There is no doubt that in many houses are wonderful collections of furniture, tapestries and treasures of many kinds, that are placed without regard to the absolute harmony of period, although the general feeling of French or Italian or English is kept. They are usually great houses where the sense of s.p.a.ce keeps one from feeling discrepancies that would be too marked in a smaller one, and the interest and beauty of the rare originals against the old tapestries have an atmosphere all their own that no modern reproduction can have. There are few of us, however, who can live in this semi-museum kind of house, and so one would better stick to the highway of good usage, or there is danger of making the house look like an antique shop.

[Ill.u.s.tration: Dorothy Quincy's bedroom contains a fine old mahogany field bed, which is appropriately covered with the flowered chintz popular at the end of the Eighteenth Century. The chairs are fitting for all bedrooms decorated in Colonial style. Notice the woodwork in the room and hall.]

To carry out a style perfectly, all the small details should be attended to--the door-locks, the framework of the doors and windows, the carving.

All these must be taken into account if one wishes success. It is better not to attempt a style throughout if it is to be a makeshift affair and show the effects of inadequate knowledge. The elaborate side of any style carried out to the last detail is really only possible and also only appropriate for those who have houses to correspond, but one can choose the simpler side and have beautiful and charming rooms that are perfectly suited to the average home. For instance, if one does not wish elaborate gilded Louis XVI furniture, upholstered in brocade, one can choose beautiful cane furniture of the time and have it either in the natural French walnut or enameled a soft gray or white to match the woodwork, with cushion of cretonne or silk in an appropriate design.

Period furnishing does not necessarily mean a greater outlay than the nondescript and miscellaneous method so often seen.

[Ill.u.s.tration: A very solid but not especially pleasing desk that was used by Washington while he was President. The railing is interesting.

The idea was used by Chippendale in his gallery tables.]

[Ill.u.s.tration: The tambour work doors in the upper part of this Sheraton secretary roll back; also notice the handles and inlay and tapering legs.]

Whatever the plan for furnishing a house may be, the balance of decoration must be kept; the same general feeling throughout all connecting parts. If a drawing-room is too fine for the hall through which one has to pa.s.s to reach it, the balance is upset. If too simple chairs are used in a grand dining-room the balance is upset, the fitness of things is not observed. When the happy medium is struck throughout the house one feels the delightful well-bred charm which a regard for the unities always gives. It is not only in the quality of the decorations that this feeling of balance must be kept, but in the style also. If one chooses a period style for the drawing-room it is better to keep to it through the house, using it in its different expressions according to the needs of the different rooms. If one style throughout should seem a bit monotonous at least one nationality should be kept, such as French, or English. If several styles of French furniture are used do not have them in the same room; for instance, Louis XV and Empire have absolutely nothing in common, but very late Louis XVI and early Empire have to a certain extent. It does not give the average person a severe shock to walk from a Louis XVI hall into a Louis XV drawing-room, but the two mixed in one room do not give a pleasing effect. The oak furniture of Jacobean days does not harmonize with the delicate mahogany furniture of the eighteenth century in England. The delicate beauty of Adam furniture would be lost in the greatness of a Renaissance salon. A lady whose dining-room was furnished in Sheraton furniture one day saw two elaborate rococo Louis XV console tables which she instantly bought to add to it. The shopman luckily had more sense of the fitness of things than a mere desire to sell his wares, and was so appalled when he saw the room that he absolutely refused to have them placed in it. She saw the point, and learned a valuable lesson. One could go on indefinitely, giving examples to warn people against startling and inappropriate mixtures which put the whole scheme out of key.

I am taking it for granted that reproductions are to be chosen, as originals are not only very rare, but also almost prohibitive in price.

Good reproductions are carefully made and finished to harmonize with the color scheme. The styles most used at present are, Louis XIV, XV, XVI, Jacobean, William and Mary, and Georgian. Gothic, Italian and French Renaissance, Louis XIII, and Tudor styles are not so commonly used. We naturally a.s.sociate dignity and grandeur with the Renaissance, and it is rather difficult to make it seem appropriate for the average American house, so it is usually used only for important houses and buildings.

Some of the Tudor manor houses can be copied with delightful effect. The styles of Henri II and Louis XIII can both be used in libraries and dining-rooms with most effective and dignified results.

