It is very sad to see such possibilities as his not reaping their true reward, for poverty dogged his steps all through life, and he was always struggling for a bare livelihood. His books were not financially successful, and at last he gave up his workshop and ceased to make the furniture he designed. He was an expert draughtsman and his designs were carried out by the skillful cabinet-makers of the day. Adam Black gives a very pitiful account of the poverty in which Sheraton lived, and says: "That by attempting to do everything he does nothing." His "nothing,"

however, has proved a very big something in the years which have followed, for Sheraton is responsible for one of the most beautiful types of furniture the world has known, and although his life was hard and bitter, his fame is great.

Sheraton took the style of Louis XVI as his standard, and some of his best work is quite equal to that of the French workmen. He felt the lack of the exquisite bra.s.s and ormolu work done in France, and said if it were only possible to get as fine in England, the superior cabinet-making of the English would put them far ahead in the ranks. To many of us this loss is not so great, for the beauty of the wood counts for more, and is not detracted from by an oversupply of metal ornament, as sometimes happened in France. "Enough is as good as a feast."

Sheraton, at his best, had beauty, grace, and refinement of line without weakness, lightness and yet perfect construction, combined with balance, and the ornament just sufficient to enhance the beauty of the article without overpowering it. It is this fine work which the world remembers and which gave him his fame, and so it is far better to forget his later period when nearly all trace of his former greatness was lost.

[Ill.u.s.tration: A Sheraton bureau with a delightful little dressing-gla.s.s.]

Sheraton profited by the work of Chippendale, Adam, and Hepplewhite, for these great men blazed the trail for him, so to speak, in raising the art of cabinet-making to so high a plane that England was full of skilled workmen. The influence of Adam, Shearer, and Hepplewhite, was very great on his work, and it is often difficult to tell whether he or Hepplewhite or Shearer made some pieces. He evidently did not have business ability and his bitter nature hampered him at every turn. The Sheraton school lasted from about 1790 to 1806. He died in 1806, fairly worn out with his struggle for existence. Poor Sheraton, it certainly is a pitiful story.

[Ill.u.s.tration: One of Sheraton's charming desks, with sliding doors made of thin strips of wood glued on cloth.]

[Ill.u.s.tration: A sewing-table having the spirit of both Hepplewhite and Sheraton.]

Sheraton's chair backs are rectangular in type, with urn splats, and splats divided into seven radiates, and also many other designs. The chairs were made of mahogany and satinwood, some carved, some inlaid, and some painted. The splat never ran into the seat, but was supported on a cross rail running from side to side a few inches above the seat.

The material used for upholstery was nailed over the frame with bra.s.s-headed tacks.

Bookcases were of mahogany and satinwood veneer, and the large ones were often in three sections, the center section standing farther out than the two sides. The gla.s.s was covered with a graceful design in moldings, and the pediments were of various shapes, the swan-neck being a favorite.

Sideboards were built on very much the lines of those made by Shearer and Hepplewhite. There were drawers and cupboards for various uses. The knife-boxes to put on the top came in sets of two, and sometimes there was a third box. The legs were light and tapering with inlay of satinwood, and sometimes they were reeded. There was inlay also on the doors and drawers. There were also sideboards without inlay. The legs for his furniture were at first plain, and then tapering and reeded. He used some carving, and a great deal of satinwood and tulip-wood were inlaid in the mahogany; he also used rosewood. The bellflower, urn, festoons, and acanthus were all favorites of his for decoration.

He made some elaborate and startling designs for beds, but the best known ones are charming with slender turned posts or reeded posts, and often the plain ones were made of painted satinwood.

The satinwood from the East Indies was fine and of a beautiful yellow color, while that from the West Indies was coa.r.s.er in grain and darker in color. It is a slow growing tree, and that used nowadays cannot compare with the old, in spite of the gallant efforts of the hard working fakirs to copy its beautiful golden tone.

All the cabinet-makers of the eighteenth century made ingenious contrivances in the way of furniture, washstands concealed in what appear to be corner cupboards, a table that looks as simple as a table possibly can, but has a small step-ladder and book rest hidden away in its useful inside, and many others. Sheraton was especially clever in making these conveniences, as these two examples show, and his books have many others pictured in them. Sheraton's list of articles of furniture is long, for he made almost everything from knife-boxes to "chamber-horses," which were contrivances of a saddle and springs for people to take exercise upon at home.

