JESSAMINE WALL PAPER.
THE
UKAWING-ROOM
ITS DECORATIONS AND FURNITURE.
BY
MRS.ORRINSMITH.
The place is dignified by the doer's deed."
Bonbon :
MACMILLAN AND CO.
1878.
[ Tht Right of Translation and Reproduction is Reserved.}
.'NIC
AVAIIA8W
VJUTL- HIM rv
FOURTH THOUSAND.
LONDON: R. CLAY, SONS, AND TAYLOR,
BREAD STREET HILL, E.C.
To GEORGE LILLIE CRAIK,
At -whose suggestion this little book was written, it is
dedicated by
LUCY ORRINSMITH.
BECKENHAM, September 1877.
PREFACE.
,HE author of the following pages has
endeavoured to give more particular
directions as to the furnishing and
adornment of the Drawing-Room
than was possible in the Miss
Garretts' volume treating of the whole subject
of House Decoration. She has, however, by no
means confined her remarks to the style known as
" Queen Anne," but has recited and applied those
universal rules of taste which may be considered
common to all styles. Mrs. Orrinsmith has further
directed her attention to the cost of such drawing-
room decorations as she recommends, and while
giving the fullest particulars of the most magnifi-
cent adornments which money can buy, has not
neglected the still more important rules by which
to guide amateurs who, from want of means or
PREFACE.
any other reason, wish to do the work as cheaply
as possible. With this view she has insisted on
the prime necessity of good taste in everything1,
and the not less obvious need of harmonious
design in form and colour.
This volume will therefore, I hope, be found
useful, not only to those who can choose a style
without regard to cost, but also to those whose
love of Art at Home can only be gratified by
an expenditure of personal thought and handiwork.
In issuing this manual to readers of the Series, I
can only wish that every one who follows Mrs.
Qrrinsmith's guidance may find his Drawing-room
made comfortable and pleasant as well as beautiful.
W. J. L.
CONTENTS.
CHAPTER I.
PACK
EVILS AND REMEDIES i
Drawing-rooms. — Taste. — Money. — Commonplace Furniture. —
Contentment. — Ornamentation. — Colour. — Art Education. —
Novelty. — Trifles. — Ladies' Work. — Personal Culture.
CHAPTER II.
WALLS AND CEILINGS . 10
Wall Papers. — Dadoes. — Paint. — Distemper. — Matting. — Cor-
nices.— Wall Draperies. — Colours. — Ceilings. — Imitations.
CHAPTER III.
FIREPLACES AND CHIMNEYPIECES 31
Mantelpieces. — Hearths. — Fenders. — Home-painting. — Grates. —
Woodwork. — Corner Fireplaces. — Fire-irons. — Coal-scuttles. —
Tiles.
CHAPTER IV.
FLOORS AND CARPETS 50
Flooring. — Staining and Polishing. — Parquetry. — Matting. —
Persian Carpets. — Rugs and Mats.— Colours and Patterns.
CONTENTS.
CHAPTER V.
WINDOWS, DOORS, AND CURTAINS 63
Light and Air. — View. — Glass. — Blinds. — Poles. —Curtains. —
Embroidery. — Portieres. — Inner Windows. — Doorways. —
Screens.
CHAPTER VI.
FURNITURE 81
Comfort. — Elegance. — Old Furniture. — Queen Anne. — Chippen-
dale and Sheraton. — Decorated Work. — Cabinets. — Marquetry.
— Sofas. — Chairs. — Tables. — Modern Furniture. — Curves. —
Comer-cupboards. — Staining and Painting. — China-cases. —
Pian ofortes. — Footstools.
CHAPTER VII.
LIGHTING AND FLORAL DECORATION 1 1 1
Gas. — Lamps. — Candles. — Sconces. — Chandeliers. — Flowers and
Leaves. — Winter Bouquets. — Peacocks' Feathers.
CHAPTER VIII.
PICTURE FRAMES, MIRRORS, ODDS AND ENDS . . . 123
Frames. — Convex Mirrors. — Looking-glasses.— Books ,and Book-
shelves.— Ornaments. — Pottery. — Antique Things. — Etageres. —
Fans. — Door-furniture. — Ideas. — Conclusion.
•'
LIST OF ILLUSTRATIONS.
PACK
JESSAMINE WALL-PAPER Frontispiece.
A BRONZE INKSTAND 9
ROSE PATTERN WALL PAPER 13
VINE PATTERN WALL PAPER 17
CHINA JAR AND BRACKET 30
AN ORDINARY MANTELPIECE 33
A DECORATED MANTELPIECE 36
AN OLD-FASHIONED FIREPLACE 39
A FIREPLACE WITH OPEN GRATE 42
A CORNER FIREPLACE 45
MIRRORS 49
BARE BOARDS 52
A PICTURESQUE CORNER ,. . . 57
FERNS IN A SHELL 62
CURTAINS FOR A WINDOW 69
CURTAINS FOR A DOORWAY 76
A JAPANESE SCREEN 77
A PEACOCK SCREEN 78
SEVRES CHINA 80
A JACOBEAN CHAIR . . . 87
A SATINWOOD CABINET 91
LIST OF ILLUSTRATIONS.
PACE
A "SHERATON" SOFA 94
A PICTURESQUE CHAIR 95
A COFFEE TABLE 99
AN "As-You-LiKE-lT" CHAIR 100
A CORNER CABINET 103
A CHINESE CHINA-CASE : . 107
CORNER BRACKETS no
A WALL SCONCE AND ETAGERE 115
A SILVER CHANDELIER 117
A CANDLESTICK 122
MIRROR AND CABINET 127
BOOK-SHELVES 131
HANGING CHINA-CASE 135
A CORNER CUPBOARD . 137
ODDS AND ENDS 139
CABINET AND IVTAGERE 14!
THE DRAWING-ROOM
THE DRAWING-ROOM.
CHAPTER I.
EVILS AND REMEDIES.
IT is obvious that there is as much
artistic consideration shown in avoid-
ance as in execution. The first step
towards improvement in taste is the
perception of past and present error.
We may therefore be allowed a short
review of matters as they have been — as they even
now are in many places.
Who does not call to mind the ordinary lower
middle-class drawing-room of the Victorian era ? The
very head-quarters of commonplace, with its strict
symmetry of adornment and its pretentious useless-
ness. All things seem as if chosen on the principle
of unfitness for the fulfilment of any function; every-
thing is in pairs that possibly can be paired. The
cold, hard, unfeeling white marble mantelpiece, sur-
mounted by the inevitable mirror, varying in size
THE DRAWING-ROOM. [CHAP.
only with the means of the householder, totally irre-
spective of any relation to the shape or proportions of
the apartment ; the fireplace a marvellous exhibition
of the power of iron and blacklead to give discomfort
to the eye. At the windows hard curtains hang in
harshest folds, trimmed with rattling fringes. On the
carpet vegetables are driven to frenzy in their desire
to be ornamental. On a circular table (of course
with pillar and claws) are placed books — too often
selected for their bindings alone — arranged like the
spokes of a wheel, the nave being a vase of, probably,
objectionable shape and material. Add a narrow ill-
curved sofa, and spider-legged chairs made to be
knocked over, dangerous as seats even for a slight
acquaintance, doubly dangerous for a stout friend —
and all is consistently complete.
Such is the withdrawing-room to which, because
of its showy discomfort, no one withdraws ; wherein
visitors do penance at morning calls ; where the
common-sense that often rules the living-rooms is
left behind at the threshold, and nothing useful is
allowed to enter lest it fail to be ornamental. All
in the first instance being subservient to brand-new
gloss, the pursuit of brightness leads to tawdry gar-
ishness. The desire after elegance begets weakness
and uncomfortable inefficiency, and so-called elegance
in fact elbows comfort from the room.
In households where means are limited, this drawing-
room is a sort of appendage to the house, not quite
kindred to it. It is tabooed to the children, and avoided,
except on occasions, by the dwellers, who are deterred
by its lack of comfort and the false tone of its general
I.] TASTE.
arrangements. Efforts that have been at least toler-
ably successful in other rooms, where a want has been
felt and befittingly satisfied, seem to fail utterly in
the drawing-room, where an attempt to do so much
does all things ill.
If it be urged that a low type has been chosen for
our illustration, it may be maintained that where good
taste does not rule the house, the amount of error is
but a question of degree. A higher position in the
social scale, or the possession of larger means, will do
little to modify the unsatisfactory state of things,
unless personal interest in the drawing-room arrange-
ments, and an earnest effort after culture in matters
of taste, are most strenuously insisted upon.
More money merely enables us to use better
material and more costly ornament, and thus to dis-
pense with unsatisfactory substitutes ; it will never
serve instead of the wish to put the impress of our
individuality, in order, beauty and grace, on our
abiding places. There are plenty of errors in taste
to be found in the mansions of the rich, and if
wealth cannot do what we require, neither can in-
tellect, without special culture. It seems to be often
assumed that those who have attained success and
a position in literature, science, or music, have ac-
quired a right to speak with authority on such
trifling matters as questions of taste in household
adornment, yet we must be aware that numbers of
persons of knowledge and refinement — often, too,
admirers of all that is good in art — are apparently
content to sit down at home surrounded by ugly
form, bad colour, and conventional deformity.
ORR. 5 B
4 THE DRA WING-ROOM. [CHAP.
Presupposing no indifference to the beautiful, nor
any lack of time or inclination to take that active
part in the arrangements of a house necessary to
ensure a happy result, it is obvious that a peculiar
kind of culture in art is requisite for decorative pur-
poses, since examples are found of good taste in
colour, proportion, and ornamentation, in compari-
tively uncivilised races, while we are indebted to such
advanced countries as France and Germany for much
in the way of objets d'art, in which, to say the least,
the taste evidenced is of a more than doubtful
character.
It is generally supposed that, after a period of
decadence, popular taste in domestic art began to
amend some five-and-twenty years ago ; but a page
or two may be occupied in an endeavour to show that
there still exist sins of ugliness in our midst, amply
sufficient to warrant the efforts of the writers of the
" Art-at-Home" series to bring about an altered state
of things.
Here is an advertisement taken, haphazard, from
a number of such published everyday: —
ITALIAN WALNUT DRAWING-ROOM
FURNITURE, comprising a luxurious lounge, lady's and
gentleman's easy and six well-carved chairs upholstered in rich silk,
centre table on massive carved pillar and claws, the top beautifully
inlaid with marqueterie, large size chimney-glass in handsome oil-gilt
frame, chiffoniere with marble top, lofty plate-glass back and three
doors ; lady's work-table lined with silk, occasional table on spiral
supports, two papier-mache chairs and coffee-table to match, five-tier
what-not, pair of handsome ruby lustres, and gilt and steel fender and
fire-irons, with ormolu heads, &c. &c. &c.
