And now to "return to our muttons." The average window needs two sets of curtains and a shade. Sometimes a thin net or lace curtain, a "bonne femme" is hung close to the glass, but this is usual only in cities where privacy has to be maintained by main force, or where the curtains of a floor differ greatly. Thin curtains in combination with side curtains of some thicker material are most often used.

Curtains either make or mar a room, and they should be carefully planned to make it a perfect whole. They must be so convincingly right that one only thinks at first how restful and pleasant and charming the whole room is; the details come later. When curtains stand out and astound one, they are wrong. It is not upholstery one is trying to display, but to make a perfect background for one's furniture, one's pictures and one's friends.

There are so many materials to choose from that all tastes and purses can be suited; nets, thin silk and gauzes; scrims and batistes; cotton and silk crepes, muslin or dotted Swiss, cheesecloth, soleil cloth, madras, and a host of other fascinating fabrics which may be used in any room of the house. The ready-made curtains are also charming. There are muslin curtains with applique borders cut from flowered cretonne; sometimes the cretonne is applique on net which is let into the curtain with a four-inch hem at the bottom and sides. A simpler style has a band of flowered muslin sewed on the white muslin, or used as a ruffle. It is also added to the valance. There are many kinds of net and lace curtains ready for use that will harmonize with any kind of room. Some of the expensive ones are really beautiful examples of needlecraft, with lace medallions and insertions and embroidery stitches.

When it comes to the question of side curtains the supply to choose from is almost unlimited, and this great supply forms the bog in which so many are lost. A thing may be beautiful in itself and yet cause woe and havoc in an otherwise charming room. There are linens of all prices, and cretonnes, both the inexpensive kind and the wonderful shadow ones; there are silks and velvets and velours, aurora cloth, cotton crepe and arras cloth, and a thousand other beautiful stuffs that are cheap or medium-priced or expensive, whose names only the shopman knows, but which win our admiration from afar. The curtains for a country house are usually of less valuable materials than those for a town house, and this is as it should be, for winter life is usually more formal than summer life. Nothing can be prettier, however, for a country house than cretonne. It is fresh and dainty and gives a cool and delightful appearance to a room. Among the many designs there are some for every style of decoration.



The height and size of a room must be taken into account in hanging curtains, for with their aid, and also that of wallpaper, we can often change a room of bad proportions to one of seemingly good ones. If a room is very low, a stripe more or less marked in the design, and the curtains straight to the floor, will make it seem higher. A high room may have the curtains reach only to the sills with a valance across the top. This style may be used in a fairly low room if the curtain material is chosen with discretion and is not of a marked design. If the windows are narrow they can be made to seem wider by having the rod for the side curtains extend about eight inches on each side of the window, and the curtain cover the frame and a part of the wall. This leaves all the window for light and air. A valance connecting the side curtains and covering the top of the net curtains will also make the window seem broader. A group of three windows can be treated as one by using only one pair of side curtains with a connecting ruffle, and a pair of net curtains at each window. Curtains may hang in straight lines or be simply looped back, but fancy festooning is not permissible. There is another attractive method of dividing the curtains in halves, the upper sections to hang so they just cover the brass rod for the lower sections, which are pushed back at the sides. These lower sections may have the rod on which they are run fastened to the window-sash if one wishes. They will then go up with the window and of course keep clean much longer, but to my mind it is not so alluring as a gently blowing curtain on a hot day. I have seen a whole house curtained most charmingly in this manner, with curtains of unbleached muslin edged with a narrow little ruffle. They hung close to the glass and reached just to the sill with the lower part pushed back at the sides. The outside view was most attractive, and the inside curtains varied according to the needs of each room.



Casement windows should have the muslin curtains drawn back with a cord or a muslin band, and the side curtains should hang straight, with a little top ruffle; if the windows open into the room the curtains may be hung on the frames. The muslin curtains may be left out entirely if one wishes. Net curtains on French doors should be run on small brass rods at top and bottom, and the heavy curtains that are drawn together at night for privacy's sake should be so hung that they will not interfere with the opening of the door. There should be plenty of room under all ruffles or shaped valances where the curtains are to be drawn to allow for easy working of the cords, otherwise tempers are liable to be suddenly lost.

All windows over eighteen inches wide need two curtains, and the average allowance of fullness is at least twice the width of the window for net and any very soft material, while once and a half is usually enough for material with more body. Great care must be taken to measure curtains correctly and have them cut evenly. It is also a good plan to allow for extra length, which can be folded into the top hem and will not show, but will allow for shrinking.

Stenciling can be very attractively used for curtains and portieres for country houses. Cheesecloth, scrim, aurora cloth, pongee, linen, and velours, are a few of the materials that can be used. The design and kind used in a room should be chosen with due regard to its suitability. A Louis XVI room could not possibly have arras cloth used in it, while it would be charming and appropriate in a modern bungalow. Arras cloth with an applique design of linen couched on it makes beautiful curtains and portieres to go with the Mission or Craftsman furniture.

There is an old farmhouse on Long Island that has been made over into a most delightful country house, and the furnishing throughout is consistent and charming. The curtains are reproductions of old designs in chintz and cretonne. The living-room, with its white paneling to the ceiling, its wide fireplace, old mahogany furniture, and curtains gay with parrots and flowers, hanging over cool white muslin, is a room to conjure with.

In town houses the curtains and hangings must also harmonize with the style of furnishing. When the windows are hung with soft colored brocade, the portieres are usually beautiful tapestry or rich toned velvets, and care is always taken to have the balance of color kept and the color values correct. There are silks and damasks and velvets, and many lesser stuffs, made for all the period styles, whether carried out simply or elaborately, and it is the art of getting the suitable ones for the different rooms which gives the air of harmony, beauty, and restfulness, for which the word home stands.

In hanging these more formal curtains the shaped valance is usually used with the curtains hanging straight at the sides of the window, so they can be drawn together at night. The cords and pulleys should always be in perfect working order. Another method is to have the curtains simply parted in the center, either with a valance or without, and drawn back at the sides with heavy cords and tassels, or bands of the stuff. If a draped effect is desired great care must be taken not to have it too elaborate.

If the walls of a room are plain in color one may have either plain or figured hangings, but if the wall covering is figured it gives a feeling of unrest if the curtains are also figured. Sometimes one sees bedrooms and small boudoirs where the walls and curtains show the same design, but it must be done with skill, or disaster is sure to follow.

Plain casement cloth or the different "Sunfast" fabrics are attractive with plain or figured papers, especially in bedrooms of country houses.

If one has to live in the town house through the summer do not make the fatal mistake of taking down the curtains and living in bare discomfort during the hot season. If the curtains are too handsome to be kept up, buy a second set of inexpensive ones that can be washed without injury. It is better that they should stop the dust, and then go into the tub, than that one's lungs should collect it all. Curtains are useful as well as ornamental, and a house without them is as dreary as breakfast without coffee.



Floors and Floor Coverings

In planning a room the color values should be divided into the natural divisions of the heaviest, or darkest, part at the bottom, which is the floor; the medium color tone in the middle, which is the wall; and the lightest at the top, which is the ceiling. This keeps the room from seeming top-heavy and gives the necessary feeling of support for the wall and ceiling. The walls and floor serve as a background and should not be insistant or startling in color; and the size and height of the room, the amount of wall space, the position of doors, windows and fireplace, the quantity and quality of the light, and the connecting rooms will all be factors in the color scheme and materials chosen.

The floor of a room must be right or all the character of the furnishings will be lost. One should first see that it is in perfect condition. If it is a hardwood or parquetry floor it should not be finished the bright and glaring yellow which is sometimes seen, but should be slightly toned down before the finish is put on. Samples of different tones should be submitted to be tried with samples of the rug and stuffs to be used before the decision is made. A wax finish is better than the usual coats of shellac, for the wax has a soft and beautiful glow, while shellac has a hard commercial glare. A waxed floor, if properly taken care of, which is not difficult, wears extremely well and does not have the distressingly shabby appearance of a partly worn shellaced floor. If the floor is old and worn and is to be painted or stained all cracks should be filled, and the color chosen should be a neutral color-in harmony with the rest of the room, the wood shades usually being the best, with the exception of cherry and the red tones of mahogany. Teak is a good tone for hard wood. Soft wood floors of such woods as pine, fir, and cypress can be made to have the appearance of hardwood if first scraped or sandpapered and then stained with an oil stain and finished with a thin coat of shellac and two coats of prepared floor wax.