Sheraton's "Drawing Book" was the best of those he published. It was sold chiefly to other cabinet-makers and did not bring in many orders, as Chippendale's and Hepplewhite's did. His other books showed his decline, and his "Encyclopedia," on which he was working at the time of his death, had many subjects in it beside furniture and cabinet-making.

His sideboards, card-tables, sewing-tables, tables of every kind, chairs--in fact, everything he made during his best period--have a sureness and beauty of line that makes it doubly sad that through the stress of circ.u.mstances he should have deserted it for the style of the Empire that was then the fashion in France. One or two of his Empire designs have beauty, but most of them are too dreadful, but it was the beginning of the end, and the eighteenth century saw the beautiful principles of the eighteenth century lost in a bog of ugliness.

There were many other cabinet-makers of merit that s.p.a.ce does not allow me to mention, but the great four who stood head and shoulders above them all were Chippendale, Adam, Hepplewhite and Sheraton. They, being human, did much work that is best forgotten, but the heights to which they all rose have set a standard for English furniture in beauty and construction that it would be well to keep in mind.

The nineteenth century pa.s.sed away without any especial genius, and in fact, with a very black mark against its name in the hideous early Victorian era. The twentieth century is moving along without anything we can really call a beautiful and worthy style being born. There are many working their way towards it, but there is apt to be too much of the bizarre in the attempts to make them satisfactory, and so we turn to the past for our models and are thankful for the legacy of beauty it has left to the world.

_A General Talk_

When one faces the momentous question of furnishing a house, there are numerous things which must be looked into and thoroughly understood if success is to be a.s.sured. If one is building in the country the first question is the placing of the house in regard to the view, but in town there is not much choice. The architect being chosen with due regard to the style of house one wishes, the planning can go merrily on. The architect should be told if there are any especially large and beautiful pieces of furniture or tapestry to be planned for, so they shall receive their rightful setting. After all, architects are but human, and cannot tell by intuition what furniture is in storage.

It is sad to see how often architecture and decoration are looked upon as two entirely disconnected subjects, instead of being closely allied, playing into each other's hands, as it were, to make a perfect whole. To many people, a room is simply a room to be treated as they wish; whereas many rooms are absolute laws unto themselves, and demand a certain kind of treatment, or disaster follows. In America this kind of house is not found so often as in Europe, but the number is growing rapidly as architects and their clients realize more and more the beauties and possibilities of the great periods as applied to the modern house. It is only to the well-trained architect and decorator with correct taste that one may safely turn, for the ill-trained and commonplace still continue to make their astounding errors, and so to have the decoration of a room truly successful one must begin with the architect, for he knows the correct proportions of the different styles and appreciates their importance. He will plan the rooms so that they, when decorated, may complete his work and form a beautiful and convincing whole. This will give the restfulness and beauty that absolute appropriateness always lends.

[Ill.u.s.tration: This room shows how fresh and charming white paint and simplicity can be.]

This matter of appropriateness must not be overlooked, and the whole house should express the spirit of the owner; it should be in absolute keeping with his circ.u.mstances. There are few houses which naturally demand the treatment of palaces, but there are many which correspond with the smaller chateaux of France and the manor-houses of England. It is to these we must turn for our inspiration, for they have the beauty of good taste and high standards without the lavishness of royalty; but even royalty did not always live in rooms of state, for at Versailles, and Pet.i.t Trianon, there is much simple exquisite furniture. The wonderful and elaborate furniture of the past must be studied of course, but to the majority of people, then as now, the simpler expression of its fundamental lines of beauty are more satisfactory. The trouble with many houses is that their furnishings are copied from too grand models, and the effect in an average modern house is unsuitable in every way. They cannot give the large vistas and appropriate background in color and proportion which are necessary. Beauty does not depend upon magnificence.

[Ill.u.s.tration: The warm tones of a brown Chinese wallpaper are attractive with the mahogany furniture, and the pattern is prevented from becoming monotonous by the strong rectangular lines of the ivory woodwork which frames it. The corner cupboard and the exceptionally fine dining-table and the variety of chairs are interesting.]