It may be safely affirmed, without even seeing the
particular furniture in question, that all the articles
I.] DIFFICULTIES.
mentioned in the foregoing advertisement are objec-
tionable from an aesthetic point of view.
Add to these such things as coal-scuttles orna-
mented with highly-coloured views of, say, Warwick
Castle ; papier-mache chairs inlaid or painted with
natural flowers or pictures ; hearthrugs with dogs
after Landseer in their proper colours; mats and
footstools of foxes startlingly life-like with glaring
glass eyes ; ground-glass vases of evil form and sickly
pale green or blue colour ; screens graced by a repre-
sentation of " Melrose Abbey by moonlight," with a
mother-o'-pearl moon. Carpets riotous with bunches
of realistic flowers, chintzes with bouncing bouquets,
chairs with circular seats divided into quarters of
black and orange, their backs composed of rollers
of the same in alternate stripes ; cheffoniers, with
mirror-doors too low for any purpose save to reflect
the carpet in violent perspective, or perchance a
novel view of a visitor's boots.
All these things are still not unfrequently seen,
and the catalogue might be multiplied were it de-
sirable to be unduly iconoclastic. A critic usually
has the air of a cynic, a discontented being who
uncomfortable himself, is desirous to make others
equally so. It must at once be avowed that we do
not enjoin contentment in matters of art : " What
next ? " is a valuable motto ; and " Excelsior .' " is
assuredly not the cry of a contented mind.
At the outset of this attempt to lead our readers
into what we consider to be the right way, arises the
difficulty of dealing with those excellent contented
folk who say : " We are not artists ; we are people of
B 2
6 THE DRAWING-ROOM. [CHAP.
plain common sense, wishing to be comfortable, and
knowing what we like, without reference to any
aesthetic asceticism." If there be any such people, and
they care to proceed with this book, they must forgive
our reminding them that if an Englishman's house is
his castle, he has no right to make it a suite of artistic
" chambers of horrors," nor is the fiction that a man
may do as he likes with his own to blind him to the
fact that our rooms are decorated and pictures hung,
not only for our own pleasure, but for the delectation
of cur friends and guests. It therefore becomes a
social duty to strive to attain to some guiding prin-
ciples which may prevent an exhibition distressing
to a visitor of, perchance, more educated taste than
our own.
Bad taste, though sometimes apparently intuitive,
is mostly perverted taste, depraved by long habitua-
tion to evil models. This is the most active enemy
with which we have to deal, since it relies on its
traditions, and has deeply-rooted convictions that it
is in the right, whatever others may think or say.
It must have been remarked that great artists
never choose to represent an ordinary modern English
house, either inside or out ; the " why " is obvious.
Our houses are crowded with ugly shapes disguised by
meretricious ornament. The general forms are usually
so bad as to require to be loaded with excrescences,
which, while they blunt the critical power of the eye,
leave the mind dissatisfied. It has been truly said
that we should not construct ornament, but ornament
construction. A tree stripped of its leaves is still a
noble object full of beauty and grace ; take off the
L] COLOUR.
frills, flounces, and furbelows, from many of the forms
in our human constructions, and what should we say
to the shapes that would be revealed !
In all questions of colour, advantage will be found
in reference and deference to experts, for although
the perfect colour-vision of a Titian is as rare as is
absolute colour-blindness, degrees of this malady
are of not unfrequent occurrence, and they cause
the yielding to uneducated fancies, with results often
doleful indeed. An inability to perceive the beauties
of colour is no such uncommon failing, and we may
remember that to a friend who said that he never
could see in nature such colours as were displayed in
Turner's pictures, the painter retorted, " Don't you
wish you could ? "
The best art education is to be found in recourse
to approved examples of decoration, and constant
familiarity with fine qualities as to which there can-
not be two opinions. Nothing will be well done if
we fly to the popular decorators and purchase their
most admired works only to find that fitness for our
special requirements and for the relative positions the
goods are to occupy has been overlooked, or at the
best ill-considered.
Novelty is a jack-a-lanthorn to many of us, and
leads too often in unwholesome directions ;
" The present eye praises the present object ; "
and the latest thing of the day, be it even an old
fashion revived, offers irresistible charms to some;
but it should not be forgotten that frequent change
of fashion is the most fertile source of inferiority in
8 THE DRA WING-ROOM. [CHAR
material and handiwork. It is obvious that goods
of an ephemeral character will be produced if they
are to be speedily superseded by newer things. How
steadily the standard of lasting excellence requires to
be kept up is evident by the notable deterioration in
Persian, Japanese, and other ornamental work so soon
as the idea gets abroad that the production is for a
fickle and fleeting English market.
It cannot be too strongly insisted that the most
trivial details of decoration in the surroundings
of our daily life are important ; for who can define
the pleasure that the numberless trifles in a well-
garnished drawing-room may be made to afford to
the eye, and thus to soothe and satisfy the mind ?
Viewed from such a stand-point, there is no such
thing as a trifle ; and we might almost lead ourselves
to believe that it would be impossible to commit a
mean action in a gracefully furnished room. Has it
not been written that the advantage derived from
the study of objects of beauty is akin to the
contemplation of virtue, in its ennobling effect on
the mind ?
Let us take lower ground, and say that a well-
dressed room, like a well-dressed dinner, conduces to
a suave and equable temper.
In the work and thought requisite to bring about a
desirable and satisfactory result in our drawing-roorn,
there is much healthy contentment and refining of the
nature. The search after objects of charming colour and
delicate form, and intercourse with them, are in them-
seives a perpetual education. If there be artistic taste
in a family, experiments may safely be made ; and the
I.] PERSONAL WORK. 9
trouble taken, the knowledge displayed and ex-
perience gained, will always make such experiments
interesting to those, both outside and inside the home,
who care for art. There is no doubt that much good
decorative household work might be done by ladies,
who are so often gifted with accuracy of perception
at first sight, and refined judgment as to graceful
effects. They waste these talents on the production
of weak and unsuccessful, because too ambitious,
sketches and paintings.
Does it not seem the better course for us to select
and create the beauties that are to be our own daily
companions out of our individual taste and know-
ledge, rather than to be compelled from sheer ignorance
to bow to, and bind ourselves by, the judgment of any
decorator, whatever his ability ? Should we continue
to be contented to be told, not caring to learn to feel,
that certain harmonies of form and colour are admir-
able and desirable ?
In the hope to assist to a more self-helpful Art-
knowledge, the following chapters have been written.
10
THE DRAWING-ROOM.
[CHAP.
CHAPTER II.
WALLS AND CEILINGS.
|HE first look at an unfurnished bare
drawing-room, probably a good deal
knocked about by the exodus of the
late owners ; or, if it be a new house,
smelling and tasting of plaster and
paint everywhere, — is far from encou-
raging. The flat, unfriendly walls, the blank, straight,
staring windows, the cold steel grate, give one a feel-
ing of repulsion ; but we must not be disheartened.
The greater number of people are obliged to live in
houses built, not after their own hearts, but by clumsy
hands, and after designs by uneducated heads. What
may be done in such houses to make rooms look
comfortable and pleasant, by persuading walls and
ceilings to like each other, rather than to be like each
other, is the subject of these present pages.
It is not necessary to insist upon any one particular
style as the desirable style in preparing the walls and
ceiling of a drawing-room for the reception of their
associates — carpets; curtains, and furniture • for what
II.] WALLPAPERS. n
is suitable in one case might be absurd in another.
Now-a-days so much more knowledge and thought
are brought to bear upon designs for paper-hangings,
wall-draperies, colours for paint, distemper and stain,
that with care and painstaking one can scarcely fail
to be right, where but a few years back one could
scarcely fail to be wrong.
In the usual middle-class drawing-room, probably
already papered or prepared for papering, with a
glaring white ceiling, a heavy cornice, and a skirting-
board of a height neither one thing nor another, —
perhaps the readiest and, at the same time, the most
inexpensive plan to produce a pleasing and restful
background, is to choose a paper (of course with
relation to pictures and ornaments) of a calm and
suggestive decorative floral pattern, showing know-
ledge of design. With the chosen paper in view,
select for the paint of the room, one or perhaps two
shades of the prevailing tints of the paper, and
instead of cold whitewash use a creamy or greenish-
white for the ceiling ; thus bringing ceiling, walls,
and woodwork into one harmonious combination.
But a few years since the ideas of designers of wall
papers seemed limited to stripes alternating with
wreaths of flowers, or fruit, more or less ornamental ;
intersecting lines, curved or straight, producing larger
or smaller squares or lozenge shapes, inclosing a
wearisome repetition of the same stupidly-drawn orna-
ment ; or realistic and gorgeous bunches of flaunting
flowers, coloured after nature, on staring light grounds.
Worse even than these were the purely ornamental de-
signs, the patterns hideous and meaningless, suggestive
12 THE DRAWING-ROOM. [CHAP.
of nothing but confusion and unpleasantness ; the
colours alternately bright and brilliant, or dirty and
dingy. It was hopeless to look for a soft back-
ground, it was useless to look for an artist's touch.
All bore the stamp of ignorance and meanness, and
prices varied only with a more or less showy effect.
Gilded stripes, with stars, spots, or fleurs-de-lys on
a white-watered ground, were the only things for a
drawing-room, whatever its nature, wherever its
position.
Those whose natural instinct told them that all this
was wrong, took refuge in paints and distempers, and
fared the better ; for if the colours were still faulty, no
evil shapes were there to shock the critical eye. Real
genius, true art, have of late years come to our aid ;
and in London, at all events, one need not long be
ignorant of the vast improvements which a short time
has produced in one important branch of drawing-
room decoration — wall papers.
Paper-hangings, simple or elaborate, rich yet grave,
calm yet cheerful, mostly moderate, rarely immoderate
in price, all equally bearing the mark of earnest desire
for the legitimate use of nature in decorative art, are
now attainable.
Careful examination of the tiny drawings of wall
papers here given will help our readers the better to
understand what is meant by suggestive floral deco-
ration. Notice the beautiful arrangement of lines in
the reduced copy of the " Rose " pattern paper on p. 13,
suggesting entirely the growth and sweetness of the
rose plant. The flowers and leaves in this paper, of
which only a faint idea can be given in black and
WALL PAPERS.
ROSE PATTERN WALL PAI-EK.
CH. I!.] WALL PAPERS. 15
white, are of two different shades of yellow-green ; the
undergrowth of dusky yew and the background are
in two shades of blue-green, the rose-stems of dull
yellow ; there is entire harmony of colour about the
whole, and no strong contrast to fatigue the eye.
With this paper all woodwork would look well painted
in shades of either blue or yellow-green ; but even
with other delicate soft colours, one could scarcely
injure the calm and quiet effect of such a paper.