The usual ways of using floor covering are: one large rug which leaves a border of hard wood floor of about a foot all around it; several small rugs placed with a well balanced plan upon the floor; and carpet, either seamless or of strips sewed together, made into one rug or entirely covering the floor.

In the majority of cases the use of a single large plain rug is by far the best plan, for it gives the feeling of an unobtrusive background whose beauty of color serves to bind the room in the unity of a well planned scheme; and this sense of dignity and solidity goes a long way on the road to success. It is one of the most satisfactory methods of covering a floor imaginable. These plain carpets come in several grades and many colors and are woven in widths from nine to thirty feet which can be cut in any desired length. This makes it possible to have a rug which will be a suitable size for a room. The colors are very good, especially the soft grays, tans, putty color, and taupe. There are also some good blues and greens, a very beautiful dark blue having great possibilities. There are also, besides these wide carpets, narrow carpets from twenty-seven inches to four feet wide which can be sewed together and made into rugs, or the carpet can cover the entire floor. In some cases this is the most attractive thing to do, for it will make a room seem larger by carrying the vision all the way to the wall without the break of a border; and it also covers a multitude of sins in the way of a rough floor. In these days of vacuum cleaners the old terrors of dust have lost their sting.

A plain carpet or rug may be used with propriety in any room in the house, provided the right color is chosen for the surroundings. Some people, however, prefer a figured carpet in the dining-room on account of the wear and tear around the table. This risk is not very great if the rug is of good quality in the first place. A two-toned all-over design is often chosen for halls and stairs because of the special wear which they receive, and a Chinese rug is a good selection to make with a stair carpet of soft blue and yellow Chinese design to match. A small, figured, all-over design is a good choice for a nursery.

Bedrooms may have either one large rug or be covered entirely with carpet, or have several rugs so placed that the floor is practically covered but is easily kept clean. Plain rugs are more restful in effect in bedrooms than figured rugs, and with plain walls and chintz are fresh and charming. These carpet rugs should be made with a flat binding which turns under and is sewed down, as this looks far better and lies flatter on the floor than the usual over-and-over finish, which is apt to stretch. All rugs should be thoroughly stretched before they are delivered as otherwise they will not lie flat.

There is a kind of plain woven linen rug, with a different colored border if desired, which is very good to use in many country houses. These rugs come in a large assortment of colors and sizes, and, when sufficient time is allowed, they can be made in special sizes. Old-fashioned woven and hooked rag rugs are not appropriate in all kinds of rooms, even in the country. They should only be used in the simple farm house type and in some bungalows, and should be used with the simple styles of old furniture and never with fine examples, whether copies or originals.



The light in a room must be taken into account in choosing a rug, and cold colors should not be used in north or cheerless rooms. The theory of color in regard to light has been explained in other chapters, very fully in the chapter on wallpapers, and its principles should be applied to all questions of furnishing, or disappointment will be the result.



The question of whether to use Oriental rugs or plain rugs is one which many people find hard to solve. One of the deciding factors is often finding just what is right for the room, for really beautiful Oriental rugs in large or carpet size are rare and also expensive, but soft-toned Persian rugs with their interesting floral designs, and Chinese rugs with their wonderful tones of blue and yellow are works of art and well worth the trouble necessary to discover them and the price asked. They are best adapted to some libraries and halls and some dining-rooms, but they should not be startling in either design or color. To my mind Oriental rugs are not well suited to the majority of living-rooms and bedrooms because of the constant and varied use of these rooms. When Oriental rugs are used there should be plenty of plain effect in the room; the walls, for instance, should be plain. I have never seen a room which was successful if both walls and rug were figured. A fine tapestry may be used with Oriental rugs, but that is quite different from a figured wall. If several rugs are to be used in one room they must be of the same color value and the same general color tone or the floor will appear uneven. One does not wish to have a room give the uncomfortable effect of "the rocky road to Dublin." A rug with a general blue tone must not be put with other rugs of many colors or an overpowering amount of red, but should be matched in color by having blue the chief color of the other rugs also. The color value, too, must be even, for a light rug next to a dark has the same disagreeable effect. It is impossible to have a beautiful room if the rug seems to rise up and smite you as you enter. Persian rugs with their conventional floral designs should not be used with the marked color and geometrical designs of Caucasian rugs. These points are important to remember and follow, for otherwise unity of scheme for the room will be impossible.

If one has several fine rugs well matched in color value and design they should be placed with a due regard to the shape of the room and the position of the furniture. A rug placed cat-a-cornered breaks up the structural plan of the room and makes it appear smaller than it really is. The new lines formed are at odds with the lines of the walls and interfere with the sense of space by stopping the eye in its instinctive journey to the boundary of things. Oriental rugs should be tried if possible in the rooms in which they are to be used before the final choice is made, and one must always try the rug with the light falling across the nap and also with the nap, for one way makes the rug lighter and the other darker, and one of the two may be just what is wanted.

If one owns a rug which seems far too bright to use it can be toned down, but the owner must take the risk of its being spoiled in the process. To me it does not seem a great risk, because if the rug is so bright that it is absolutely nerve-destroying and useless, and there is a chance that for a small sum it can be made charming, why not take it? I have never heard of one failing, but I suppose some of them must or the stipulation would not be made.

If an Oriental rug is used it should give the keynote for the color scheme, and the design of the rug will decide whether there can be any figured material used in the room. It is far easier to build up a scheme from a satisfactory rug than it is to try to fit one into a room which is otherwise finished. One's field of choice is much wider. Samples of wallpaper, curtain material and furniture coverings should always be tried with the rugs, whether Oriental or plain in color, for the scheme of a room must be worked out as a whole, not piece-meal. Each room must be considered in relation to the other rooms near it, because, although it may be beautiful in itself, if it does not harmonize with the connecting rooms the whole effect will be a failure. Vistas from one room to another should be alluring and charming; there should be no violent and clashing contrasts of color or styles of furniture or sudden change in the scale of furnishings. One room cannot shake off its relationship to the rest of the house and be a success, and floor coverings must bear their full share of responsibility in making the whole house beautiful.



The Treatment of Walls

The walls of a house hold a most important place in the order of things and their treatment requires much thought. The floor is the darkest color value in a room, as it is the foundation, and the walls come next in color value and consideration. What I have said in other chapters about the necessity of connecting rooms being harmonious applies of course to the selection of wall coverings.

The first question to be settled is: shall paint or paper be used?

If a house is new the walls are apt to settle a little making the plaster crack, and it is far better in such a case to allow the walls to remain white for a year. If the effect of plain white plaster strikes one as too cold one of the many water tints may be used as this will not interfere with any later scheme. In houses that have been built for a number of years the walls are often so badly cracked and marred that to put them into condition for painting would be more expensive than preparing them for paper. Estimates should be given for both paint and paper.

When the plaster has done its worst and settled down to a quiet life the work of covering the walls appropriately begun.

Plain walls, whether painted, tinted, or papered, are more restful in effect and form better backgrounds than figured walls. This is not a question of the beauty of the design or the expense of the material, but simply the fact that a plain surface is quiet, while a figured wall, even if only two-toned, will at once assert itself more, and so be less of a background. If many pictures and mirrors are to be used, or a figured rug and much furniture, by all means have plain walls. If one has some special object of great beauty and interest, it should be treated with the dignity and honor it deserves and given a plain background. A miscellaneous collection of lares and penates can be made to hold together better by having a plain wall of some soft neutral color rather than a figured paper, which would only make the confusion more pronounced. Small rooms should have plain and light colored walls, as they then appear larger. Plain walls give a wider scope in the matter of decoration, for, beside the possibilities of plain stuffs, chintz and various striped silks and linen may be used which would be quite out of the question with figured walls, more flowers may be used, and lampshades, always a bit assertive, take their proper place in the scheme, instead of making another distracting note.



The question of paint or paper has often to be decided by circumstances, such as the condition of the walls or the climate. With paint one can have the exact shade desired and either a "glossy" or eggshell finish. With paper it is often a matter of taking the nearest thing to the color wanted and changing the other colors to harmonize. Paint is better to use in a damp or foggy climate, as paper may peel from the walls in the course of time.