If one has to live in a house planned and built by others one often has to give up some long cherished scheme and adopt something else more suited to the surroundings. For instance, the rooms of the great French periods were high, and often the modern house has very low ceilings, that would not allow s.p.a.ce for the cornice, over-doors and correctly proportioned paneling, that are marked features of those times. Mrs.

Wharton has aptly said: "Proportion is the good breeding of architecture," and one might add that proportion is good breeding itself. One little slip from the narrow path into false proportion in line or color or ma.s.s and the perfection of effect is gone.

Proportion is another word for the fitness of things, and that little phrase, "the fitness of things," is what Alice in Wonderland calls a "portmanteau" phrase, for it holds so much, and one must feel it strongly to escape the pitfalls of period furnishing. Most amazing things are done with perfect complacency, but although the French and English kings who gave their names to the various periods were far from models of virtue, they certainly deserved no such cruel punishment as to have some of the modern rooms, such as we have all seen, called after them.

The best decorators refuse to mix styles in one room and they thus save people from many mistakes, but a decorator without a thorough understanding of the subject, often leads one to disaster. A case in point is an apartment where a small Louis XV room opens on a narrow hall of nondescript modern style, with a wide archway opening into a Mission dining-room. As one sits in the midst of pink brocade and gilding and looks across to the dining-room, fitted out in all the heavy paraphernalia of Mission furniture, one's head fairly reels. No contrast could be more marked or more unsuitable, and yet this is by no means an uncommon case.

If one intends to adopt a style in decorating one's house, there should be a uniformity of treatment in all connecting rooms, and there must be harmony in the furniture and architecture and ornament, as well as harmony in the color scheme. The foundation must be right before the decoration is added. The proportion of doors and windows, for instance, is very important, with the decorated over-door reaching to the ceiling.

The over-doors and mantels were architectural features of the rooms, and it was not until wallpapers came into common use, in the early part of the nineteenth century, that these decorative features slowly died out.

The mantel and fireplace should be a center of interest and should be balanced with something of importance on the other side of the room, either architectural or decorative. It was this regard for symmetry, balance, proportion, and harmony, which made the old rooms so satisfying; there was no magic about it, it was artistic common sense.

The use for which a room is intended must be kept in view and carried out with real understanding of its needs. The individuality of the owner is of course a factor. Unfortunately the word individuality is often confounded with eccentricity and to many people it means putting perfectly worthy and una.s.suming articles to startling uses. By individuality one should really mean the best expression of one's sense of beauty and the fitness of things, and when it is guided by the laws of harmony and proportion the result is usually one of great charm, convenience, and comfort. These qualities must be in every successful house.

In furnishing any house, whether in some special period or not, there are certain things which must be taken into account. One of these is the general color scheme. Arranging a color scheme for a house is not such a difficult matter as many people suppose, nor is it the simple thing that many others seem to think. There is a happy land between the two extremes, and the guide posts pointing to it are a good color sense, a true feeling for the proportion and harmony of color, and an understanding of the laws of light. The trouble is that people often do not use their eyes; red is red to them, blue is blue, and green is green. They have never appeared to notice that there are dozens of tones in these colors. Nature is one of the greatest teachers of color harmony if we would but learn from her. Look at a salt marsh on an autumn day and notice the wonderful browns and yellows and golds in it, the reds and russets and touches of green in the woods on its edge, and the clear blue sky over all with the reflections in the little pools. It is a picture of such splendor of color that one fairly gasps. Then look at the same marsh under gray skies and see the change; there is just as much beauty as before, the same russets and golds and reds, but exquisitely softened. One is sparkling, gay, a harmony of brilliancy; the other is more gentle, sweet and appealing, a harmony of softened glory.

Again, Nature makes a thousand and one shades of green leaves to harmonize with her flowers; the yellow green of the golden rod, the silver green of the milkweed, the bright green of the nasturtium. Notice the woods in wintertime with the wonderful purple browns and grays of the tree trunks and branches, the bronze and russet of the dead leaves, and the deep shadows in the snow. Everywhere one turns there are lessons to learn if one will only use seeing eyes and a thinking mind.