In the "Jessamine" paper, our frontispiece, observe
the strict following of nature in the clinging and
graceful branches and separateness of the starlike
flowers opposed most exquisitely to the sturdier stems
and clustering blossoms of the hawthorn intermingling
with them. The contrast of form is sufficient, and
shades of greens, white, and dim yellows give a
precious harmony to the whole.
The "Vine" pattern (see p. 17) gives the rich
luscious growth of leaves and fruit, wisely combined
with the simple slender boughs of the willow, whose de-
licately-toned leaves contrast with the amber bunches
and dark-green leaves of the "gadding vine." This
paper must always look noble, and suits a wide space,
but with a golden background is positively magnificent.
The entire covering of the walls with choice, but
not necessarily expensive, papers of any one kind can
be strongly recommended. It is a purer style than the
placing of two papers one above the other, which might,
however, be favourable to certain drawing-rooms,
where from skirting-board upwards to within about
three feet of the ceiling, the walls should be covered
by a dimly tinted paper, continued to the cornice
16 THE DRAWING-ROOM. [CHAP.
by one of more delicate treatment : a narrow ledge
or beading being fixed at the junction of the two
papers.
Papers suitable for such a combination are to be
found in a diaper that looks calm and warm in
two shades of olive-green for the lower space of wall,
and a loose-trailing pattern for the upper portion in
shades of blue on white with freer floral treatment,
which would give cheerfulness to an arrangement
otherwise quaint and quiet. The like of this has
been seen with sets of pictures in long narrow frames
hung just below the junction of the two papers ; and
at a lower level bright water-colour sketches, bold
and effective, in slim gilt frames, giving the necessary
relief to the duller region.
Papers of the best quality, varying in the number
of the colours employed, and in the elaboration of the
design, may be procured at prices ranging from three
to fifteen shillings a piece, of twelve yards. Rich
effects, almost like old painted Venetian leather, are
now produced by a certain working in gold upon very
solid thick paper, which would look gorgeous in rooms
sufficiently large, but in a small space would be over-
powering. These are naturally more expensive, and
would rarely be obtained under thirty or forty shillings
a piece, but such wall decorations would last a long,
long time ; and if the surface of wall to be covered is
reduced by the dado space, the cost would be materi-
ally diminished.
If expense is not an object, and the drawing-room
is large and in an old picturesque house, or one newly
designed with artistic knowledge, more elaborate
II.]
WALL PAPERS.
VINE PATTERN WALL PAPER.
CH. ii.] PAINT. 19
schemes for wall-decoration easily suggest themselves
A wooden dado with a surbase, or chair-rail, is always
comfortable and convenient, affording a resting-place
for many a tile, picture, or curiosity, pleasant to look
at, perhaps of individual interest, not so valuable as
to be entombed in a cabinet, but happily common
enough to be within hourly reach of eye and hand.
Above this wooden dado may be paper, paint, or
distemper, and as we have already talked about
papers, elaborate and simple, let us pass on to paint,
which, when used on walls, should be of soft tints,
light tones, and should never be varnished, the shiny
surface of varnish being objectionable.
Where pictures and ornaments are varied, and con-
sequently many bits of bright colour are about, paint
may make a warm and comfortable background. The
colours chosen 'should never be vivid; quiet olives
and blue-greens, make an excellent dressing for walls.
In distemper soft colours are easy to get; but
though cheaper than paint it is not so durable ; it
presents, however, a charming surface for painting in
body-colour ; and decorative floral or other designs
if used upon it, look uncommon and artistic. They
should not be of too elaborate or difficult a nature, as
the surface is perishable. A painted frieze, two feet
deep, above a dado, in two shades of green with dull-
red flowers on a lighter green distemper looks rich
and rare. Such work, if there be an artist at home,
may be of domestic manufacture, instructive and
interesting.
A diaper flock paper, with the pattern in strong
relief, covering the wall to the height of the dado,
ORR. C
20 THE DRA WING-ROOM. [CHAP.
headed by a surbase of moulded wood, the whole
painted and flatted in tender tones of green, with the
upper part of the wall decorated with creamy or
delicate dull-blue paper, perhaps finished by a hand-
painted frieze and simple cornice, would make an
unusual but pleasant combination.
A Japanese effect in a drawing-room may be
produced at but slight expense, by the dado being
composed of fine yellowish matting, headed by a
surbase of ebony, or ebonized oak, or walnut or
stained wood, the wall above distempered a pure pale
Japanese green or gray, divided into compartments
by mouldings, which should match the surbase.
These compartments might be decorated delicately
and slightly after old Japanese models, or each
compartment filled with genuine paintings from
Japan on the finest matting; which may now be
purchased at various shops devoted to foreign
decorative art. Where there are but few ornaments
or pictures they have an interesting and charming
effect. In this case as much Eastern furniture as
possible would be desirable.
Different widths and qualities of Chinese matting,
suitable for wall-coverings, of varied tones, diapers,
and patterns, in shades of dim-greens and yellows,
with sometimes intermixture of orange or dull-red are
now easily obtainable. Prices vary, but the cost will
rarely be found to exceed three shillings, while many
kinds may be bought for one shilling per square
yard.
More ambitious views on the subject of mural-paint-
ing might suggest panels richly decorated with figure
ii.J CORNICES. 21
or flural subjects, perhaps with golden backgrounds,
placed at intervals above the dado; but of course
all hand decoration requires able design executed by
efficient workers. For any elaborate scheme of this
kind of painting very few decorators could be found
who have the power to carry out such plans at a
moderate cost, with purity of style, knowledge to
decide the due degree of decoration, and instinct to
appreciate the natural advantages of any particular
drawing-room.
How pleasant it is to have to deal sometimes
with other than four straight walls, one need hardly
say. A little recess, a step up to a bay window,
an odd corner, a different level of ceiling ; such
things give brightness and interest to the soberest
surroundings. Unfortunately, in at least nine houses
out of ten, uniformity of shape and a close atten-
tion to all things being on the square, are the rule
and will continue to be so as long as builders, and
too often uneducated builders, are their own architects.
From such hands we get our rinds of buildings, with
their poor rooms, whose walls scarcely give support
to the nails for picture-poles, and our cracked ceil-
ings with their frightful .centre ornaments and heavy
unsuitable cornices.
There is ordinarily no need for elaborate cornices ; a
simple but good moulding of plaster or wood would
be sufficient to break the hard line between wall and
ceiling. A very large and lofty room may of course
require a more important cornice, which should be
thoughtfully suitable. Builders might with advantage
take copies from some of the houses in Bloomsbury,
C 2
22 THE DRAWING-ROOM. [CHAP.
Soho, and other parts of old London and elsewhere.
Here and there one may still see the charm of careful
detail and generous liberality in the construction and
proportion of rooms where the mouldings of cornice
and surbase, and the wood-carvings, are evidently the
work of thoughtful heads and practised hands, where
the result of using good material in the proper way
is shown by a stubborn resistance to the rubs of
time.
Much ingenuity might be displayed, to the advan-
tage of cornices for small rooms, which are often
lofty out of all proportion. Here it would be found
an improvement to let the major part of the cornice
be upon tJie wall, only intruding slightly upon the
ceiling area, which would look the larger for non-
interruption. A simple border of ivy, oak, or other
shapeful leaves, stiffly suggested in plaster, would
suit many rooms better than the usually too asser-
tive mass of badly proportioned linear mouldings.
If there be no dado in the drawing-room, and the effect
of one is desired, but the expense of wood-panelling
thought too great to be lightly incurred, a fairly good
substitute may be found by papering the wall from
skirting-board upward to the height of the chair-rail,
say about four feet, where a ledge or moulding of stained
or painted wood, or ebony, should be placed. The
paper used for the dado space should be a simple
diaper as referred to in our talk upon papers ; it
has been excellently successful in such a position, and
may be obtained in two greens, or in yellow on
white ; the former colours are advised ; the skirting-
board, ledge, and general woodwork of the room, if
II.] WALL DRAPERIES. 23
black be not approved, should all agree in tone ; the
wall above might equally well be papered, painted, or
distempered.
If the reader or intending decorator is tired of wall-
papers, be they never so artistic, and cares not for the
even surfaces of paint or distemper, be they never so
charming in colour — if there are but few pictures
or ornaments to please the fancy — there are still
resources for the embellishment of our walls.
Fine and rich effects are produced by certain first-
class designers, through the judicious and learned
mixture of large masses with lighter and smaller
decoration intermingling, surrounding, and filling up
spaces with interesting detail, drawn with masterly
knowledge of the necessities of decorative art, coloured
with extreme artistic taste, and applied to various
kinds of beautiful woven materials for draperies on
walls, or for curtains. These may be had of velvet,
silk, wool and silk, wool, and woven or printed
cotton.
If the wall hangings are of silk, they may be tightly
stretched without pleats or folds ; if of wool and silk,
wool, or cotton, they must have groups of pleats
with intervals of about twelve inches between. Hooks
should be fixed at the junction of the wall and ceiling,
and rings upon the hangings, which may be edged
with a more or less elaborate fringe, and hang
loosely down to the skirting board or surbase.
Silken hangings are naturally expensive. Some
there are, beautiful as could be desired, from twenty-
five to twenty-seven inches wide at from seventeen to
twenty shillings per yard. For a small ante-room to
24 THE DRA WING-ROOM. [CHAP.
a drawing-room, yellow silken hangings may be sug-
gested, with amber velvet curtains, and dull toned
blue velvet-pile carpet. It is not necessary that the
larger drawing-room, annexed to such an ante-room,
should also have silken draperies ; it would only be
needful to carry out a certain harmony in colour.
There are drawing-rooms which have been enlarged
by the removal of the partition walls of contiguous
rooms, the various shapes of those rooms being
retained, and the walls severally treated with different
colours with no inharmonious effect.
It will be readily understood that in a room where
there are silken or woollen hangings, there should be
no other decoration on the walls ; the chimney-piece
should be ornamental, and might have a superstructure
reaching to the ceiling with shelves and brackets for
china, and possibly with small mirrors introduced
here and there, forming with a suitable grate a central
spot of brightness and beauty in the midst of the
surrounding ^altn comfort. The wall underneath the
drapery may be distempered, and the paint of all the
woodwork in such a drawing-room creamy-white, or, if
preferred, of colours harmonizing with either hangings
or carpet. The ceiling should also be of a creamy-
white instead of the usual thin blank whitewash.
If the cost of silken hangings for walls be too
great, there are delightful materials of silk and wool,
mixed judiciously, so that the silk coming in masses
on the wool, produces, to our mind, a better effect than
the silk alone. Here we get the advantage of greater
width, from fifty to fifty-four inches, and prices
ranging about twenty-five shillings per yard. Such
II.] HANGINGS. 25
material should have folds, with plain intervals; for
the patterns on this solid silk and wool, generally
being grand and large, do not require much fulness.