The best period of the style of Louis XV is very beautiful and is delightfully suited to ball-rooms, small reception-rooms, boudoirs, and some bedrooms. In regard to these last, one must use discretion, for one would not expect one's aged grandmother to take real comfort in one. Nor does this style appeal to one for use in a library, as its gayety and curves would not harmonize with the necessarily straight lines of the bookcases and rows of books. Any one of the other styles may be chosen for a library.

The English developed the dining-room in our modern sense of the word, while the French used small ante-chambers, or rooms that were used for other purposes between meals, and I suppose this is partly the reason we so often turn to an English ideal for one. There are many beautiful dining-rooms done in the styles of Louis XV and XVI, but they seem more like gala rooms and are usually distinctly formal in treatment. Georgian furniture, or as we so often say, Colonial, is especially well suited to our American life, as one can have a very simple room, or one carried out in the most delightful detail. In either case the true feeling must be kept and no startling anachronisms should be allowed; radiators, for instance, should be hidden in window-seats. This same style may be used for any room in the house, and there are beautiful reproductions of Chippendale, Adam, Hepplewhite, and Sheraton furniture that are appropriate for any need.

In choosing new "old" furniture, do not buy any that has a bright and hideous finish. The great cabinet-makers and their followers used wax, or oil, and rubbed, rubbed, rubbed. This dull finish is imitated, but not equaled, by all good furniture makers, and the bright finish simply proclaims the cheap department store.

In parts of the country Georgian furniture has been used and served as a standard from the first, and it is a happy thing for the beauty of our homes that once more it has come into its own. It is the high grade of reproduction which has made it possible.

The mahogany used by Chippendale, and in fact by all the eighteenth century cabinet-makers, was much more beautiful than is possible to get to-day, for the logs were old and well seasoned wood, allowed to dry by the true process of time, which leaves a wonderful depth of color quite impossible to find in young kiln-dried wood. The best furniture makers nowadays, those who have a high standard and pride in their work, have by careful and artistic staining and beautiful finish, achieved very fine results, but the factory article with its dreadful "mahogany"

stain, its coa.r.s.e carving, and its brilliant finish, shows a sad difference in ideal. The best reproductions are well worth buying, and, as they are made with regard to the laws of construction, they stand a very good chance of becoming valued heirlooms. There are certain characteristics of all the eighteenth century cabinet-makers, both English and French, which are picked out and overdone by ill-informed manufacturers. The rococo of Chippendale is coa.r.s.ened, his Chinese style loses its fine, if eccentric, distinction, and the inlay of Hepplewhite and Sheraton is another example of spoiling a beautiful thing.

Thickening a line here and there, or curving a curve a bit more or less, or enlarging the amount of inlay, achieves a vulgarity of appearance quite different from the beautiful proportions of the originals, and it is this which one must guard against in buying reproductions. The lack of knowledge of correct proportion is not confined to the cheaper grades, where necessary simplicity is often a protection, but is apt to be found in all. The best makers, as I have said, take a pride in their work and one can rely on them for fine workmanship and being true to the spirit of the originals.

There is one matter of great importance to be kept in mind and practiced with the sternest self-control, and that is, to eliminate, eliminate, eliminate. Walk into the center of a room and look about with seeing, but impersonal eyes, and you will be astonished to find how many things there are which are unnecessary, in fact, how much the room would be improved without them. In every house the useless things which go under the generic name of "trash" acc.u.mulate with alarming swiftness, and one must be up with the lark to keep ahead of the supply. If something is ugly and spoils a room, and there is no hope of bringing it into harmony, discard it; turn your eyes aside if you must while the deed is being done, but screw your courage to the sticking point, and do it. She is, indeed, a lucky woman who can start from the beginning or has only beautiful heritages from the past, for the majority of people have some distressingly strong pieces of ugly furniture which, for one reason or another, must be kept. One sensible woman furnished a room with all her pieces of this kind, called it the Chamber of Horrors, and used it only under great stress and strain, which was much better than letting her house be spoiled.