A house should be looked at as a whole, not as so many units to be treated in a care-free manner. A room is affected by all the rooms opening from it, as they, in turn, are affected by it. There can be variety of color with harmony of contrast, or there can be the same color used throughout, with the variety gained by the use of its different tones. The plan of each floor should be carefully studied to get the vistas in all directions so that harmony may reign and there will be no danger of a clashing color discord when a door is opened. The connecting rooms need not be all in one color, of course, but they should form a perfect color harmony one with another, with deft touches of contrast to accent and bring out the beauty of the whole scheme: This matter of harmony in contrast is an important one. The idea of using a predominant color is a restful one, and adds dignity and apparent size to a house. The walls, for instance, could be paneled in white enameled wood, or plaster, and the necessary color and variety could be supplied by the rugs, hangings, furniture, and pictures.

Another charming plan is to have different tones of one color used--a scheme running from cream or old ivory through soft yellow and tan to a russet brown would be lovely, especially if the house did not have an over supply of light. Greens may be used with discretion, and a cool and attractive scheme is from white to soft blue through gray. If different colors are to be used in the different rooms the number of combinations is almost unlimited, but there must always be the restraining influence of a good color sense in forming the scheme or the result will be disappointing, to say the least.

A very important matter in the use of color is in its relation to the amount and quality of the light. Dreary rooms can be made cheerful, and too bright and dazzling rooms can be softened in effect, by the skillful use of color. The warm colors,--cream white, yellows--but not lemon yellow--orange, warm tans, russet, pinks, yellow greens, yellowish reds are to be used on the north or shady side of the house. The cool colors,--white, cream white, blues, grays, greens, and violet, are for the sunny side. Endless combinations may be made of these colors, and if a gray room, for example, is wished on the north side of the house, it can be used by first choosing a warm tone of gray and combining with it one of the warm colors, such as certain shades of soft pink or yellow.

We can stand more brilliancy of color out-of-doors than we can in the house, where it is shut in with us. It is too exciting and we become restless and nervous. No matter on what scale a house is furnished one of its aims should be to be restful.

There is one great mistake which many people make of thinking of red as a cheerful color, and one which is good to use in a dark room. The average red used in large quant.i.ties absorbs the light in a most disheartening manner, making a room seem smaller than it really is; it makes ugly gloomy shadows in the corners, for at night it seems to turn to a dingy black, and increases the electric light bill. Red is also a severe strain on the eyes, and many a red living-room is the cause of seemingly unaccountable headaches. I do not mean to say that red should never be used, for it is often a very necessary color, but it must be used with the greatest discretion, and one must remember that a little of it goes a long way. A room, for instance, paneled with oak, with an oriental rug with soft red in it, red hangings, and a touch of red in an old stained gla.s.s panel in the window, and red velvet cushions on the window seat, would have much more warmth and charm than if the walls were covered entirely with red. One red cushion is often enough to give the required note. The effect of color is very strong upon people, although a great many do not realize it, but nearly everyone will remember a sudden and apparently unexplained change of mood in going into some room. One can learn a deal by a.n.a.lyzing one's own sensations.

Figured wall-papers should also be chosen with the greatest care for this same reason. Papers which have perpetual motion in their design, or eyes which seem to peer, or an unstable pattern of gold running over it, must all be ignored. People who choose this kind of paper are blest, or cursed, whichever way one looks at it, by an utter lack of imagination.

A room is divided into three parts, the floor, the walls, and the ceiling, and the color of the room naturally follows the law of nature; the heaviest or darkest at the bottom, or floor; the medium tone in the center, or walls; and the lightest at the top, or ceiling. It is only when one has to artificially correct the architectural proportions of a room that the ceiling should be as dark, or darker, than the walls. A ceiling can also be seemingly lowered by bringing the ceiling color down on the side walls. A low room should never have a dark ceiling, as it makes the room seem lower.

Walls should be treated as a background or as a decoration in themselves. In the latter case any pictures should be set in specially arranged panels and should be pictures of importance, or fresco painting. The walls of the great periods were of this decorative order.

They were treated architecturally and the feeling of absolute support which they gave was most satisfactory. The pilasters ran from base or dado to the cornice and the over-doors made the doors a dignified part of the scheme, rather than mere useful holes in the wall as they too often are nowadays.