A rather long, large drawing-room would look well
with cool blue woollen and silken draperies, woodwork
creamy-white, or, for choice, two tones of olive green ;
chimney-piece to match, or perhaps ebonized, with
ornaments of eastern china.
At a more moderate price pure woollen material
may be obtained, fifty-four inches wide, and varying in
cost from ten to eighteen shillings per yard, accord-
ing to the degree of design and colour. Cotton
damasks with woven patterns, printed cottons, and
Bolton sheetings can be had at a still lower rate. If
care and order reign in the management of such
decoration, silken, woollen, or cotton draperies will
prove themselves in the end lasting and therefore
economical ; we recommend them heartily, as an
unusual and desirable style for furnishing drawing-
room walls, and one strongly suggestive of comfort.
A broad rule, with but rare exceptions, should be
observed in the choice of patterns for all folded
hangings whether for walls or windows. All stripes
of colour or design, whether distinct or indistinct
should have a horizontal, not perpendicular, arrange-
ment ; for it is obvious that an upright stripe may
be altogether lost in a fold, whereas the horizontal
line must continually reappear at the same level,
when the eye easily supplies the idea of the part lost
in shade or fold. Very sharply defined stripes in
patterns are not to be recommended, but rich blending
of decorative forms, full of suggestion is better.
26 THE DRAWING-ROOM. [CHAP.
For the accommodation of those ,who will not, or
cannot, venture to adopt extensive draperies for walls,
yet who have a longing for something beyond paper
or paint, and are willing and able to bestow time and
labour, let us propose a drawing-room with dado,
doors, windows, and chimney-piece all painted in two
shades of olive or blue-greens, the wall from dado to
ceiling distempered, or painted of a lighter shade than
the woodwork. Above the dado may be hung a strip
of green serge or cloth, about fifteen or eighteen
inches in depth, embroidered with crewels in shades of
green, and dull yellow flowers. The curtains should
be of the same coloured serge as the hangings, also
similarly embroidered, though in a larger style, and
if liked, with a slight intermixture of pale blue
flowers. If such uniformity of colour be objected to,
it will be found that dull crimson-red or delicate
blues, or amber-yellows, suit calm greens.
It may be urged that our colour treatment for paint
and walls shows a too strong partiality for shades of
green, and indeed we have only included in our list
of the desirable, green, white, yellow, black, for paint
and stain. It will be allowed that blue and pink
are colours rarely suited for paint unless combined
with extraordinary purity and delicacy; yellows as
tints for, and partners with, white, are admissible, but
reds and browns are unsuited to a drawing-room.
The variations of tint between greenish-yellows,
yellowish-greens, blue-greens and grey-greens are
innumerable ; we can scarcely imagine any colour
that would not find itself in tune with one or other
of these tender tones.
II.] COLOUR. 27
Those whose taste for colour has not been properly
developed, will find that at first a steady hold to
delicate, perhaps for a time they may think, dull
colours, will afford comparative security ; a kind of
Quaker uniformity the very reverse of vulgarity.
When knowledge gives strength, fancy may venture
on bolder flights, always remembering that in the
choice of the decoration for drawing-room walls, we
must be strongly guided by various circumstances.
Are there many pictures to be hung ? Are there
many ornaments to be placed ? In either case the
colours of paint, the patterns of paper, or other
decorations must be soft and subservient or they will
impair the effect of the beauty of form and tint in
pictures and pottery. Is the room in question too
low ? A perpendicular treatment will relieve the eye.
Is height the objection ? The line of a surbase will
suggest length, and detract from height.
Perhaps a dull sunless room is the difficulty; or
one overshadowed by trees, charming but sombre ;
here much may be done to brighten. All the wood-
work (and if there is an old-fashioned chimney-piece
of carved wood so much the better) may be painted
a creamy-white, not varnished, the white of the ceiling
relieved by a creamy tone, the walls papered in shades
of yellow. This arrangement, with an amber-coloured
or blue carpet, would do much to counteract gloom
and give a sunlight brightness to the room.
For a room that glares with sun in summer, dark
rich tones and sober tints will be found refreshing.
There is a general impression that all drawing-rooms
should be light and cheerful, white and gold, pink and
28 THE DRA WING-ROOM. [CHAP.
pale, blue and bright, but in all cases, such circum-
stances as aspect, size, form and requirements should
appoint the colours and decide the decorations. When
we have talked of rich colours we have not meant
brilliant crimson, orange, or bright blue, for the colours
on walls should be bland and quiet or they will assert
themselves in spite of all efforts to calm the effect by
pictures and hangings ; but where there are few pic-
tures or ornaments, the wall decorations may be of a
brighter and busier nature, the designs of papers
and other hangings more elaborate and with more
varied tones of colour.
Our readers may steadfastly believe that bits of
vivid colour in flowers, mirrors, china, or pictures
will glow and glitter the more for sober soft sur-
roundings. There is a beauty and brightness that
invites repose, and is superior to the brilliancy that
excites unrest. The earnest decorator is advised to
look at nature, to study her blues, greens, reds, and
yellows, in sky, grass, trees, and flowers, and to
contrast them with the commonly accepted bright
colours offered by our manufacturers in their papers
and other decorations. This study will help the
anxious inquirer to understand what we mean by
soft calm tones as opposed to brilliant colours.
There is a little to say about ceilings and painting
generally, before proceeding to other and not less
engrossing decorative details. Rooms doubtless look
better with the ceilings left undecorated, but with the
usual blank whiteness relieved by a creamy or greenish
tint, which gives a thicker, warmer impression than
common whitewash. If decoration be wished, and
II.] CEILINGS. 29
the ceiling is uninterrupted, hand painting, slightly,
even roughly, though correctly done, with a simple
diaper in faint colours, yellow upon white, pale blue
upon greenish-white, green upon greenish-white, ac-
cording to the selected colours of the wall coverings,
would have a good effect.
Paper for ceilings cannot be strongly recommended,
as it is very difficult to find a sufficiently low-toned
or unobtrusive pattern. In old houses or new ones of
architectural pretensions, ceilings are met with, divided
into squares, oblong or lozenge shapes by mouldings
of wood or plaster ; these spaces could be toned
or painted, or papered with discretion, the mouldings
being stained or painted, if of wood, or coloured, if of
plaster. We have seen such ceilings with slanting sides
coming down to meet the walls of the room, with
decorated panels and white mouldings, producing alto-
gether a rich good effect, though slightly too heavy.
In rooms lofty out of all proportion, much benefit
might arise from an obtrusive ceiling, which would
remind one of its existence.
Paint upon woodwork in rooms should always be of
pure and simple colours and " flatted," the ordinary
" graining " to imitate different kinds of wood being,
in our opinion, mere dissimulation, and as such, it
should be entirely reprobated ; the more cleverly it
is done, the more absolute the untruth. As the old
French saying has it : — Mieux etre que paraitre.
We incline to assert as a broad rule, with but few
exceptions, that no material should pretend to be
other than it is, and provided that form and colour
be good, no honest material need to be ashamed
THE DRA WING-ROOM.
[CHAP,
of itself. The details necessary to this assertion re-
quire perhaps fuller demonstration than there is here
room for.
Staining as applied to delicate mouldings, ledges,
and headings, should be carefully and toilsomely
executed, as we shall more at length inform the reader
in the chapter upon furniture, to reach which in due
time, we now stay our consideration of walls and
ceilings.
in.] FIREPLACES AND CHIMNEYPIECES. 31
CHAPTER III.
FIREPLACES AND CHIMNEYPIECES.
HILE windy winter, with its fogs, and
frosts, and dusky, dripping days of
rain and snow, is with us, the genial
glow and sociable warmth of brilliant
fires diminish to a great extent the
blank bare blackness or cold shiny
steeliness of the usual drawing-room fireplace ; but
when we open our windows to breathe the mild fresh
air of spring and feel that a fire is at last an unde-
sirable companion, then the real undisguised ugliness
of the once-vaunted register stove breaks upon us
and we hasten to cover it up, to adorn it — save the
mark — with strips and chips, and ornamental devices
of various kinds, all of them bad and unsightly.
The most prejudiced when asked to look disin-
terestedly at their drawing-room fireplace, must
acknowledge that it lacks every point of beauty.
Until lately t no one has ventured to break through
the rigid rules which regulate its style. An ugly
semicircular shape, ornamented more or less (accord-
32 THE DRA WING-ROOM. [CHAP.
ing to the dignity of the room) with steel, brass, or
ormolu, surrounded by a straight, narrow, white or
coloured marble or stone mantelpiece, with preten-
tious posts or pilasters, supporting an unimportant
shelf on which stand the inevitable mirror, clock, and
vases. A fender bent into ungraceful curves of no
particular pattern, too' low for protection, too highly
elegant to be touched by frozen feet. Any one can
recall hundreds of such fire-places, in so-called pretty
drawing-rooms, each one of which would answer
sufficiently to this description.
The marble, the steel, the iron, all unite to coun-
teract in appearance, as far as possible, the visible
presence of warmth. Stone and marble are intract-
able materials, and require the greatest possible
knowledge to produce good effects, with cleverly
designed carving and moulding, which to suit such
heavy and solid stuff, should be large and grand in
composition. In past days, when good sculptors
did not disdain to carve mantelpieces, fine work was
certainly done, but at the best colour was lacking ;
and that is such an important point in our sunless
climate. Once attain freedom from the traditions of
a lifetime and surely the natural result would be to
wonder why all fireplaces should be the same. Why
should not two shelves be above, or even three, or
none, if another idea appear convenient ? Why should
mantelpieces always be of cold marble or stone,
which give but a chilly welcome to one's fingers, and
a dangerously hard standing-place for china ?
Every effort should conduce to make the hearth
the rallying spot of the home, to collect around
MANTELPIECES.
33
AN ORDINARY MANTELPIECE.
34 THE DRA WING-ROOM. [CHAP.
it the richest rugs, the softest sofas, the cosiest chairs,
the prettiest treasures. In this chilly climate a natural
tendency when entering a room is to seek the hearth.
The seats of honour and affection are on either side ;
all will allow that it is a spot chosen to be cherished,
that every one should strive to render it as attractive
as possible, and as we desire gradually to prove
that much is possible, we will suggest what appears
to us improvement upon old and firmly established
custom.
It would be rash at once to propose the entire
removal of the register-stove with all its dismal
belongings. To many, such an uprooting would be
distasteful, inconvenient, or too expensive, but by
thought and a little artistic management the eye may
be led to dwell upon surrounding beauty, and in its
brightness lose some of the central blackness.