Walls may be tinted or painted, and paneled with strips of molding which are painted the wall color or a tone lighter or darker as the scheme requires. Also, the wall inside the moulding may be a tone lighter than the wall outside, or vice versa, but the contrast must not be strong or the wall at once becomes uneven in effect and ceases to be a good background. Paintings may be paneled on the walls. If one has only one suitable picture for the room it should be placed over the mantel, or in some other position of importance, making a centre of interest in the room. Using pictures and pieces of tapestry in this way is quite different from having the walls painted in two sharply contrasting colors, because the paint gives the feeling of permanence while the picture is obviously an added decoration requiring a correct background. I am speaking of the average house, not of houses and palaces where the walls have been painted by great artists.

Painted walls are appropriate for all manner of homes, from the elaborate country or city house all through the list to the farm house or small bungalow, but if, for any reason, one cannot have painted walls, or prefers paper, one need not forego the restful pleasure of plain backgrounds, for there are many beautiful plain papers to be had.

Personal taste usually decides whether paint or paper is to be used. Paint is thought by some to be too cold or hard in appearance (it is only so when badly done or when disagreeable colors are chosen,) or it is considered too formal, or, with the memory of New England farm houses in mind, too informal. For those who wish paper, the possibilities are very great if the paper is properly chosen. The reason why so many people are disappointed with the effect of their newly papered rooms is that they judged the paper at the shop from one piece, and did not realize that a design which appealed to them there might be overpowering when repeated again and again and again on the wall. When choosing a figured paper several strips should be placed side by side to enable one to judge whether the horizontal repeat is as satisfactory and pleasant as the perpendicular. When an acceptable one is found a large sample should be taken home to pin on the wall to show the effect in its future environment. Samples of the curtains and furniture coverings should also be tried with the sample of paper before the final choice is made. If a paper with a decided figure is chosen pictures should be banished, for their beauty will be killed by the repeated design. The scale of the design in relation to the size of the room must also be taken into account. A small room will be overpowered by a large figure, but often the repeat of a small figure is quite correct in a large room as it gives an all-over, unobtrusive effect. If the wall space is much cut by doors and windows one should select a plain, neutral toned paper. It would be a fatal error to use a figured paper, for the room would look restless and chaotic and probably out of balance. If the windows are in groups and the doors balance each other the danger is lessened, but not done away with. One of the beautiful features in fine old Colonial houses is this ordered position of doors, but in many a modern house the doors have a trying way of appearing in a corner, as if they were a bit ashamed of themselves; and they have good cause to be, for a badly placed door is a calamity. If one is fortunate enough to plan one's own house, this matter can be taken care of properly, but in the average ready made house one has to try to make the doors less conspicuous by having them painted in very much the tone of the wall. With a gray wall, for instance, there should have a slightly lighter tone of gray for the woodwork, with a white and gray striped paper white paint may be used, with a soft tan a deep old ivory, and so on.

If a room is badly proportioned it can often be improved by the simple expedient of using a correct paper. If the room is too high for its size the ceiling color may be brought down on the side wall for eighteen inches or so and finished with a moulding. This stops the eye before it reaches the ceiling and so makes the room seem lower. If the room is too low a striped paper may be used which will make the room seem higher by carrying the eye up to the ceiling where the paper is finished with a moulding. Vertical lines give the appearance of height, horizontal lines of width. Striped paper should not be used in narrow halls, for it makes them seem narrower and gives one the feeling of being in a cage. Two-toned striped papers of nearly the same color value, such as gray and white, yellow and cream-white, and white and cream color, are better to use than those of more marked contrast, although some of the green and white and blue and white are charming and fresh looking for bedrooms. Black and white is too eccentric for the average house; one should beware of all eccentric papers. There are a few kinds of paper which should be left severely alone, for they will spoil any room. One of them has a plain general tone but a suggestion of other colors which give it a blurred and mottled appearance which is singularly disagreeable. Another is plain in color but has a lumpy effect like a toad's back, and is really quite awful. Others are metallic papers, and there is a heavy paper embossed in self color with a conventional design which is apt to have a shining surface. Papers with dashes and little flecks of gold should be avoided, for the gold gives the wall an unstable and cheap appearance. Papers with small single figures repeated all over the surface are apt to look as if a plague of flies or beetles had arrived and are quite impossible to live with. Borders and cut out borders have a commonplace appearance and are not in the best of taste. And then there are papers with vulgarity of design. This quality is hard to define clearly, for it may be only a slightly redundant curve or other lack of true feeling for the beauty of line, or a bit too much, or too little, color, or a bad combination of color, or a lack of knowledge of the laws of balance and harmony and ornament, or a wrong surface of texture to the paper. But whatever the cause, a vulgar paper will vulgarize any room, no matter what is done in the way of furniture. It will assert itself like an ill-bred person. Luckily both are easily recognized.

But the picture is not all dark by any means, for some of the American made papers, as well as the imported papers, are very beautiful. The makers are taking great pains to have fine designs and beautiful colors which will appeal to people of knowledge and taste. The situation is much better than it was a few years ago. Some of the copies of old figured and scenic papers are exceptionally fine, and can be used with great distinction in dining-rooms or halls with ivory or cream-white woodwork and wainscoting, and Georgian or Colonial furniture. One should not use pictures with these papers, but mirrors are permissable and will have the best effect if placed on a wood-paneled over-mantel. These papers come in tones of gray and white and also sepia. Oriental rugs, if not of too conspicuous a design, may be used with them, but plain rugs are better with plain hangings and striped silk chair seats. These papers are very attractive in country houses. There are also colored scenic papers, an especially fascinating one having a Chinese design which could be used as a connected scene or in panels, and would be lovely in a country house drawing-room or dining-room or hall. It could also be used in a city house with beautiful effect if due thought be given to the question of hangings, woodwork, rug, and furniture. Introduce a false note, and a room of this kind is ruined. These scenic papers come in sets, but the copies of the other old papers come in the regular rolls. Some of the lovely old "Toile de Jouy" designs have been used for wall paper, and these with other chintz designs, can be softened in effect by a special method of glazing which makes them very harmonious and charming with antique furniture or reproductions of fine old models. These old chintz papers are lovely for bedrooms or morning-rooms, with fresh crisp muslin curtains and plain silk or linen or chambray side-curtains. Either painted or mahogany furniture could be employed. A motif from the paper can be used for the furniture or it can simply be striped with the color chosen for the plain curtains. Some of the good and rather stunning bird design papers treated with this special glazing make beautiful halls with plain rugs and hangings and chair covers.

Papers cost from about forty cents to several dollars a roll, but the choice is large and attractive between one and three dollars a roll, and there are also excellent ones for eighty-five cents. It is almost impossible, however, to give a satisfactory list of prices as they vary in different parts of the country. The reproductions of old scenic papers of which I have spoken are expensive, costing about one hundred dollars a set, but they may go down again now that the war is over. The difference in expense between paint and paper is not very great, in fact, with the average paper at a dollar or a dollar and a half a roll, paint is about the same, or perhaps a bit cheaper if the walls are in fairly good condition. It is a mistake to use inferior paper, and there should never be more than a lining paper and the paper itself on the wall. In some cases where there is only one paper of soft color on the wall, with no lining paper, this paper may be used as a lining paper if it is absolutely tight and firm. The risk is that the new paste may loosen the old a bit and so let all come down. Old paper must be entirely removed if there are any marred places as they will show through the new and ruin the effect.

The amount of wall space and the quality and the quantity of the light are important factors in deciding the color scheme because by using them correctly we can brighten a cheerless, dark room or soften the blaze in a too sunny one.

If the light is a cold dreary one from the north, the room will be vastly improved if warm, cheerful colors are used: warm ivory, deep cream color, soft or bright yellow without any greenish tinge in it, soft yellow pinks (there is a hard pink which is very ugly), yellow green (but not olive), and tones of golden tan. It is the dash of yellow in these colors which makes them cheerful and gives the impression of sunlight. Tans should never come too close to brown for a dark room, for nothing is more dreary or hopeless than a room done in that depressing color. The beautiful tones of old oak, or properly treated modern oak paneling, are quite a different matter. Small amounts of red or orange will do wonders, if used with discretion, in brightening a dull room, and are often just what are needed to bring out the beauty of the rest of the scheme; but it is a great mistake to think that red walls and a great deal of red in the hangings and furniture covering will make a cheerful or pleasant room. Red absorbs light and is also an irritant to the eyes and nerves, and, unless it is used with great skill, it is apt to look extremely commonplace and ugly or like an ostentatious hotel or public building. Few of us have large enough houses to make it possible to use red in great amounts, and it is well for the average person to shun it and remember that in ninety-nine cases out of a hundred a red wall will spoil a room.