Paneling is one of the most beautiful methods of wall decoration. There are many styles of paneling, stone, marble, stucco, plaster, and wood, and each period has its own distinctive way of using them, and should be the correct type for the style chosen. The paneling of a Tudor room is quite different from a Louis XVI room. In the course of a long period like that of Louis XV the paneling slowly changed its character and the rococo style was followed by the more dignified one that later became the style of Louis XVI.

Tapestry and paintings of importance should have panels especially planned for them. If one does not wish to have the paneling cover the entire wall, a wainscot or dado with the wall above it covered with tapestry, silk, painting, or paper, will make a beautiful and appropriate room for many of the different styles of furniture. A wainscot should not be too high; about thirty-six inches is a good height, but should form a background for the chairs, sofas, and tables, placed around the room.

A wainscot six or more feet high is not as architecturally correct as a lower one, because a wall is, in a way, like an order in its divisions, and if the base, or wainscot, is too high it does not allow the wall, which corresponds to the column, to have its fair proportion. This feeling is very strong in many apartment houses where small rooms are overburdened by this kind of wainscot, and to make matters worse, the top is used as a plate-rail. A high wainscot should be used only in a large room, and if there are pilasters arranged to connect it with the cornice, and the wall covering is put on in panel effect between, the result is much better than if the wall were left plain, as it seems to give more of a _raison d'etre_.

Tapestry is another of the beautiful and important wall coverings, and the happy possessor of Flemish or Gobelin, or Beauvais, tapestries, is indeed to be envied. A rare old tapestry should be paneled or hung so it will serve as a background. Used as portieres, tapestry does not show the full beauty of its wonderful time-worn colors and its fascination of texture. It is not everyone, however, who is able to own these almost priceless treasures of the past, and so modern machinery has been called to the aid of those who wish to cover their walls and furniture with tapestry. Many of these modern manufactures are really beautiful, thick in texture, soft in color, and often have the little imperfections and unevennesses of hand weaving reproduced, so that we feel the charm of the old in the new. Many do not realize that in New York there are looms making wonderful hand-woven tapestries with the true decorative feeling of the best days of the past. On the top floor of a large modern building stand the looms of various sizes, the dyeing tubs, the dripping skeins of wool and silk, the spindles and bobbins, and the weavers hard at work carrying out the beautiful designs of the artist owner. There are few colors used, as in mediaeval days, but wonderful effects are produced by a method of winding the threads together which gives a vibrating quality to the color. When the warp in some of the coa.r.s.er fabrics is not entirely covered it is sometimes dyed, which gives an indescribable charm. Tapestries of all sizes have been made on these looms, from the important decoration of a great hall, to sofa and chair coverings. Special rugs are also made. It is a pleasure to think that an art which many considered dead is being practiced with the highest artistic aim and knowledge and skill in the midst of our modern rush.

This hand-woven tapestry is made to fit special s.p.a.ces and rooms, and there is nothing more beautiful and suitable for rooms of importance to be found in all the long list of possibilities.

The effect of modern tapestry, like the old, is enhanced if the walls are planned to receive it, for it was never intended to be used as wall-paper. It is sometimes used as a free hanging frieze, so to speak, and sometimes a great piece of it is hung flat against the wall, but as a general thing to panel it is the better way.

Another beautiful wall covering is leather. It should be used much more than it is, and is especially well adapted for halls, libraries, dining-rooms, smoking-and billiard-rooms, and dens. Its wonderful possibilities for rooms which are to be furnished in a dignified and beautiful manner are unsurpa.s.sed. It may be used in connection with paneling or cover the wall above a wainscot.

Fresco painting is another of the n.o.ble army of wall treatments which lends itself beautifully to all kinds and styles of rooms.

Amidst all the grandeur of tapestry and painting one must not lose sight of the simpler methods, for they are not to be distained. Wall-papers are growing more and more beautiful in color, design, and texture, and one can find among them papers suited to all needs. Fabrics of all kinds have become possibilities since their dust-collecting capacity is now no longer a source of terror, as vacuum cleaners are one of the commonplaces of existence. Painting or tinting the walls, when done correctly, is very satisfactory in many rooms.