici, Catherine de
+Medicine jars
+Men's Rooms
+Metal Work
+Michelangelo
+Middle Ages
+Mirrors
+Mission Furniture
+Moors
+Morris, William
+Mouldings
+Mounts
+
+Napoleon I
+Narrow halls
+New England
+
+Oak Period
+_Objets d'art_
+Oriental
+Ormolu
+Outline
+Over-doors
+
+Painted Furniture
+Painted Tapestry
+Palladio, Andrea
+Panelling
+Panier fleuri
+Parchment Paper Shades for Lights
+Passepartout
+Peasant China
+Peasant Lace
+Pergolese, Michael Angelo
+Pericles
+Period Rooms
+Pesaro
+Pharmacy Jars (_See_ Medicine Jars)
+Phidias
+Photographs
+Picture Frames
+Pictures
+_Pietra-dura_
+Pilasters
+Poitiers, Diane de
+Poland
+Pomegranate Pattern
+Porcelain
+Porch-room
+Portuguese
+"Powder-Blue" Vases
+Praxiteles
+Pre-Raphaelites
+Proportion
+Pseudo-Classic
+Puritan
+
+Queen Anne
+Queen Elizabeth
+
+Rail-boxes
+Raphael
+Refectory Tables
+Renaissance
+Reproductions
+Rocaille (_See_ Shell Design)
+Rococo
+Rolls, Empire
+Rome
+
+Sarto, Andrea del
+Sash-curtains
+Servants'-rooms
+Sevres porcelain
+Shades for Lights
+Shell Design (_See_ Rocaille)
+Sheraton
+Silks
+Slipper-chairs
+Sofa cushions
+Spain
+Sports Balconies
+Stained Glass
+Straw Awnings
+Stuart
+Sun-producing
+Sun-proof
+Sun-rooms
+
+Table decoration
+Table-garden
+Tables
+Tableware
+Taffeta
+Tapestry
+Tea-tables
+Textiles
+Titian
+Tone-on-tone
+Tudor
+Twin beds
+
+Urbino
+
+Valance
+Values
+Van Eyck
+Vanity-room
+_"Vargueos"_
+"Vase pattern"
+Vases
+Venetian Glass
+Venice
+Vernis Martin
+Victorian Period
+Vinci, Leonardo da
+Virginia Homes
+Vitrine
+
+Wainscoting
+Wall-papers
+Walls
+Warm colours
+Wedgewood
+Wicker Furniture
+William and Mary Period
+Window-boxes
+Wren, Sir Christopher
+
+
+THE END
+
+
+
+
+
+
+
+
+
+
+
+
+
+End of Project Gutenberg's The Art of Interior Decoration, by Grace Wood
+
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