To aid description, on page 33 is a drawing of a very
ordinary mantelpiece and stove simply treated. In it
we see the mantelshelf covered with a board, of sub-
stantial thickness to prevent warping, projecting one
or two inches beyond the marble. A rich soft
covering of velvet, serge, or cloth, the overhanging
part, from six to eight inches deep, simply or elabo-
rately embroidered, would give softness, warmth,
colour, and enhance the beauties of the vase, glass,
or Japanese fan. Instead of the usual lofty mirror,
with gilded frame, twisted into fantastic orna-
ments, useless in its size and height, we have three
separate glasses set in a frame made of some hard
wood, which has been delicately painted black or
ebonized. Above this there is a shelf, with a rail to
in.] FIREPLACES. 35
protect china plates or vases of distinct, bold pattern,
that are perfectly effective at that small height, and
pleasingly guide the eye upwards to richer beauty,
after the glance at the mirrors.
Looking-glass is not in itself a beautiful object, and
in large masses is even unpleasant ; it should always
have some prettiness to multiply, for then it becomes
reasonable and acceptable. This accounts fairly for
our total objection to a lofty mirror, the greater part
of which reflects nothing but the ceiling and upper
walls, where usually there is blank space.
To guard the hearth we have an old brass fender,
which by its beautiful golden colour and delicate
workmanship must and will give pleasure, be it in
winter by firelight, or in summer by sunlight. Such
fenders must now be sought for seriously, and when
found, purchased as a kind of investment, their
solid and conscientious make will stand much doing
up, and each day they are becoming more rare, and
more expensive, because more in fashion.
On page 36 is shown another commonplace stove
with a more elaborate arrangement of the mirrors,
which are, however, small pieces which do not cost
much. Here we see the fire-irons placed in a group
with brass brackets to support them, and a little mat
beneath. On the other side of the fireplace is a jar
of eastern ware, of not too valuable a nature.
On the covering of the mantelshelf may be vases,
flowers, or statuettes. A few peacocks' feathers,
those spots of gorgeous colour, are placed care-
lessly, yet effectively, with one or two fans, above
the glass. The central mirror is a round convex one,
ORR. D
THE DRA WING-ROOM.
[CHAP.
gathering as it were the whole contents of the room
into a handful, perfect and pretty. For an arrange-
A DECORATED MANTELPIECE.
ment of mirrors and woodwork as elaborate as this,
certainly a design should be made by a notable
in.] MANTELPIECES. 37
person, but an intelligent cabinetmaker or clever
carpenter could, from our illustration, make such
framework for the mirrors, with divisions and shelf as
is shown on page 33.
The cost of making, with the pieces of glass, would
not be great, but if fine delicate painting or ebonizing
has to be done, this of course much enhances the
price. The framework would look extremely well if
made of American walnut wood, which has a fine rich
colour of its own, and only requires rubbing with
linseed oil.
There is no reason why the painting of delicate
woodwork should not be done at home, as our
readers will learn in the chapter on furniture. We
should like to see our grown-up girls who have
given up lessons, and who cannot read, practise, or
visit all day long, don some pretty blouses and devote
themselves to practical beautification of their own
particular parts of home. Certainly there could be
nothing degrading to the daintiest hands in such a
worthy use of art-knowledge, far more serviceable to
society than amateur sketches and copies which
modesty fortunately saves from exhibition, and which
find a suitable sarcophagus in portfolios, as lasting
examples of killed time.
Very much better, in the way of fireplace, is that
shown in the plate on page 39. Most probably the
opening of this fireplace had a date anterior to the
register- stove. Such grates would have had rather a
high level and hobs, but fell into disuse from a sup-
posed loss of heat and an inclination to smoke. In
our drawing, an inclosed square-shaped stove, with very
D 2
38 THE DRA WING-ROOM. [CHAP.
delicate sharply cast ironwork around, has been set in
the opening — notice the waving line of bars and the
generous width.
Beyond the iron are tiles, probably old Dutch,
charming and interesting in colour and subject ; or
possibly modern blue and white, which may now
be purchased, of a few decorators, well designed
and moderate in price. Perhaps — and in these times
of kilns and pottery-painting exhibitions, every day
a less doubtful perhaps — they are of home-execu-
tion ; in either or all cases the result would be
infinitely superior to our old enemy the iron or steel
stove.
The tiles are inclosed by a wooden moulding,
with pleasant elbows in it, and above there is a per-
fectly independent shelf of simple lines and solid
treatment; this with the moulding round the tiles
might be painted or stained to agree with other wood-
work in the room.
Again we have the brass fender, and a little trivet
supporting a curious old kettle from Japan, whose
pretty cosy shape will excuse its introduction into our
drawing-room. By the side of the brazen fender
stands an elderly coal-scuttle of gleaming copper,
whose rich red glow loses nothing by its juxtaposition
to the golden brass of the fender. None could refuse
to allow that comfort, refinement, and simple beauty
have places by such a hearth as this, and those who
will, may readily find the way to a reproduction of
such a hearth, as there is nothing in it elaborate,
expensive, or out of the way.
Having once emancipated our ideas from their
III.]
FIREPLACES.
39
AN OLD-FASHIONED FIREPLACE.
CH. in.] FIREPLACES. 41
thraldom to the objectionable semicircular stove,
many pretty plans present themselves. If the draw-
ing-room is to be treated with soft and dainty colours,
the stove also should be light and delicate, with brass
instead of iron-work around. If new and unfinished,
the fireplace might be left open, the brick walls
inside, plastered and covered with tiles of a simple
decorative pattern ; the hearth laid with tiny red,
brown, or green Lambeth stoneware tiles, which
reflect heat and do not easily break. The interior of
the fireplace will then admit of soap-and-water
cleansing instead of the usual grim blacklead. Upon
these strong rich-coloured floor-tiles may stand the
separate grate, supported by brass fire-dogs, or even
by its own little iron feet. In the summer the grate
might be taken away, and the cool clear space filled
with evergreen shrubs or large bowls of flowers.
Such a fireplace as this might have a border of
more elaborate tiles outside ; or, in the midst of
such warm surroundings, even a fine piece of delicately
marked and moulded marble ; the whole being in-
closed by carefully-executed woodwork, which might
be carried upwards (with shelves for plates, and panels
filled by small bevelled mirrors), ultimately forming a
cove or canopy to give a kind of noble dignity to the
whole. The woodwork might be painted a delicate
green, of course with due relation to the walls. With
this colour, old blue-and-white plates, or vases of old
Nankin blue, or even Delft, would have a cheery look.
If preferred, the woodwork might be of American
walnut simply rubbed with oil.
On the next page is a drawing of a fireplace, treated
THE DRAWING-ROOM.
[CHAP:
in a rather heavier style than that just suggested.
The spaces between the supports of the lofty
A FIREPLACE V/ITH OPEN GRATE.
mantelpiece filled with plates — the shelf above
resting upon simple wooden brackets, suited to the
massive forms of large vases of which we have a partial
Hi.] FIREPLACES. 43
view above. Here may be seen marble used as an
accessory instead of a principal. The slanting sides of
the opening and the hearth are covered with tiles, the
hearth inclosed by a marble ledge. The dogs are of
brass, and would glow gloriously when flaring flames
are sending forth the most delicious light that winter
can boast. This grate looks ample and hospitable,
and comfort reigns within its reach. Choice old
pottery, painted plates and tiles, brass and wood
and little bits of marble, combine to make a pleasant
picture, for which in summer days no one need seek
to find a veil.
If varied pieces of old china cannot be obtained, a
rich mellow colour can be gained by filling in the spaces
occupied by the plates in our drawing with exactly
fitting pieces of old Venetian kather. Squares of
bevelled looking-glass or hand-painted tiles would be
equally effective, and in either case the woodwork of
this chimney-piece should be stained or ebonized.
Elaboration may be detestable to many who seek
for simple severe beauty ; there are others who are
utterly out of reach of even a clever carpenter, yet
who sigh for release from the commonplace of local
talent ; some have not spare means to spend on costly
treats. But comfort comes to one and all with the
knowledge that simplicity has beauty. Only honest
material, straight lines, wholesome tiles, earnest in-
tention, are needful in order to attain a good fireplace.
Plain, tall, or broad square iron grates are now
frequently made, with or without ornament. A per-
fectly simple surrounding band of blue-and-white tiles
set in a moulding of wood, perhaps with a double row
44 THE DRA WING-ROOM. [CHAP.
of tiles at the top to raise the mantelshelf to a more
dignified height, could not fret the critical eye. In
summer-time a slim rod might be fitted closely to
the upper part of the iron stove to carry a curtain of
velvet, cloth, or serge, embroidered, or depending for
beauty upon colour and material. A vase of peonies
intensely red, of golden sunflowers or flaunting dahlias,
of orange and scarlet mountain-ash berries, or the
yellow globes of the passion-plant glowing upon the
hearth, would surely be an exquisite exchange for
the old cut and curled paper-strips, shavings white and
gilt, or coarsely made artificial flowers, which once
absolutely held sway. Such trumpery without mean-
ing, without suggestion, without a single particle of
prettiness, must at once with firm resolve be discarded
by any one who has the slightest wish to cultivate art
in the house.
Occasionally one may meet with a fireplace in the
corner of a room. Very pretty such a position may
be when used discreetly. Corners are frequently use-
less bits of space, but are undoubtedly cosy when
warmth is concentrated by two inclosing walls.
They are not suited to a large party, but for one or
two on either side, a table with lamp, books, and
work between.
The fireplace on the next page evidently belongs to a
bachelor who has no one to look after him, and there-
fore smokes in his drawing-room — witness the pipes ;
but bachelors may love beauty and tobacco too.
There is the copper coal-scuttle open and ruddy, the
friendly bellows, the gorgeous fender. The wall from
shelf to ceiling is hidden by a picture surrounded
III.]
FIREPLACES.
A CORNER FIREPLACE.
CH. in.] PIPE-IRONS. 47
by dried ferns, — or perhaps Christmas greenery and
Japanese fans huddling amongst all. A plan to
utilize picturesquely the space above the mantelshelf
suggests a little cupboard to fit it with glazed lattice-
work ; small shelves above and below, filling up
vacant space ; with looking-glass to back the shelves
and reflect china infinitely. Tiles set at intervals in
the woodwork at the back of the shelves, would give
the charm of soft colour if china is not used.
Of course it would be grievous that any comfort-
able and suitable fireplace, chosen and approved for
its decorative though modest design, should be marred
by the presence of ill-conceived and badly-executed
fire-irons. It is not easy to procure new ones of good
shape and material at slight cost ; nay, the fact is that
they are very expensive. Three, five, or even seven
pounds would be a common charge for a set delicately
wrought in iron or brass. The seeker after such
things may obtain, at a much more reasonable rate,
charming old fire-irons of brass. Sets of modest
worth have been obtained from Oxford and other
old towns, at prices varying from thirty shillings to
three pounds ; the costlier, being of dainty patterns
admirably suited to deserving hearths.