A home should not be a museum, where one grows exhausted going from one room to another looking at wonderful things. Rather should it have as many beautiful things in it as can be done full justice to, where the feeling of simplicity and restfulness and charm adds to their beauty, and the whole is convincingly right. The fussy house is, luckily, a thing of the past, or fast getting to be so, but we should all help the good cause of true simplicity. It does not debar one from the most beautiful things in the world, but adds dignity and worth to them. It does not make rooms stiff and solemn, but makes it possible to have the true gayety and joy of life expressed in the best periods.

_Georgian Furniture_

A delightful renaissance of the Georgian period in house decoration is being felt more and more, and every day we see new evidence that people are turning with thanksgiving to the light and graceful designs of the eighteenth century English cabinet-makers. There is a charm and distinction about their work which appeals very strongly to us, and its beauty and simplicity of line makes delightful schemes possible.

The Georgian period seems especially fitted for use in our homes, for it was the inspiration of our Colonial houses and furniture, which we adapted and made our own in many ways. The best examples of Colonial architecture are found in the thirteen original states. In many of these houses we find an almost perfect sense of proportion, of harmony and balance, of dignity, and a s.p.a.ciousness and sense of hospitality, which few of our modern houses achieve. The halls were broad and often went directly through the house, giving a glimpse of the garden beyond; the stairs with their carefully thought-out curve and sweep and well placed landings, gave at once an air of importance to the house, while the large rooms opening from the hall, with their white woodwork, their large fireplaces, and comfortable window-seats, confirmed the impression.

It is to this ideal of simple and beautiful elegance that many people are turning. By simplicity I do not mean poverty of line and decoration, but the simplicity given by the fundamental lines being simple and beautiful with decoration which enhances their charms, but does not overload them. Even the most elaborate Adam room with its exquisite painted furniture, its beautifully designed mantel and ceiling and paneled walls, gave the feeling of delightful and beautiful simplicity.

This same feeling is expressed in the furniture of Louis XVI, for no matter how elaborate it may be, it is fundamentally simple, but with a warmer touch than is found in the English furniture of the same time.

The question of period furnishing has two sides, and by far the more delightful side is the one of having originals. There is a glamor about old furniture, a certain air of fragility, although in reality it is usually much stronger than most of our modern factory output, which adds to the charm. With furniture, as with people, breeding will out. When one has inherited the furniture, the charm is still greater, for it is pleasant to think of one's own ancestors as having used the chairs and tables, and danced the stately minuet, with soft candle-light falling from the candelabra, and the great logs burning on the old bra.s.s andirons. But if one cannot have one's own family traditions, the next best thing is to have furniture with some other family's traditions, and the third choice is to have the best modern reproductions, and build up one's own traditions oneself.

The feeling which many people have that Georgian furniture was stiff and uncomfortable is not borne out by the facts. The sofas were large and roomy, the settees delightful, the arm-chairs and wing chairs regular havens of rest, and when one adds the comfort which modern upholstery gives, there is little left to desire. Even the regulation side-chair of the period, which some think was the only chair in very common use, is absolutely comfortable for its purpose. Lounging was much less in vogue then than nowadays and the old cabinet-makers realized that one must be comfortable when sitting up as well as when taking one's ease. One must not be deterred by this unfounded bugaboo of discomfort if one wishes a room or house done after the great period styles of the eighteenth century. With care and knowledge, the result is sure to be delightful and beautiful.

This little book, as I have said before, is not intended to be a guide for collectors, for that is a very big subject in itself, but is meant to try to help a little about the modern side of the question. There are many grades of furniture made, and one should buy with circ.u.mspection, and the best grade which is possible for one to afford. The very best reproductions are made with as much care and knowledge and skill as the originals, and will last as long, and become treasured heirlooms like those handed down to us. They are works of art like their eighteenth century models. The wood is chosen with regard to its beauty of grain, and is treated and finished so the beauty and depth of color is brought out, and the surface is rubbed until there is a soft glow to it. If one could have the ages-old mahogany which Chippendale and his contemporaries used, there would be little to choose between the originals and our best reproductions, so far as soundness of construction and beauty of detail go. But the fact that they were the originals of a great style, that no one since then has been able to design any furniture of greater beauty than that of England and France in the eighteenth century, and that we are still copying it, gives an added charm to a rare old chair or sideboard or mirror. The modern workman in the best workshops is obliged to know the different styles so well that he cannot make mistakes, and if he ventures to take a little flight of fancy on his own account, it will be done with such correctness of feeling that one is glad he flew; but few attempt it. In the lower grade of reproductions one must have an eagle eye when buying.