Cool colors should be used in bright and sunny rooms—blues, greens, grays, grayish tans, and those delightful colors, old ivory, and soft deep cream color and linen color. Colors with a tone of yellow in them are easier to use than cold blues and greens and violets, for the yellow tinge, be it ever so little, brings them into relation with the majority of woods used in floors and furniture frames. Light colors make a room seem larger by apparently making the walls recede, and dark colors make it seem smaller, as they make us conscious of the walls and so seem to bring them nearer. Any very bright room may have dark walls to soften the glare, but if it has to be used by artificial light it will then be heavy and cheerless in effect; and so a better choice would be some soft neutral color of medium or lighter color values, such as gray green, and use awnings and dark shades. This matter of color in relation to light is important to remember when planning one's house. There is also another question which has great influence on one's choice of paper, and that is the amount and kind of furniture to be used in the room. Georgian furniture calls for plain or paneled walls, or if a figured paper is used it should be one of the old-fashioned designs or one of the striped papers. Old-fashioned chintz designs are also appropriate for bedrooms with mahogany or painted furniture. Plain or paneled walls, striped paper, and some of the fine floral designs, which can also be used as panels, and the charming Toile de Jouy designs, are all appropriate when used with French furniture. Heavily made furniture like Craftsman or Mission needs the support of strong walls which may be rough-finished natural-colored or painted plaster, or grass cloth, or one of the many good plain papers of heavy texture. There are also figured papers which are appropriate. Wicker furniture will go with almost any kind of attractive paper which is correct for the room, but when there is much figure the cushions should be covered with plain stuff. All-over stuffed furniture when covered with chintz looks best with plain walls. Painted furniture looks well with plain walls and chintz. A motif from the chintz can be used on the furniture for the decoration, but if the wall paper is figured the effect will be more restful if the furniture is only striped.



In summing up: the important points which govern the choice and color of wall covering are the connecting rooms, the amount and quality of light, the size and shape of the room, its use, the furnishings which are to be used, the condition of the walls, and personal preference as to paint or paper. Do not be afraid of the idea that plain walls, whether paint or paper, may become tiresome, for one can stand well planned monotony year in and year out with a cheerful heart. If some rooms are to be papered with figured paper be sure the selection is made with care and with the idea in mind that a figured wall is in itself a decoration and should not have pictures crowded upon it.



Artificial Lighting

To light a room successfully appropriate lights must be placed where they are needed to keep the feeling of balance and proportion and bring out the charm of the room by their relation to its furnishing. They should also be so placed that the life of the household can go on as cheerfully and smoothly in the evening as in the day time.

The position and style of lighting fixtures is decided by the type of house, the size and height of the rooms, the amount of wall space, the use for which the rooms are intended, their style of furnishing, the chief centers of interest, such as mantels, doors, furniture, and pictures of importance, and also the manner in which the walls are treated, whether paneled or papered. If one is building a house one should give all possible data to the architect in regard to any special pieces of furniture or pictures which one may wish to use in certain places. By doing this the tragedy of a slightly too small wall space will be escaped, and the lights will be properly placed in the beginning.

One must always remember in planning the position of the lights for a room that the eye naturally seeks the brightest spot, and badly placed lamps and sidelights will upset the balance of a room. The room must not be glaringly bright, but there should be a feeling of a certain evenness in the distribution of light. A top light makes the light come from the wrong direction. Artificial light in a room should take its general idea from the lighting of the room in the day time. The daylight comes from the windows, the sides of the room, and the decoration of the room is built up with that in mind; so when we are planning the lighting scheme we should remember this and realize that the light should come from lamps placed advantageously on tables, and wall lights placed slightly above eye level.

Living-rooms should have a sufficient number of well placed sidelights to enhance the beauty of the room, and they should be placed near centers of importance such as each side of the fireplace, or wide door, or on each side of some important picture or mirror. If there is a group of two or three windows which need to be more convincingly drawn together to form a unit, lights may be placed on each side of the group. Sidelights can be placed in the center of panels, thus forming a decoration for the panel, and, flanking paintings or mirrors or tapestries, make beautiful and formal rooms, especially for the different periods of French, English, or Italian decoration. This treatment with simpler forms of fixtures may also be used in our charming, but more or less nondescript, chintz living-rooms and country house drawing-rooms or dining-rooms. With a sufficient number of lamps in the room the side-or wall-lights need not be lighted during the average stay-at-home evenings but are ready if there is some special occasion for brilliancy. There are some rooms which are much improved by having no side-lights at all, all the light coming from lamps. There should be plenty of floor sockets so placed that lamps may be used on tables near sofas and armchairs and on the writing table or large living-room table. It is this proper placing of lamps which has so much to do with the charm and comfort of a room when evening comes.

In the average home there is no greater mistake in the matter of lighting than having a room lighted by chandelier or ceiling lights. Lights at the top of the room, or a foot or two from the ceiling, break up completely the artistic balance of the room by drawing attention to them as the brightest spot. They make the room seem smaller both by day and night, they cast ugly shadows, they do not give sufficient or correct light for reading or writing, and the glare above one's head is nerve destroying. When the sun is directly overhead we hasten to put up sunshades, so why should we deliberately reproduce in our homes the most trying position of light? The fixtures also are usually extremely ugly. One sees sometimes in private houses what is called the indirect method of lighting, which is usually an alabaster bowl suspended by chains from the ceiling in which the lights are concealed. The reflected light on the ceiling is supposed to give a suffused and bright light. To my mind there is something extremely obnoxious about this method used in homes, for it smacks of department stores and banks and public buildings generally. And then, too, the light is unpleasant. If I were the unfortunate possessor of such a light I should have it taken down and use the bowl on a high wrought iron tripod for growing ivy and ferns, and thus try to get a little good from the ill wind that blew it there.

There are a few cases, however, where top lights may be used, such as large drawing-or music-rooms, rooms in which formal entertaining is to be done. Crystal ceiling lights are then best to use, or chandeliers with crystal drops or pendants. If these rooms are Italian Renaissance in style, the center lights must naturally harmonize in period. Large halls with marble stairs and wrought-iron balustrade can have this elaborate kind of light, but the average hall demands a simpler chandelier. If one is to be used there are some very good copies of old Colonial lights and lanterns, but personally I prefer wall brackets and a dignified lamp, or a floor lamp. Torcheres or lacquered floor lamps may be used in pairs if the hall is large enough to have them placed properly. In a long, narrow hall they would look a bit like lamp posts. Rather close fitting round shades, nearly the same size at top and bottom, made of painted parchment give a decorative touch and sufficient light. As one does not need an especially bright light in a hall, a beautiful lamp can be made of one of the fine old alabaster vases which many people have by dropping an electric bulb in it. Placed on a consol table before a mirror it makes a delightful spot in the hall. These lamps may also be used in other rooms where a light is needed for effect and not for use. In placing lamps the charm and utility of a reflection in a mirror must not be overlooked.

A vestibule may have a lantern of some attractive design in harmony with the house, or side lights, if they can be so placed as not to be struck by the door.

Dining-rooms are far more beautiful and also better lighted if sidelights are used, with candles on the table, rather than a drop light. Dining-room drop-lights or "domes" have all the disadvantages of other center lights and are extremely trying to the eyes of the diners, as well as being unbecoming. Even when screened with thin silk drawn across the bottom there is something deadening to one's brain in having a light just over one's head. Side lights with the added charm of candles will give plenty of light. It is a cause for thanksgiving that drop-lights over dining-tables are rarely seen now-a-days.

Bedrooms should have a good light over the dressing table, and to my mind, two movable lights upon it, which may be in the form of wired candlesticks or small lamps. These are much more convenient than fixed lights. There should be a light over any long mirror, and one for the desk and sofa or chaise longue, and one for the bedside table. The dressing-room should be supplied with a light over the chiffonier and long mirror, and there should also be a table light. Clothes closets should have simple lights.

And do not forget the kitchen if one wishes properly cooked meals. A light so placed that it shines into the oven has saved many a burned dish, and a light over the sink has saved many a broken one. The servants' sitting-room should have a good reading lamp.