Old coal-scuttles of brass and copper are still at
large, substantial and satisfactory. A modern coal-
scuttle of good shape and material is scarcely to be
seen. In nothing could frightful misapplication of
ornament be more grievously exemplified than in the
badly-executed landscape, floral, figure, or other
designs, painted, mother-o'-pearled, or otherwise
illegitimately carried out on the lids of the deformed
48 THE DRA WING-ROOM. [CHAP.
boxes that have until lately been of universal use
in our drawing-rooms. Good oaken boxes with brass
or ironwork about them, suggestive of strength and
suitability, have improved matters a little, but they
have not the ruddy shine of the old copper nor
the golden glow of the brass, and in our sunless
climate, surely wisdom should always wed herself to
colour.
As tiles have been frequently talked about, a few
details are now given of the prices and patterns of
those painted by hand. Many clever, ingenious,
energetic minds have been at work for years, making
colours, fluxes, enamels, and lustres, and striving to
combine due decorative detail with the least possible
cost. At present hand-painted over-glazed tiles in
blue and white, or yellow and white, may be purchased
at certain well-known London houses, at prices varying
from one shilling to two shillings each. A tile called
the * Longden ' pattern can be recommended for sur-
rounding borders or slanting sides of grates or hearths.
These pattern tiles form a strong and effective diaper,
and vary in price from one shilling and fourpence
for a five-inch, to one shilling and eightpence for a
six-inch tile. Others, such as the swan, sunflower,
or bough patterns, differ but slightly in price and are
all suitable.
Perhaps the inclination of some might tend to the
production of home-painted tiles, and in that case a
little inquiry is all that is now needed to find out
proper colours and assisting kilns. Good examples for
imitation abound at South Kensington, where the
Persian and old Dutch tile paintings are specimens of
ITT.l
FIREPLACES.
49
entirely different and successful work, and are emi-
nently worthy of attention. But lest unwittingly the
absorbing topic of tile and pottery painting should
lead to lengthy digression, we will here bring our
chapter to a close, trusting that the simple views
advanced may lead some of our readers to success won
through personal trials and mistakes, and that bright
grace and beauty may shine this winter from many a
newly decorated fireplace and chimney-piece.
5°
THE DRAWING-ROOM.
[CHAP.
CHAPTER IV.
FLOORS AND CARPETS.
(HE flooring of modern houses is a rather
melancholy subject, and one about
which it is impossible to speak favour-
ably. The cost of well-tempered wood,
the increased wages of superior car-
penters and joiners, forbid the hope
that any satisfactory and sound floors will be found
in a newly-built residence, large or small, unless some
special and costly arrangement be made to that end.
Experience has taught us to be certain, that in but
a few short years a piteous parting 'twixt the planks
will come, intervening spaces will appear, boards will
warp and shrink, and between the floor and skirting-
board cracks will abound — to become traps for dust,
inlets for draughts, homes for insects, and hindrances
to wholesome scouring. Luxurious habits cause all
floors to be entirely covered, it is therefore found abso-
lutely necessary to lay an under-covering of stout
paper, to shield the more or less expensive carpet
from strongly-defined lines agreeing with the boards
iv.] FLOORS. 51
of the room, and to assist in combating the cold
currents of air that unpleasantly flow upwards.
In the matter of flooring, as in so many other
points, old-modern houses are infinitely better off
than new-modern ones, in which latter class all houses
built within the last twenty-five years are included.
The great inclination for dwelling out of town has
caused a quick growth of suburban-district houses,
built rapidly and sold cheaply. Labour and material
are in much request, and continually increasing in
cost ; as a consequence, all dwellings are doomed
to an inferior standard in their construction, and a
daily deterioration in the sterling sincerity of work
and solidity of material. There are houses, built
within the last eighty years, neither large nor preten-
tious, in which a crack in the woodwork or a gap in
the floors large enough to admit a pin's head could
hardly now be found. There is no irregularity of
surface, no starting of joints; all is sound, solid, and
satisfactory ; floors so smooth and polishable, that
covering carpets are necessary only for softness, not
for concealment. A cataract of water on the floor of
an upper room would cause no anxiety for the ceiling
of the drawing-room below.
What is to be done to make our modern drawing-
room floors more wholesome and pretty, is the present
much debated question. Without doubt, and in this
Dr. Richardson would agree, no carpet should entirely
cover a floor. What will be our reader's dismay, at
such an apparently dogmatic and dreary statement,
but we trust to be able to show that cheery comfort
and dainty beauty are not banished by bare boards.
ORR. E
THE DRA WING-ROOM.
[CHAP.
Look, for instance, at the skilfully treated and
cosy little corner figured below, where evident and
richly coloured boards suit the quaint beauty of the
twisted Stuart chair, with cushions richly 'broidered,
BARE BOARDS.
the little Chinese table, the Japanese scroll and
eastern carpet. Surely all will acknowledge that
comfort is no whit lessened by the wholesome, if
comparatively diminished, dimensions of the carpet.
CARPETS. 53
It is impossible that a drawing-room carpet, in
daily use, with fires burning in the room for seven or
eight months, and windows open for the rest of the
year, can be kept delicately clean with a slight brush-
over once a day, perhaps a hard brush-over once a
week and a shake out once a year. Any one who
doubts this need only to watch the process of
shaking the said carpet at the expiration of twelve
months' wear. One can only wonder where the
dust and dirt have come from, how one can have
lived in it, and what is the use of sweeping. It
merely requires a little observation to be sure that the
action of sweeping a carpet is not effectual ; it removes
a certain part of dirt ; other parts float upwards into
the air only to fall again, and by far the greater part
is impressed into the carpet. The thicker, the woollier,
the richer, the greater its capacity for the reception
and retention of dust.
The only effectual way to keep a carpet clean
is to shake it frequently, and in order that this may
be done without difficulty, no heavy pieces of furni-
ture, such as bookcases, pianofortes or china-cabinets,
which require the exertion of great strength to move
them, should stand upon the carpet. Doubtless some
readers will say : " Oh ! how cold, how wretched, how
uncomfortable ! " but better be all these — though it is
quite needless — than be denied with dirt.
A reduction of superfluous carpet, and the resulting
bare boards are not proposed without a few comfort-
able and substitutive ideas being suggested for warm
and congenial colouring. It has ere this been plainly
shown that colour is all important, and the lack of it
E 2
54 THE DRA WING-ROOM. [CHAP,
in ordinary planks is probably one reason why (with-
out knowing why) it has been usual to improve wan
wood by questionable carpets. In any old-modern
drawing-room the flooring will most likely be of sound
wood well seasoned, when a careful filling up of all
cracks and spaces by the fitting in of pieces of suit-
able wood — a process technically called "slipping," —
and a general planing and rubbing down to a smooth
surface, will sufficiently prepare the floor for stain, and
ultimate polish with the ancient and wholesome bees-
wax and turpentine. It is not needful to stain and
brush a space of floor that is to be entirely covered,
but all should be soundly repaired and levelled. If
the polishing is effectually done in the first instance,
it requires but a slight amount of daily brushing to
preserve brightness, the labour being about equal
to that of sweeping the same surface of carpet.
Good colour for floors can also be gained by paint,
but it cannot be heartily recommended, as, being on
the surface, it quickly wears away ; while the stain
sinks into and becomes part of the wood, and the
polish is a protector and disinfectant. If a drawing-
room floor is very unsatisfactory, it would be advisable
to have the boards planed down one quarter of an
inch, and covered all over with narrow oaken or
well-seasoned pine planks of that thickness and three
or four inches in width, fitted with extremest nicety.
Oak only requires age and polish to acquire golden-
brown colour, and it is an excellent wood to receive
stain, of russet or green, which does not hide its
beautiful natural markings.
A more elaborate and, it need hardly be said, a
iv.] PARQUETRY. 55
more expensive way of perfecting a drawing-room
floor is to have it prepared for, and covered with,
carpet-parquetry one quarter of an inch in thickness.
Parquetry, as our readers most probably know, is
diaper-work of oak or other light and dark woods,
and may be readily obtained in various patterns at
prices varying from one shilling to four shillings per
square foot. The preparation of floors for carpet-
parquetry consists of the filling in and planing down
before mentioned, and if preferred, it need only be a
border around a room. It looks warm, rich, and com-
fortable, and with a carpet overlying a few inches,
bordered with deep black or coloured fringe, could not
but please the most fastidious fancy. Those who
aspire to delicate effects may satisfy their craving by
a border of shining satin-wood parquetry and dainty
gaily-tinted carpet with bright fringe. When extreme
solidity is desired, or in the case of very cold or
imperfect floors, parquetry one inch in thickness
would be advantageous, but the laying of this involves
the taking up of the floor ; and although the greater
thickness cannot fail to be superior in many cases, the
quarter-inch is usually all that is necessary to secure
a handsome, comfortable, lasting and elastic floor.
With a drawing-room floor entirely smooth and
shining it becomes only a question of personal taste
where to place the carpet or carpets. General choice
clings to the central position, or to the space chosen
for domestic favour, near the hearth. If the carpet
be of English make, the size can suit the requirement
of the drawing-room, and only miss the larger furni-
ture. If fortunately an eastern carpet is in question,
56 THE DRA WING-ROOM. [CHAP.
often long and narrow in shape, it may be assisted
by rich rugs placed where frequent footsteps should
fall softly, or wherever a cosy corner with cushioned
seats invites to warmth and rest.
Those who are indisposed to interfere with present
flooring, yet are willing to resign the total covering of
carpet, would find pleasant material and colour for
the sides of a floor in many Chinese, Japanese, and
Manilla mattings, which are made of suitable widths
and in various soft yellow, green, and dull-red diaper
patterns. If such a bordering of matting be wiped
daily with a damp but not wet cloth, it may be kept
very clean, for it does not absorb dirt like carpet.
When there chance to be many varied bits of Japanese
and eastern furniture, painting, and possibly carpets,
a bordering of fancy Chinese matting would be suitable,
and, in a drawing-room (such as that suggested on the
opposite page), would be cheerful and appropriate.
For any floor, be it stained, painted, parquetried, or
matted, one cannot desire worthier coverings than
Persian, Turkish, or almost any eastern carpets. If old
so much the better for colours and make, if rather the
worse for wear. The Persians doubtless were the
teachers of carpet-making, since the richest and most
glorious of their specimens date from and before the
reign of a certain Shah Abbas at the end of the six-
teenth century, when Europeans had but lately risen
from rushes and straw ; and the general though inferior
similarity of other eastern carpets in clever design
and gorgeous colouring makes it probable that all
derived their original ideas from one powerful source.
Ancient Persian carpets are so rare and costly
IV.]
A PICTURESQUE CORNER.