I saw a rather astounding looking Chippendale chair in a shop one day, with a touch of Gothic--a suspicion of his early Dutch manner--and, to give a final touch, tapering legs with carved bellflowers! "What authority have you for that chair?" I asked, for I really wanted to know what they would call the wonder.

"That," the shopman answered, the pride of knowledge shining in his eyes, "is Chinese Chippendale."

Another anachronism which has appeared lately, and sad to say in some of the shops that should know better, is painted Adam furniture with pictures on it of the famous actresses of the eighteenth century. The painting of Angelica Kauffman, Cipriani, Pergolesi and the others, was charming and delightful. Nymphs and cupids, flowers, wreaths, musical instruments, and poetical little scenes, but never the head of a living woman! The bad taste of it would have been as apparent to them as putting the picture of Miss Marlowe, or Lillian Russell on a chair back would be to us.

The finish is another matter to bear in mind. There is a thick red stain, which for some mysterious reason is called mahogany, which is put on cheaper grades of furniture and finished with a high polish.

Fortunately, it is chiefly used on furniture of vulgar design, but it sometimes creeps in on better models. Shun it whenever seen. The handles must be correct also, and a glance at the different ill.u.s.trations will be of help in this matter.

The pieces of furniture used throughout a house, no matter what the period may be, are more or less the same, so many chairs, tables, beds, mirrors, etc., and when one has decided what one's needs are, the matter of selection is much simplified. Of course one's needs are influenced by the size of the house, one's circ.u.mstances, and one's manner of life.

To be successful, a house must be furnished in absolute harmony with the life within its walls. A small house does not need an elaborate drawing-room, which could only be had at the expense of family comfort; a simple drawing-room would be far better, really more of a living-room.

In a large house one may have as many as one wishes.

A house could be furnished throughout with Chippendale furniture and show no sign of monotony of treatment. The walls could be paneled in some rooms, wainscoted in others, and papered in others. This question of paper is one we have taken in our own hands nowadays, and although it was not used much before the late eighteenth and early nineteenth centuries, there are so many lovely designs copied from old-time stuffs and landscape papers, which are in harmony with the furniture, that they are used with perfect propriety. One must be careful not to choose anything with a too modern air, and a plain wall is always safe.

The average hall will probably need a pair of console tables and mirrors, some chairs, Oriental rugs, a tall clock if one wishes, and, if the hall is very large and calls for more furniture, there are many other interesting pieces to choose from. A hall should be treated with a certain amount of formality, and the greater the house, the greater the amount; but it also should have an air of hospitality, of impersonal welcome, which makes one wish to enter the rooms beyond where the real welcome waits.

The window frames of Colonial and Georgian houses were often of such good design that no curtains were used, and the wooden inside shutters were shut at night. Nowadays the average house has what might be called utility woodwork at its windows and so we cover them with curtains.

These curtains may be of linen, cretonne, damask, or brocade, according to the house, and may either fall straight at the side with a slight drapery or shaped or plain valance at the top, or be drawn back from the center. A carved cornice or the regular box frame may be used.

The stairs were often of beautifully polished hardwood, and they were sometimes covered with rugs. Large Chinese porcelain jars on the console tables are suitable, and other beautiful ornaments.

As the drawing-room usually opens from the hall, it is better to keep both rooms in the same general scale of furnishing. The average sized drawing-room will need sofas, a small settee, two or three tables, one of them a gallery table if desired, chairs of different shapes and size, mirrors, a cabinet if one has rare pieces of old porcelain, and candelabra. Oriental rugs, a fire screen, ornaments, and pictures, but these last should not be of the modern impressionistic school. The woodwork should be white, or light, and the furniture covered with damask, needlework, brocade or tapestry.