The question of the style of the fixtures is important, for if they are badly chosen they will quite spoil an otherwise perfect room. They must harmonize in period with the room, and also with its scale of furnishing. There is a wide choice in the shops, and some of the designs are very good indeed, having been carefully studied and adapted from beautiful museum specimens of old Italian, French, English, and Spanish, carvings and ornament. Some of our iron workers make very fine metal fixtures which are beautiful copies of old French and Italian work. There are graceful and sturdy designs, elaborate and simple, special period designs, and many which are appropriate for rooms of no particular period. There are charming lacquer sconces to go with lacquer furniture, and old-fashioned prism candelabra and sconces, and fixtures copied from choice old whale oil lamps in both brass and bronze. There are suitable designs for each and every room. The difficulty lies not in finding too few to choose from, but too many, and, growing weary, making a selection not quite so good as it should be. One should take blue prints to the shop if possible, but necessary measurements without fail. One must know not only the width of the wall spaces, but the width of the pictures and furniture to be put in the room, or the calamity may happen of having the fixtures a bit too wide. When fixtures are meant to be a special part of the decorative scheme, and support and enhance pictures and tapestries, they should have an appropriate decorative value also, but in the average home it is better and safer to choose the simpler, but still beautiful, designs. It is better to err on the side of simplicity than to have them too elaborate.

Lamps should be chosen to harmonize with the room, to add their usefulness and beauty to it as a part of the whole and be convincingly right both by day and night. There are many possibilities for having lamps made of different kinds of pottery and porcelain jars; some crackle-ware jars are very good in color. Chinese porcelain jars, both single color and figured, make lovely lamps. Old and valuable specimens should not be used in this way, for they are works of art. Many modern jars are copies of the old and these should be used. There are lacquer lamps, bronze, and brass, and carved wood lamps, and lovely Wedgwood and alabaster vases. There are charming little floor lamps, some of wrought iron with smart little parchment shades, some in Sheraton design, some in lacquer or painted wood, which can be easily carried about to stand by bridge tables or a special chair. There are dozens of different jars and lamps to use, but the one absolutely necessary question to ask oneself is: is it right for my purpose?

Lamp shades are a part of the scheme of the room's decoration and should be chosen or made to order to achieve the desired effect. Special shades are made by many clever people to harmonize with any room or period and are apt to be far better than the ready made variety. There are all manner of beautiful shades, lace, silk, plain and painted parchment and paper, mounted Japanese prints, embroidery, and any number of other attractive combinations. To be perfect, beside the fine workmanship, they must harmonize in line with the lamps on which they are to be used, and harmonize in color and style with the room, and have an absolute lack of frills and furbelows. The shade for a reading lamp should spread enough to allow the light to shine out. Lamp shades simply for illuminating purposes may be any desired shape if in harmony with the shape of the lamp. Lacquered painted tin shades are liked by some for lamps on writing tables. There should be a certain amount of uniformity in the style of the shades in a room, although they need not be exactly alike. Too much variety is ruinous to the effect of simple charm in the room. The chintz which is used for curtains will supply a motif for the painted shades if one wishes them, but if there is a great deal of chintz, plain shades will be more attractive. Side lights may have little screens or shades, as one prefers, or none may be used. In that case the bulbs may be toned down by using ground glass and painting them with a thin coat of raw umber water color paint. Bedroom shades follow the same rule of appropriateness that applies to the other shades in the house. There should be several sets of candle shades for the dining-room.

There is really no reason why so many houses should be so badly lighted. Often simply rearranging the lamps and changing the shape of the shades will do wonders in the way of improvement. Radical changes in the wiring should be carefully thought out so there will be no mistakes to rectify.



Painted Furniture

The love of color which is strong in human nature is shown in the welcome which has been given to painted furniture. If we turn back to review the past we find this same feeling cropping out in the different periods and in the different grades of furniture. The furniture of the Italian Renaissance was often richly gilded and painted; the carved swags of fruit, arabesques, and the entwined human figures, were painted in natural colors, or some of the important lines of the furniture were picked out with color or gold, or both. As the influence of the Renaissance spread to France and England, changed by the national temperament of the different countries, we find their furniture often blossoming into color—not covered by a solid coat of paint but picked out here and there by lines and accenting points. During the time of Louis XIV everything was ablaze with gold and glory, but later, during the reigns of Louis XV and Louis XVI, a gentler, more refined love of color came uppermost, and the lovely painted furniture was made which has given so much inspiration to our modern work. The simpler forms of the Louis XV period, and the beautiful furniture of the Louis XVI period, were often painted soft tones of ivory, blue, green, or yellow, and decorated with lovely branches of flowers, birds, and scenery where groups of people by Fragonard and other great painters disported with all their eighteenth century charm. These decorations were usually painted on reserves of old ivory with the ground color outside of some soft tone. Martin, the inventor of famous "vernis Martin," flourished at this time, and the glow of his beautiful amber-colored finish decorated many a piece of furniture from sewing boxes to sedan chairs. In England the vogue of painted furniture was given impetus by the genius of the Adam Brothers and the beautiful work of Angelica Kaufmann, Cipriani, and Pergolesi. In both France and England there was at this time the comprehension and appreciation of beauty and good taste combined with a carefree gaiety which made the ineffable charm of the eighteenth century a living thing. There are some of our modern workmen and painters of furniture who feel this so thoroughly that their work is very fine, but the majority have no knowledge or understanding of the period, and, although they may copy the lovely things of that time, the essence, the true spirit, is lacking. Cabinet making and painting in those days was a beloved and honored craft; to-day, alas, it is too often a matter of union rules.

Chinese lacquer, while not strictly coming under the head of painted furniture, was another branch of decorated furniture which was in great demand at this time. The design in gold was done on a black or red or green ground and was beautiful in effect.



While the upper classes were having this beautiful furniture made for their use, the peasant class was serenely going on its way decorating its furniture according to its own ideas and getting charming results. The designs were usually conventionalized field flowers done with great spirit and charm. From the peasants of Brittany and Flanders and Holland have come down to us many beautiful marriage chests and other pieces of furniture which are simple and straightforward and a bit crude in their design and color, but which have done much to serve as a help and guide in our modern work.

The supply of painted furniture to-day is inspired by these different kinds of the great periods of decoration. There are many grades and kinds in the market, some very fine, keeping up the old traditions of beauty, some charming and effective in style and color, but with a modern touch, and some very very bad indeed; "and when they are bad they are horrid." I have said a great deal in other chapters on this subject, but I cannot too often urge those of my readers who have the good fortune to live near one of our great art museums to study for themselves the precious specimens of the great days of genius. It will give a standard by which to judge modern work, and it is only by keeping our ideals and demands high that we can save a very beautiful art from deteriorating into a commercial affair.

When selecting painted furniture, one can often have some special color scheme or decoration carried out at a little extra expense; and this is well worth while, for it takes away the "ready made" feeling and gives the touch of personality which adds so much to a home. One must see that the furniture is well made, that the painting and finishing are properly done, and that the decoration is appropriate. If the furniture is of one of the French periods, it should be one of the simpler styles and should be painted one of the soft ground colors used at the time, and the decoration should have the correct feeling—flowers and birds like those on old French brocade or toile de Jouy or old prints. The striping should be done in some contrasting color or in the wonderful brownish black which they used. The design may be taken from the chintz or brocade chosen for the room, but the painting must be done in the manner of the period. This holds true of any English period chosen, such as Adam furniture or the painted furniture of Sheraton. There are several firms who make a specialty of this fine grade of furniture, but it is not made by the car load; in fact it is usually special order work. The kind one finds most often in the shops is furniture copied from the simpler Georgian styles or simple modern pieces slightly reminiscent of Craftsmen furniture, but not heavy or awkward in build. This furniture is painted in different stock colors and designs, or can be painted according to the purchaser's wishes as a special order. These "stock" designs are often stenciled, but some of them have an effective charm and are suitable to country houses, and also many city ones. When there is much chintz used, the furniture will often be more attractive if it is only striped with the chief color used in the room. The designs which are to be avoided are of the Art Nouveau and Cubist variety, roses that look like cabbages gone crazy, badly conventionalized flowers, and crude and revolting color schemes. It sounds as if it should not be necessary to warn people against these monstrosities, and I have never heard of any one who buys them, but some one must do so or they would not be in the shops.

Attractive and inexpensive painted furniture can be made to be used in simple surroundings by buying slat-backed chairs with splint seats and a drop-leaf pine table and having them painted the desired ground color and then striped and decorated with a motif from the chintz to be used in the room. A country house dining-room or bedroom could be most charmingly fitted up in this way, chintz cushions could be used on the chairs, and candle shades could be made to match. One can sometimes find a bed or chest of drawers or other piece of furniture which is a bit shopworn and can be had for a bargain. Old bureaus can be made to serve as chests of drawers by taking the mirror off and using it as a wall mirror. In many houses there are old sets of ugly furniture which can be made useful and often attractive by having the jigsaw carving removed and painting them. In a set of this kind, which I was doing over for a client, there happened to be two beds with towering headboards, quite impossible to use, but I combined the two footboards, thus making one attractive bed. The furniture was painted a soft pumpkin yellow, striped with blue and with little, old-fashioned nosegays, and a lovely linen with yellow and cream stripes and baskets of flowers was used and turned a dark and dreary room into a cheerful and pretty one.