A PlCTUKES^OB COKNRR.
en. iv.] CARPETS. 59
except to the traveller, that few need hope to possess
them, but should such luck befall, there is no fear of
inharmonious combination with other decoration. The
potent yet dusky shades of reds, blues, and yellows,
the congruous combinations of strong contrasts, which
with our poor modern crude tints would be most
objectionable, the elaborate and almost invariably
small decorative patterns, give a strange beauty,
unequalled in these 'lack-lustre days. There are
carpets from which emanate a brilliance like burned
gold and veritable gems ; such colours, so intense
without glare ; such forms, so suggestive of absolute
perfection of design, cannot fail to convince those
who study them that all other carpets, old and new,
for beauty fall far behind the ancient works of the
masters of decorative art.
Although inferior in almost every point, modern
carpets, rugs, and mats from Persia, Turkey, Morocco
and Algeria, are much to be desired for solid stuff,
for richness of colour and appropriateness of pattern.
The Mohammedan religion forbids the copying of
natural objects for decoration, and in nations who
strictly adhere to this faith, doubtless decorative
work gains strength by the rule — which, by the way,
obviously was not rigidly observed in Persia. We
have seen fine carpets of eastern colour and pattern
bought in Algeria at a not enormous price — about
eight hundred francs each — from wandering Arabs,
who may (for who can trust an Arab's word ?) have
brought them, as they said, from Kabylia, a part of
Algeria only lately encroached upon by strangers, and
quite innocent of any European knowledge or art.
60 THE DRA WING-ROOM. [CHAP
From that country come also carpets of long and
short wool, of wool on string, and cotton and wool,
with colours of cloudy reds, dusky blues, golden
yellows and creamy whites ; delightful bargains, to be
discreetly made in little dingy shops abroad, or with
wandering Arab pedlars, at prices comparatively in-
significant when contrasted with the English rate for
such rarities.
As few of those who love eastern goods can go so
far to seek them, they will find much to content them
in various assortments of foreign carpets now abun-
dantly offered for sale in England. There are several
kinds of modern Persian carpets, and those made in
Kurdistan are the most expensive, costing as much as
from three to four pounds per square yard,, from this
descending by various degrees to about fifteen shillings
per square yard. Eastern carpets are usually long and
narrow, and two of different colours and patterns lying
side by side in a large room give perfect congruity of
effect. Modern Persian, Turkish, Scinde, and Morocco
rugs, all having special virtues of rich colour and hand
work, vary in price from one to ten pounds, and the
wearing qualities of each may fairly be judged by the
difference in cost.
There is however no necessity to forsake English
carpets in a search after beauty. It is true that for
many years bad taste ruled, wich rare exceptions, in the
patterns of carpets, whether velvet-pile, Brussels, or
Kidderminster. For drawing-rooms, brilliant bunches
of full-blown blossoms, convulsed scrolls, and inex-
plicable twistings and twirls, in bright colours on white
or light grounds, were " the correct style."
IV.] CARPETS. 6 1
One cannot now look into decorators' shops without
being aware that a great change has gradually taken
place in the class of patterns and colours in carpets
displayed for the admiration of passers-by. Low tones,
twilight shades, olive greens, peacock blues, cloudy
reds, small suggestive patterns, sound materials ; all
mighty improvements upon the boldly white or bril-
liantly flaunting natural lilies, roses and ribbons
worked in velvet-pile, or Brussels or inferior -stuffs,
crushing out other less demonstrative beauties in
divers drawing-rooms.
It is comparatively easy now-a-days to buy a carpet
of rich delicate tone and good design, and it is not
necessary that the cost should be great. Carpets with
one universal cool colour do not readily get shabby.
Patterns should defer to general effect, so that their
slight relief of colour would not strike the eye at
once, but rather gently remind it of their existence.
Wilton and velvet-pile look charming in pale blues
and low-toned yellows and amber, and are made with
borders and rugs to suit, the cost of such carpets being
about ten to twelve shillings per yard. A very good
class of carpet is the patent Axminster, which, at a
lower cost, has a rich effect. Other and inferior carpets
there are, but the seeker for beauty in them will require
more painful care than when dealing with the higher
class of goods on which more thought has been spent.
Fortunately the fashion for the duller treatment of
colours has interfered in true beauty's behalf, and
simple patterns in quiet hues may be encountered by
chance, and hailed with delight in the most unex-
pected quarters. A cheap carpet is not ultimately
62 THE DRAWING-ROOM. [CHAP,
inexpensive ; but there are so many cases in which it
may be so absolutely necessary an extravagance, that
it is useless to advise or protest against the economy
of the moment.
The old flowery carpet, bravely discarded, will form
an excellent lining for a simpler substitute more
gracefully gay, which might be made up to a square
or oblong, or to suit the shape of the room. The new
carpet, surrounded by a thick woollen fringe matching
prevailing colours, will form .a pleasing groundwork on
which one old eastern rug will work wonders of rich-
ness. The formed judgment which discreetly chose
the carpet would find real relish and enjoyment in the
beauty of the rug ; to the better recovery of good
taste, and the enrichment and refinement of ideas, to
be hereafter exhibited to the benefit of future floors
and carpets.
v.j WINDOWS. 63
CHAPTER V.
WINDOWS, DOORS, AND CURTAINS.
| EN, nay, one hundred chances to one,
against any architectural goodness
being found in the windows of a
drawing-room. Doubtless they will
be large, for there is less labour and
expense in making one large than two
small windows. The panes will be extensive, suggest-
ing glare, whatever or wherever the outlook. The
woodwork, possibly showy, but of untried grain,
promises future cracks and draughts, and there is
little chance of variety in shape or arrangement.
The inevitable first step in furnishing a drawing-
room has hitherto been to shroud all windows, as
quickly as possible, with Venetian or roller-blinds
above ; and frequently with wire or cane dwarf-blinds
below. Then comes a superstructure of curtain-poles
and valances, with as abundant a display of curtains
as possible, which exclude, most effectually, necessary
light and air. Yet no one can wonder that it is the
universal custom to drape windows; for they are
64 THE DRA WING-ROOM. [CHAP.
usually so ugly that there is nothing pleasant about
them to look at. The light they admit in one un-
broken flood, if divided into portions, would be most
acceptable. The air, if allowed to float calmly
through, and to escape, laden with impurity, by some
other window, would be a blessing indeed ; but it
becomes too often quite the reverse, if the windows
are confined to one side of the room ; and blinds are
lowered, and curtains drawn, to darken daylight and
defy draughts.
Many may say : " Oh ! give us light, give us air ! "
Certainly for the sake of morals, health, and art, it is
most desirable to do so, provided that they be dis-
tributed in discreet doses. Some may say : " How
can we have too much of such natural things as light
and air?" Fire and water are equally the gifts of
God for the good of man ; but in such absolutely
abnormal abodes as English houses, how warily must
they be treated, how carefully confined, lest desola-
tion and destruction result instead of beauty and
benefit ! Of course, compared with such outrageous
elements, light and air are easy to deal with ; but
to be beneficial in our living-rooms, they must be, as
it were, educated to accord with indoor life.
When once a house is built, great difficulties stand
in the way of any alteration in the position or shape
of the windows. To treat with them as they find
them is the fate of most people. Large sheets of
plate-glass have, doubtless, won favour, as affording
little or no obstacle to the view — if there be a view —
from the window ; they can have no other virtue,
for no one could possibly detect properties of
v.J WINDOWS. 65
beauty in a large sheet of glass. They are expensive,
liable to be broken, and one can only wonder at their
adoption where their obvious intention must fail of
its object
What thousands of highly respectable houses there
are, with no better sight from either front or back win-
dows than dusty or muddy streets, town gardens, out
buildings and backyards ! It can only be the lack of
inward resources that makes people care to contem-
plate such sorry surroundings. To prove the inartistic
nature, the unpicturesque character of such windows,
our readers are again referred to the fact, that no such
large glassy spaces would be admissible into a picture.
It is from this absolute unpicturesqueness that even
the worst cases might gain recovery by zealous
thought.
If the view be very fine, let part of the window be
devoted to it ; but the first object of the window being
to bring light in, the first question is, " How can this
be done effectively, not garishly, but softly and with
modulation ? "
Even if the lower part of the sashes must be left
blank, the upper part might be filled with small quarry
panes, leaded up, either with or without ornament.
Glass used for these window-diapers is usually shaded
in green or yellow, and forms a pleasing variation of
colour, admitting, but toning light. Delightful little
patterns may be procured at the moderate cost of from
ten to twelve shillings per square foot ; such diapers
form a lovely window decoration, and prevent the need
of either Venetian or roller-blinds. When the sash is
opened at the top, great benefit will ensue from the free
66 THE DRA WING-ROOM. [CHAP.
ingress of air, as there is no blind to guide it down to a
draughty level. Under these more favourable circum-
stances there would be few days, even in mid-winter,
when the window might not be open slightly at the
top, to allow pure air to get in without chilling the
lower part of the room. More elaborate stained and
painted glass, with figure or other subjects, would be
still more interesting ; but if it is sterling work, leaded
up, and of clever design and good colour, it is naturally
very costly in the first instance.
If windows be picturesque in shape, it becomes still
more desirable to treat them picturesquely, and
the most pleasing prospect could never atone for the
desertion of such a duty. The lozenge or square
shaped quarries of toned glass are to be recom-
mended, with or without pattern or picture, as
eminently suitable.
If our readers will not admit of such an innovation
upon usage, at all events let the question of air be
considered. Venetian blinds are the most ventilating
in common use ; but they are heavy and ugly, and
continually out of order. If windows are too sunny,
nothing is so effectual to give shade as jalousies, such
as one sees continually in France and Italy, and,
they are most furnishing in their outside effect upon
a new or bare-looking house.
Roller-blinds have a stiff, harsh look, and though
sedate colours, with modest stripes and better material
than the usual white, have lately won favour amongst
us, there is still the disadvantage of the absolute
necessity to draw them up entirely, if air is to be ad-
mitted effectually, for then an undecorated window
v.] BLINDS. 67
becomes a staring blank in the room. Instead of blinds,
little curtains are suggested of delicate soft material,
such as white muslin, Tussore silk, or Madras muslin,
with tiny rings sewn on, to draw on slim brass rods,
which should be fixed just above the top of the upper
and on the top of the lower parts of sash or other
windows. These little curtains should divide in the
middle, allowing of partial or entire withdrawal,
when a perfectly unobstructed space, smaller or larger,
would be left for airiness. Fine holland makes very
pretty curtains, and offers fair opportunity for effective
embroidery. The charming folds of delicate stuffs ;
the pleasant semi-transparent background ; the arrange-
ments for withdrawal, allowing only the most pleasant
views from the window — for there is art in the drawing
or withdrawing of curtains — the perfect freedom for
ventilation, commend them to favourable consideration.