The dining-room can be made most charming with corner cupboards and cabinet, a large mahogany table and side table and beautiful morocco covered chairs. Chippendale did not make sideboards in our sense of the word, but used large side tables. One of the modern designs which many like to use, for to them it seems a necessity, is a sideboard made in the style of Chippendale. The screen may be leather painted after "the Chinese taste," or it may be damask. The chairs may be covered with tapestry or damask if one does not care for morocco. Portraits are interesting in a dining-room, or old prints, or paintings, and if you can get the old dull gold carved frames, so much the better. They may also be set in panels.

The bedrooms may have either four-post canopy beds or low-posts beds.

Chippendale's canopy beds had usually a carved cornice with the curtains hung from the inside. The other furniture should consist of a dressing-table, a chest of drawers to correspond with a chiffonier, a highboy, a sewing table, a bedside table, a comfortable sofa, a fireside or wing chair and other chairs according to one's need. The walls may be covered with either an old-fashioned or plain paper,--or paneled, with hangings and chair coverings of chintz or cretonne. The bed hangings may be of cretonne also, for it makes a very charming room, but if one objects to colored bed hangings, white dimity, or muslin or linen may be used.

It is the art of keeping the correct feeling which makes or mars a room of this kind, and no pieces of markedly modern and inharmonious furniture should be used. In furnishing a house in Georgian or Colonial manner one need not keep all the rooms in the same division of the period, for there is a certain general air of harmony and relationship about them all, and the common bond of mahogany makes it possible to have a Chippendale library, an Adam drawing-room, a Hepplewhite dining-room and a Sheraton hall, or any other combination desired. The spirit of all the eighteenth century cabinet-makers was one of honest construction and beauty of line and workmanship. When they took ideas from other sources they made them so distinctly their own, so essentially English that there is a family resemblance through all their work.

Adam decoration and furniture makes most delightful rooms. The painted satinwood furniture for dining-room, drawing-room and bedrooms, lends itself to lovely schemes with its soft golden tones, its delightfully woven cane chair backs and panels. A room on the sunny side of the house, with a soft old ivory colored wall, dull blue silk curtains, and a yellow and blue Chinese rug, would be most charming with this satinwood furniture.

Then, as I have said before, there are the many different shades of enameled and carved furniture and also beautiful natural wood. One can have more of a sideboard in an Adam than in a Chippendale room, as he used two pedestals, one at each end of a large serving-table. He often made tables to fit in niches, which is a charming idea.

An Adam mantel is very distinctive and one should be careful in having it correct. There are beautiful reproductions made. The lamp and candle shades should also be designed in the spirit of the time. There are lovely Adam designs in nearly all materials suitable for hangings and chair coverings. Oriental rugs or plain colored carpets appeal to us more than large-figured rugs. Adam sometimes had special rugs made exactly reproducing the design of the ceiling, but it is an idea that is better forgotten.

With Hepplewhite and Sheraton the same general ideas hold; keep to the spirit of the furniture, try to have a central idea in the house furnishing, so that the restful effect of harmony may be given.

[Ill.u.s.tration: Pembroke tables were made by Hepplewhite. This is a fine example and shows characteristic inlay and the legs sloping on the inside edge only. The flaps fold down and make a small oblong table.]

[Ill.u.s.tration: This fine Sheraton sideboard shows curved doors, and knife boxes with oval inlay of satinwood. The center cupboard is straight. The legs are reeded.]

The rugs which harmonize best with Georgian furniture are Orientals of different weaves and colors, or plain domestic carpet rugs. The floor should be the darkest of the three divisions of a room--the floor, the walls, the ceiling, but it should be an even gradation of color value, the walls half-way in tone between the other two. This is a safe general plan, to be varied when necessity demands. In drawing-rooms light and soft colors are usually in better harmony than dark ones, and a wide and beautiful choice can be made among Kermanshah, Kirman, Khorasan, Tabriz, Chinese, Oman rugs, and many others. It is more restful in effect if the greater part of the floor is covered with a large rug, but if one has beautiful small rugs they may be used if they are enough alike in general tone to escape the appearance of being spotty. One should try them in different positions until the best arrangement is found.

[Ill.u.s.tration: A pleasing design of the old field bed. The chairs here are samples of some eighteenth century manufacture that are to-day reproduced in admirable consistency. The patch work quilt is interesting and the bed hanging are exceptionally good.]