One can find some kind of suitable painted furniture for nearly every room in the average modern house. People everywhere are turning away more and more from the heavy, depressing effects of a few years ago; but unless they know the ground they are walking on they must tread with care. The style chosen must be appropriate and in scale with the style of house. The fine examples would look quite out of place in a bungalow or very simple house, and the simple kind founded on peasant designs would not be suitable in rooms with paneled walls and lovely taffeta curtains. In Georgian and simple French designs there are fascinating examples of chairs, settees and tables, corner cupboards and sideboards, beds and dressing-tables and chests of drawers, mirrors and footstools and candlesticks, everything both big and little which can be used in almost any of our charming rooms in the average house, with their fresh chintz and taffeta and well planned color schemes.

Lacquered furniture is more formal than the average painted furniture, and often one or two pieces are sufficient for a room. A beautiful lacquered cabinet with its fascinating mounts and its soft, wonderful red or black and gold tones is a thing to conjure with. Lacquered furniture is lovely for some dining-rooms and morning-rooms. The tables should always be protected with glass tops, which also applies to other painted furniture.

One or two pieces of painted furniture may be used in a room with other furniture if they happen to be just the thing needed to complete the scheme. A console table, for instance, with a mirror over it and sidelights, might be just the touch needed between two windows hung with plain taffeta curtains. Like all good things there must be restraint in using it, but there are few things that have greater possibilities than painted furniture when properly used.



Synopsis of Period Styles as an Aid in Buying Furniture.

When trying to select furniture for the home, people often become bewildered by the amount and variety to be found in the shops, and, not knowing exactly what to look for in the different styles, make an inappropriate or bad selection. One does not have to be so very learned to have things right, but there are certain anachronisms which cry to heaven and a little knowledge in advance goes a long way. A purchaser should also know something about the construction and grade of the furniture he wishes to buy. There are good designs in all the grades, which, for the sake of convenience, may be divided into the expensive, the medium in price, and the cheap. The amount one wishes to spend will decide the grade, and one naturally must not expect to find all the beauties and virtues of the first in the last. The differences in these grades lie chiefly in the matters of the fit and balance of doors and drawers; the joining of corners where, in the better grade, the interior blocks used to keep the sides from spreading are screwed as well as glued; the selection of well seasoned wood of fine grain; careful matching of figures made by the grain of the wood in veneer; panels properly made and fitted so they will not shrink or split; careful finish both inside and out, and the correct color of the stain used; appropriate hardware; hand or machine or "applied" carving. In the cheap grades it is best to leave carving out of the question entirely, for it is sure to be bad. Then there are the matters of the correctness of design and detail, in which all the knowledge one has collected of period furniture will be called upon; and in painted furniture the color of the background and the charm and execution of the design must be taken into account, whether it is done by hand or stenciled. Nearly all kinds of woods are used, the difference in cost being caused by the grade and amount of labor needed, the kind of wood chosen and its abundance and the fineness of grain and the seasoning. Mahogany costs more than stained birch, and walnut than gum wood, but there are certain people who for some strange reason feel that they are getting something a little smarter and better if it is tagged "birch mahogany" than if it were simply called birch. Some of the furniture is well stained and some shockingly done, the would-be mahogany being either a dead and dreary brown or a most hideous shade of red, a very Bolshevik among woods. One must remember that the mahogany of the 18th century, the best that there has ever been, was a beautiful glowing golden brown, and when a red stain was used it was only a little to enhance the richness of the natural color of the wood, more of a suggestion than a blazing fact. The wood was carefully rubbed with oil and pumice, and the shellac finish was rubbed to a soft glow. Modern furniture, especially in the medium and cheap grades, is apt to look as if it were encased in a hard and shining armor of varnish.



Beside this practical knowledge one should have a general idea of the artistic side or the appearance of the different period styles and the manner in which they were used. To achieve this, one must study the best examples it is possible to find in originals, pictures, and properly made reproductions. Many of the plates in this book are from extremely valuable originals and should be studied carefully as they give a fine idea of some of the chief points in the different styles. One should also go to libraries and Art Museums whenever possible and study their collections. The more knowledge gained the more ease one will have in furnishing one's home whether there is everything to buy, or one is planning to add a few articles to complete a charming interior, or, with an eye to a future plan, is buying good things piece by piece and slowly eliminating the bad. It is this knowledge which will help you to study your own possessions and decide what is needed and what will be correct to buy. That, is one of the most important points, to have a well thought out plan, and never to be haphazard in your purchases. Very few of us have houses completely furnished in one period, but we do try to have a certain unity of spirit kept throughout the whole, whether it be French, Italian, English, or our own charming Colonial. There can be a great variety in any one of these divisions, and suitable furniture can be found for all rooms, from the simplest kind to the most elaborate. It is easier to find good reproductions in the English periods of Jacobean, Charles II, William and Mary, Queen Anne, and the Georgian time, and the French periods of Louis XV and Louis XVI.



If one wishes a house furnished in the Gothic period it will be necessary to have nearly all the different pieces made to order, as there are few reproductions made. As our modern necessities of furniture were not known in those days, the designs would have to be carried out more in the spirit of the style than the letter, and one must be certain to have advice and designs from some person who thoroughly understands the period and who will see that the whole is properly carried out. Gothic days were rough and strenuous, and the furniture was strong and heavy and was made chiefly of oak with no varnish of any kind. The characteristic lines of the furniture and the designs for carving were architectural, and a careful study of the Gothic cathedrals of France, Belgium, and England will give a very satisfactory idea of this wonderful time. The idea of the pointed arch, rose window, trefoil, quatrefoil, animal grotesques, and geometric designs, as well as the beautiful linen-fold design, were all adapted for use as carving in the panels of the furniture of the day, which consisted of chests that served as seats, buffets, armoires, screens, trestle tables, as well as the choir stalls of churches.

This style is appropriate to large and dignified country houses. The architect must see that the background is correct.

The Renaissance period should not be attempted as a style to furnish one's house unless it can be carried out properly. The house should be large and architecturally correct, and there should be at least a near relation of a Fortunatus purse to draw upon. It is one of the magnificent and dignified periods, and makeshifts and poor copies have a pitiful appearance and are really time and money wasted.

Much of the furniture of the Renaissance was architectural in design, many chests and cupboards and cabinets having the appearance of temple facades. The carving was in both low and high relief and was extremely beautiful, but in the later part of the period became too ornate. Walnut and chestnut were the chief woods used, and there was much inlay of tortoise shell, ivory, brass, mother-of-pearl, lapis-lazuli, and fine woods. There was much gilding, and paint was also used, and the metal mounts were of the finest workmanship. The bronze andirons, knockers, candlesticks, of this time have never been equalled. There was a strong feeling of balance in the decorations, and the chief motifs were the acanthus beautifully carved, conventionalized flowers and fruit, horns of plenty, swags and wreaths of fruit and flowers, the scroll, dolphin, human figure, and half figure ending in fanciful designs of foliage. Beautiful and fascinating arabesques were carved and painted on the walls and pilasters. The chief pieces of furniture were magnificently carved chests and coffers which were also sometimes gilded and painted, oblong tables with elaborately carved supports at each end, usually with a connecting shelf on which were smaller carved supports. The chairs were high backed with much carving and gilding, and there were others of simpler form with leather or tapestry or damask seats and backs. The Savanarola chair was in the form of a curved X with seat and back of velvet or leather or sometimes wood on which a cushion was used. Mirror frames were magnificently carved and gilded and picked out with color. The rooms were a fitting background for all this splendor, for the woodwork and walls were paneled and carved and painted, the work often being done by the greatest painters of the day.

The French Renaissance followed the general line of the Italian but was lighter and less architectural in its furniture designs and ornament. Chairs were slowly becoming more common, and rooms began to be more livable.



The English Renaissance was of slow growth and was always marked by a certain English sturdiness, which is one of the reasons why it is more easily used in our modern houses. It began in the time of Henry VIII and lasted through the Tudor and Jacobean periods.



The best modern copies of Renaissance furniture are not to be found in every shop and are usually in the special order class. There are some makers in America, however, who make extraordinarily fine copies, and there is the supply from Europe of fine copies and "faked" originals—a guaranteed original is a very rare and expensive thing.

The period of Louis XIV in France was another "magnificent" period and should not be used in small or simple houses. Louis XIV furniture was large and massive, lavish in gilding and carving and ornament, but had dignity as well as splendor. The Gobelin and Beauvais Tapestry Works produced their wonderful series of tapestries, and Boulle inlay of brass and tortoise shell was lavished on furniture, and the ormolu mounts were beautiful and elaborate. All workmanship was of the highest. During the early part of the period the legs of chairs and tables were straight and square in shape, sometimes tapering, and much carved, and had underframing. Later they were curved and carved, a kind of elaborate cabriole leg, and had carved underframing. Toward the end of the period the curved leg and underframing became much simpler, some of the furniture having no underframing, and slowly the style merged into that of the Regency and Louis XV. The illustrations for the long chapter on Louis XIV show some very fine examples of both the grand and simple form of chair, and also show that comfort was becoming more of a fact. The materials used for upholstery were brocades of large pattern, tapestries, and splendid velvets. Tables, chests, armoires, desks, console tables, mirrors, screens, all were carved or painted or inlaid, gilded and mounted with wonderful metal mounts.

There is great danger, in buying furniture for both this period and the Renaissance, that the reproductions chosen may be too florid, the gilding too bright, the carving too ornate, with an indescribable vulgarity of line in place of the beauty of line which the best originals have. Some of the best makers are, however, making some very fine reproductions of the simpler forms of this time which are beautiful to use in houses of fair size and importance.

If one wishes to use Louis XV furniture it is better to choose the simpler and more beautiful designs rather than the over-elaborate rococo. The period was a long one, sixty-nine years, and began with a reminiscence of the grandeur and dignity of the time of Louis XIV, which was soon lost in the orgy of curves and excessive ornament of the rococo portion; and toward the end came the reaction to simpler and finer taste which reached its perfection in the next reign of Louis XVI. The legs of the furniture of Louis XV time were curved and carved, light and slender, and had no underframes or stretchers. The frames which showed around the upholstery or cane were carved elaborately and later more simply (see illustration at end of chapter on Louis XV). Walnut, chestnut, ebony, and some mahogany were used. Some of the furniture was veneered, and there was a great deal of gilding used and also much painted furniture. The ormolu mounts were most elaborate, curved and ornate like the carving, and were used wherever possible. The brocades used for furniture coverings were lovely in color and design. Garlands, flowers, lace and ribbon effects, baskets of flowers, shells, curled endive, feathers, scrolls, all were used, as well as pastoral scenes by Boucher and Watteau for tapestry and paintings. Comfort had made a long step forward.

The period of Louis XVI was much more beautiful in style than the preceding one, as it was more restrained and exquisite because of the use of the straight line or a gracious, simple curve. This comparative simplicity does not come from lack of true feeling for beauty but rather because of it. The sense of proper proportion was shown in both the furniture and the room decoration. The backs of chairs and settees were round or rectangular, and the legs were square, round, or fluted, and were tapering in all cases. The fluting was sometimes filled with metal husks at top and bottom, leaving a plain stretch between. Walnut and mahogany were much used and were beautifully polished, but had no vulgar and hard varnished glare. There was wonderful inlay and veneer, and much of the furniture was enamelled in soft colors and picked out with gold or some harmonizing color. Gilding was also used for the entire frame. The metal mounts were very fine. Brocades of lovely color and designs of flowers, bowknots, wreaths, festoons, lace, feathers, etc.; chintz, the lovely "toil de Jouy," which is so well copied nowadays; soft toned taffeta, Gobelin and Beauvais and Aubusson tapestries, were all used for hanging and furniture coverings. Cane also became much more popular. Walls were paneled with moldings, and fluted pilasters divided too large spaces into good proportions. Tapestry and paintings were paneled on the walls, and the colors chosen for the backgrounds were light and soft.

The charm and beauty of this style as well as its dignity make it one which may be used in almost any modern house, as it ranges from simplicity to a beautiful restrained elaborateness suitable to the formal rooms.



The change from Louis XVI to the Empire was a violent one both politically and artistically. The influence of the great days of the Roman empire and the mystery of ancient Egypt stirred Napoleon's imagination and formed his taste. Empire furniture was solid and heavy, with little or no carving, and much ornamentation of metal mounts. Mahogany was chiefly used, and some furniture was gilded or bronzed. Round columns finished with metal capitals and bases appeared on large desks and other pieces of furniture. Chairs were solid, many of them throne-like in design, and many with elaborately carved arms in the form of swans and sphinxes, and metal ornaments. The simpler form of chair, which was copied and used extensively in America, as a dining-chair, often had a curved back and graceful lines. Furniture coverings were very bright satins and velvets brocaded with the Emperor's favorite emblems, the bee, torch, wreath, anthemion. It is a heavy and gaudy style and must be used with great discretion. American Empire furniture was far simpler and is better suited to many American homes. In buying it, however, one must be careful to select copies from the earlier part of the time, for it fast deteriorated into heavy and vulgar curves. This American Empire furniture is often shown in the shops under the name of Colonial, which is a misnomer, as we had ceased to be colonies years before it came into existence. It was used during the first half of the nineteenth century.



When we come to English furniture, I think we all take heart of grace a little, for there is something about its sturdiness that seems to appeal to our American sense of appropriateness. By inheritance we have more of the English point of view about the standards of life and living and we seem to settle down with more comfort in a house furnished in any one of the English periods than we do with any of the other great styles.

The English Renaissance is often called the age of oak, and all through the long years of its slow development this oaken bond, so to speak, gave it a certain unity which makes it possible to use much of the furniture of its different divisions together. There are many fine reproductions made of the Tudor and Elizabethan times, but from the early Stuart days, the time of James I onward, good reproductions become more plentiful. This does not mean, however, that one is safe in buying anything called Jacobean or Queen Anne or Georgian. One must still be careful and go armed with as much knowledge as possible. For instance, do not buy any Tudor, Elizabethan, Jacobean, or Charles II furniture made of mahogany or with a high polish. Do not buy any with finicky or delicate brass handles. This may seem an unnecessary warning, but I have seen dainty oval Hepplewhite handles used on a heavy Jacobean chest. This does not happen often, but a word to the wise—. The handles which were used were some times of iron and sometimes of brass, often with a little design etched on them, and the drop handles were either oblong or round rings, or pear- or tear-shaped drops with either a round or oblong plate. H-hinges of iron were used. Chairs of the time of James I, which are much like those of Louis XIII in France, were square and strong with plain or spiral turned legs, and stretchers, and had seats and half backs covered with needlework, leather, velvet, or damask. They would make very comfortable dining chairs and would harmonize with sturdy gate-legged tables, or the long narrow tables which show the influence of Elizabeth's time in the carved drum or acorn-like bulbs of the legs. A court-cupboard would make a beautiful sideboard, and one of the long tables spoken of above would make an appropriate serving-table. Carved chests, and screens covered with leather or needlework, may be used in rooms of this kind, and for modern comfort one may add stuffed chairs and sofas if the proper materials for coverings are chosen. There are some very fine copies made of old needlework of different kinds and also of damasks and other stuffs. One must have the right background for all this, oak paneled walls and tapestry and plain or figured velvet or damask hangings. There are also some finely designed heavy linens which are correct to use.

The furniture of Cromwell's time was much like that of the time of James I and Charles I, but was simplified wherever possible. There were no pomps and vanities in those stern days.

When Charles II came to the throne, there was a reaction against Puritan gloom which showed in the furniture being of a more elaborate design. Chair backs were high and narrow with carved and pierced panels of wood, or carved backs with cane panels, and the carved front rail carried out the feeling and balanced the carved top rail. The crown and rose and shell were used, supported by cherubs and opposed S curves. The illustration opposite page 65 will give a very good idea of the general style. Upholstery was also used, and day-beds and high-boys made their appearance. The chests of earlier days became chests of drawers. Rooms were paneled in oak, and much beautiful tapestry was used. Walnut began to take the place of oak in the later days of Charles II and those of James II, and introduced the age of walnut which lasted through the reigns of William and Mary and Queen Anne.

The furniture of the early days of William and Mary was much like that of the time of Charles II. The chair backs remained high and narrow, but the carving slowly grew simpler and the caning at last went entirely across the back. Many of the early chairs had three carved splats or balusters in the back, and a feature which added greatly to comfort was the slight curve the backs were given instead of the perfectly straight backs of Jacobean days. Dutch influence at least conquered the old style, and the more characteristic furniture of William and Mary was made. A rather elaborate form of the cabriole leg was used, ending in a species of hoof with a scroll-like stretcher between the front legs and curved stretchers connecting all four legs. The cabriole leg became simpler as time passed until in the days of Queen Mary it became the one we all know so well in the Dutch chairs and the early work of Chippendale.



There was much beautiful marquetry used; in fact it is a marked characteristic of much of the furniture of William and Mary. After she died in 1694, the white jasmine flower and green leaves were not used so much, and the sea-weed pattern and acanthus became more popular.



The cup-and-ball design of turned legs with curved stretchers was used for chairs, settees, tables, cabinets. China cupboards with their double-hooded tops and soft colored brocade linings were used to display the wonderful china collections so much in vogue. There was much upholstered furniture covered with beautiful petit-point, which is perfectly reproduced nowadays, but is naturally expensive. Silks, velvets, and damasks were also used, and Queen Mary had a "beautiful chintz bed."

The handles used were of various kinds, the favorite being the drop from a round or star-shaped boss. The furniture was beautifully polished but did not have a bright gloss.

When Anne came to the throne in 1702, the English cabinet maker had became an expert craftsman, and we have the beginning of the finest period of English cabinet-making, which later, in the Georgian period, blossomed into its full glory. The furniture of this time was of walnut. The chairs had a narrow, fairly high back, with a central splat spoon-shaped and later fiddle-shaped. The corners of the back were always rounded. The cabriole legs were often carved with a shell on the knees, the acanthus being used in the more elaborate pieces of furniture, and ended chiefly in a club foot. Stretchers became less common, but if they were used were pushed back and did not form such an important part of the chair design. Seats were broader at the front than at the back, and all furniture showed a real desire for comfort and convenience. Marquetry and lacquer were both in great favor, and there are wonderful examples of both reproduced, but especially lacquer. Petit-point, damask, velvet, and chintz were all used for upholstery and hangings. Chintz was becoming more plentiful, but it was not until the Georgian period that it reached its perfection.

The Georgian period covers the work of Chippendale, the Adam Brothers, Hepplewhite, and Sheraton, who gave to the eighteenth century its undying decorative fame.



When Chippendale began his fine work, the Dutch influence of Queen Anne's reign was still strong, and this shows in his furniture; but his genius lightened and improved it. The characteristics of his style which remained fairly stable through his different phases were the use of mahogany, a certain squareness and solidity of design which has no appearance of heaviness because of the fine proportions, chair backs with a center splat reaching to the seat. The curving top rail always had curving up corners (see drawings page 84). The center splat was solid at first, but soon was pierced and carved, and went through the many developments of his style such as ribbon-back, Chinese, and Gothic. In some chairs he also used horizontal rails, and what are called "all-over backs." The legs of his earlier furniture were cabriole, and later they were straight. He used much and beautiful carving, gave great attention to the beauty of the wood and the perfection of workmanship and finish. Chippendale's settees were at first designed like two chair backs side by side, and if a larger settee was made either a third chair back of the same design or a different but harmonizing one was used. His dining-tables were made up of two center pieces with wide flaps on each side, and two semicircular tables, and all four pieces could be fastened together into one long table by brass fasteners. The end pieces were used as side tables or sideboards, for the sideboard as we know it did not come until later. He also made oblong sidetables, some with marble tops, which were used as sideboards with wine-coolers placed underneath, and usually a large tea-caddy or tea box on top. The beds which Chippendale made were large and elaborate four-posters, with beautiful carved cornices and posts. The curtains hung from the inside of the cornice, and silks or chintz were used for the curtains. His mirror frames were very elaborately carved, and in his rococo period were fairly fantastic with dripping water, Chinese pagodas, rocks, birds with long beaks, and figures. They were gilded, and some were left in the natural mahogany. He made folding card-tables with saucer-like places at the corners for candles, and later when the candle-stand came into fashion, the tables were made without them.



There are many fine reproductions of Chippendale's furniture made which carry out the spirit of his work. In the medium and inexpensive grades, however, there is danger of bad carving, a clumsy thickening of proportions, a jumble of his different periods, and too red a stain and too high a varnish glitter. Good examples can be found in these grades, but one must spend time looking for them, and perhaps it may be necessary to have them rubbed down with powdered pumice and linseed oil. If one uses Chippendale furniture, or that of any of the other Georgian makers, the walls should not be covered with a modern design of wall paper. Plain walls or molding may be used, or one of the fine old designs of figured paper, and this must be used with great discretion and is better if there is a wainscot. Chippendale was very fond of using morocco, but damask and velvet and chintz may also be used. The chintzes were charming in design, and many good copies are made.



The Adam Brothers, of whom Robert was the more important, showed strong classical influence in their work, and much of it resembles that of Louis XVI, which was influenced from the same source. Chairs had square or round or oval backs, and they also used a lyre-shaped splat which was copied later by Sheraton. Often the top rail was decorated by small and charming painted panels. These little panels were also used in the center of cobweb caning in chair backs and settees. Legs of chairs and tables were tapering and round or square and often reeded or fluted. Adam used much mahogany and kept its beautiful golden brown tone (not the dead brown called "Adam" too often in the shops), and also satin-wood and painted wood. The best artists of the day did the painting. Wedgwood medallions were introduced into the more important pieces of furniture. Painted placques, lovely festoons, and charming groups of figures, vases of flowers, and Wedgwood designs, and designs radiating from a center, as on semicircular console table tops, are all characteristic of his work. He also used much inlay. As Adam usually planned all the furniture and the interior of the house, even to the door-knobs, he kept the feeling of unity in both background and furnishings.



Hepplewhite's furniture has much of the delicacy of Adam's work, by whom, without doubt, he was influenced, as he was also by the French styles of the time. Luckily his own personality and sense of beauty and ingenuity were strong enough to develop a marked and beautiful style of his own. His favorite chair back was shield-shaped (see page 83), and he also used heart-shaped and wheel backs, either round or oval, and charmingly painted little panels. The three feathers of the Prince of Wales was a favorite design. He also made ladder-back chairs, usually with four rails. On much of his furniture the legs tapered on the inside edge only and were put in at a slight angle which gave security both in fact and appearance. He also used reeded legs. His console and other tables are beautiful in design and workmanship, being painted usually in different forms of the radiating fan design, or inlaid with beautiful colored woods. The inlay used was often oval in shape, sometimes only a line and sometimes panels of different woods or matched veneer. The handles used were round or oval. He made sofas and settees with either chair-back backs or all upholstered with the frame showing and the covering tacked on with brass tacks close together. His cabinets are fascinating, with their beautiful inlay and delicate strap work over the glass. He made four-post beds with fluted posts, and chests of drawers and little work tables and candle-stands and screens; and one thing we must be deeply grateful to him for is that he developed the sideboard into a really useful and beautiful piece of furniture. He made nearly everything in the way of necessities, and all show the marks of his taste. His dining-tables were on the plan of those of Chippendale but lighter in effect with tapering legs instead of the long cabriole leg ending in claw feet. His mirrors were usually oval with charming festoons. His favorite woods were mahogany and satin-wood, and he used many fine woods for inlay. Chintz and taffeta and fine velvet are all appropriate to use.

In his best designs Sheraton was much influenced by Adam and Hepplewhite and the style of Louis XVI, but like them he also developed his own special and beautiful style. He used mahogany and a great deal of satin-wood of beautiful grain and of a delightful straw color, which was often veneered on oak frames. He was exceedingly fond of inlay, and his designs called for inlaid panels, borders, and festoons. He used the shell, bell-flower, fan, etc., all carried out in fine colored woods. He also used much painted furniture, and often designed white and gold furniture for drawing-rooms. His characteristic chair back was rectangular in shape with a central splat resting on a rail a few inches above the seat (see page 83). This splat was in many different forms, both inlaid and painted. The legs of his furniture were tapering and either square or reeded, the square usually being inlaid. He made beautiful sideboards which were inlaid and finished with a brass rail around the sides and back of the top, and round or oval or lion's-head handles with rings. He also designed most graceful inlaid knife boxes. Like Hepplewhite, he designed all kinds of furniture both large and small, and, until his deterioration came when he designed his astonishing Empire furniture, his style is full of beauty and charm and delicacy, and is copied very successfully by our modern makers.