The simplest style of outline embroidery, such as a row
of stiff daisies slight and slim, yellow and white, with
green leaves outspread, placed along the lower hem of
each little curtain, would look charming. The Madras
muslin, being faintly coloured and patterned, needs no
embroidery. This muslin, or Tussore silk, or other soft
delicate material, would be most suitable for festoon
blinds, which draw up by means of many runners
into graceful folds, and, although they are not to be
as heartily recommended as the dainty little hangings,
are a great improvement upon the old, stiff roller-
blind.
A window with woodwork well painted, lattice
panes with coloured diaper, and such small curtains, or
perhaps festoon blinds, would scarcely need the heavier
ORR. F
68 THE DRA WING-ROOM. [CHAP.
drapery, although long curtains, if of suitable material
and make, could never fail to give an acceptably com-
fortable and rich effect. When drawn at dusk, their
thick warm folds will sufficiently prevent the chill air
which is entering at the top of the still open window.
The old-fashioned thick, gilt curtain-pole, with its
heavy appendages at either end, as well as the carved
and gilded cornices, festooned and fringed valances,
are opposed to art and usefulness as applied to cur-
tains, and will be unnecessary if there is nothing ugly
to hide ; the need for concealment being a frequent
cause of many unreasonable ideas in domestic decora-
tion. Curtains are meant to give warmth, to darken,
or to comfort rooms when dark, and should draw and
withdraw easily. The usual elaborate arrangement of
hidden strings and rings is troublesome and needless.
It requires violently energetic labour on the part of an
upholsterer to fit and keep it fitted and in working
order. The pole should be visible ; and being visible,
should be good to look upon. Either brass poles with
pure ornaments to screw in at both ends, or strong
mahogany poles stained or ebonized to perfect polish,
terminating in balls with gilded lines on them, afford
smooth surface on which brass rings may travel
lightly. Secure position is gained by brass brackets
fixed to the lintel of the window. If there must be
valances or fringes, they should be behind the pole,
which, standing aloof on its brackets, leaves free space
for the passage to and fro of rings and curtains. An
example of curtains hanging on a simple and evident
pole may be seen in the accompanying illustration,
where, with an eager desire to encourage wholesome-
CURTAINS.
69
ness even at the expense of beauty, the pole is at a
level below the lintel, thus leaving room for free
admission of air. In the case of a highly orna-
CtfRTAINS FOR A WINDOW.
mented ceiling or painted frieze, the upper light
gained by this arrangement might be an advantage ;
otherwise the idea does not commend itself.
When windows become pleasant to look upon,
the wish to cover them will disappear, and curtains
F 2
70 THE DRA WING-ROOM. [CHAP.
will be desired for their proper use and beauty, but
always without the old adjuncts. Taste and know-
ledge gained by dealing picturesquely with window-
glass and hanging blinds will guide the selection of
suitable stuffs for curtains.
An impression has long prevailed that curtains for
drawing-rooms look pretty made of gaudy velvets,
crackling silks, stiff damasks, or harsh reps, varied
by flimsy lace, net, leno, or muslin looped with cords
and tassels, bands and bows, — crowding windows,
using space, and altogether too elegantly arranged
to be hastily withdrawn. A mass of uninteresting
material, hard in texture, coarse or poor in colour,
gathered out of all natural folds, cannot be said to
answer in any way the original intention in curtains.
It is not always easy to strike a proper balance of
utility and splendour, but in the matter of curtains,
which, from their position, have but slight wear and
tear, and if of honourable material may give life
service, it will be economy to be rationally liberal in
views. Richness of colour and softness of material
are eminently desirable points in window curtains,
and are to be found in velvet, velvet and silk, silk and
wool, or wool alone, as described in that portion of
our chapter on walls which deals with draperies. In
rooms where there is sparse decoration, patterned
curtains will have their advantage, and active hands
may gain a long reward by fitting embroidery. If it
be desired that curtains should be long and looped
back with bands, choose only for colour and texture.
If rich patterns are chosen, the curtains should
fall in simple unbroken folds and just reach the
v.] EMBROIDERY. 71
ground, or in the case of a window-seat, or panelled
or decorated dado, or interrupting furniture, they
should reach the bottom of the window only.
For summer curtains, instead of the usual white,
which keeps out neither heat nor light, and is there-
fore equally useless and unbeautiful, may be suggested
(as before for little window shades) the delicately
hued and patterned Madras muslin, delightful to look
upon, and possessing a gentle power of softening
light and looking cool. This material in various
patterns and colours is two yards wide, and costs from
five to six shillings per yard. Indian Tussore, the
silken fabric used for dresses, makes exceedingly
pretty curtains, and when slightly lined is an effective
ground for embroidery, which might be done ela-
borately in silks, or outlined in crewels, with slight
shading here and there. Good embroidery has a
pleasant way of standing washing or cleaning, and
never seems to wear out or get shabby.
Bold, not coarse, patterns in chain-stitch, worked
in crewels, suit loose serges and cloths ; but thicker,
firmer, costlier materials, demand slower and more
solid treatment.
Bear firmly in mind, when choosing colours for
embroidery, how much brighter they will look when
worked, than they do in a quantity together. Do not
let blues and pinks be bright ; reds and yellows gaudy ;
or greens emerald or arsenical. The pattern first
carefully designed (with needle and wool always in
view) and drawn out, it may be pricked carefully,
pounce rubbed through the holes, and the marks
fixed with a hot iron on smooth, and painted care-
72 THE DRA WING-ROOM. [CHAP.
fully with a brush, on rough, surfaces. The best
possible lessons in design, colour, and diversity of
stitch for embroidery may be found in the careful
study of old examples of Indian and Persian work
at the South Kensington Museum. There also may
be seen Turkish and Cretan stitchings with gold
and silver thread on fine muslins, that are very
instructive.
The unpractised designer in embroidery should be
content with simple patterns and few colours ; distinct,
suggestive forms, softly not harshly defined, and not
crossing or intermingling. Strong contrasts should
be avoided, but if absolutely desired, should be, as
it were, gradually approached. If the ground colour
be very light, with flowers and leaves in dark rich
colours, an edging of a lighter shade to all pat-
terns will prevent harshness in the contrast. If
many hues are chosen for embroidery on a coloured
ground, a general edging of white or yellow will con-
duce to an even surface of tone.
Those who have the wish to embroider, and would
fain do it in the right way, yet feel ignorant as to how
they are to begin, should remember the knowledge
and power displayed by untutored savages, such as
the New Zealanders, in the proper use of ornament.
The result of perfectly pure, unacquired taste for
beauty, fitness, and balance of form and colour may
be seen in decorations whose simple primitive beauties
rival or excel the productions of more civilized races :
an encouraging fact for those who live remote from
Schools of Art, Museums, or Exhibitions.
A few combinations of various colours in materials
v.] EMBROIDERY. 73
and wools suited for curtains, portieres, or furniture
cushions, are here offered for consideration : —
A bold outline pattern worked in long chain-stitches
in varied tones of crewels, from deep dull red to the
most delicate yellow-pink, upon serge or cloth of a
middle tone of the chosen shades of red, would look
delightfully calm, warm, and rich. For a greater
contrast, the same dull red crimson ground, with the
pattern worked in darker and lighter shades of blue,
chosen most carefully to avoid brightness, but to gain
fulness and softness of colour. If a material in quiet
green be selected, it may be decorated with dull gold
colour shaded here and there with deep orange.
The constant repetition of the word " dull " is neces-
sary to impress sufficiently the fact, stated elsewhere,
how very much brighter wools and silks look when
worked in stitches than when seen in masses.
On yellow-green — embroider with sage-greens, and
delicate pale blue and faint pink flowers. On blue —
in shades of deep red gradually fading to a yellow
tint. The combination of proper blues and reds has
a splendid effect, and is suited to large patterns and
fine rooms. Heavy patterns worked upon holland,
cut out and sewn on serge and cloth, with an edging
of filoselle or twisted silk, make decorations suitable
for portieres.
For lighter curtains, bold but delicate outline pat-
terns, simply run closely on soft white or yellowish
muslin, look lovely ; and Tussore silk with chain-stitch
work in salmon-coloured pink ; or Bolton sheeting, or
twill with green sprays and yellow flowers. Materials
with no definite colour allow of a combination of more
74 THE DRAWING-ROOM. [CHAP.
numerous tints for embroidery. Curtains of Tussore,
enriched by a border of two shades of delicate
yellowish green, and flowers of many tones of yel-
low alternating with flowers of plum-coloured purple
• — a charming tint for a light ground — suggest
beauty.
With the curtains richly dight or fair embroidered,
hanging in noble folds from their evident poles,
and the windows transformed into things of beauty
by good colour, stained glass in lattice panes, and
dainty little draperies ; the objectionable cornices and
valances will be no longer needed, for there will be
nothing to hide. The curtains, if hooks are sewn on
to fit into the rings on the pole, can be removed
with the greatest ease, and will repay such attention
by lengthened service.
Before concluding these remarks upon windows
the question may be raised, " Why should windows
always be in an outer wall ? " A pleasant little
latticed opening into another pretty room, giving per-
haps a through glimpse of distant views, otherwise shut
out, and the admission of sunny rays or cool breezes,
is surely a desirable thing ; many a blank space might
be thus furnished, many a dull room thus brightened.
A tapestried curtain, itself a picture, when drawn
would give perfect warmth and privacy. No draw-
back presents itself to this plan but the lack of
common usage, a very insufficient obstacle, and one
that tends terribly to tiresome and vapid imitation.
Rest assured that the more we endeavour to employ
our own faculties, to satisfy particularly our own
needs, the richer our store of comfortable inventions
v.] DOORWAYS. 75
will become. The more we do the more we can do,
" while genius rusts for want of use."
Great comfort, especially in small houses, would be
gained by making doorways between front and back
rooms, not the old acquaintance of our drawing-room,
folding-doors, using and making useless one side of
both rooms ; but a simple opening made in the most
convenient part of the partition wall, not necessarily
in the middle. Space, air, light, sun, view, may all be
gained by this plan, as well as an extra chance for
graceful folds of comfortable curtains. The decora-
tion of rooms thus connected need not match, but
should agree. Objections may be urged against this
scheme, — one may dislike the supposed lack of privacy,
another may fear chilling draughts. Regrets have
never been heard on either score from those who have
tried the plan, and it is more than probable that any
one who is bold enough to assert original ideas for
home comfort will find them cheerfully accepted,
perhaps imitated, provided always that the innova-
tions include elegance and ease.
A pole and curtain, or curtains, should be placed in
each room, when such a doorway is made, and an
apparently generous width may be gained by the
poles being long enough to admit of the curtains ex-
tending beyond each jamb of the doorway. Double
curtains afford effectual warmth and cosiness, and
when partly withdrawn, or looped back with thick
worsted or silken cords, allow a partial view of either
room, fascinating in its look of comfort.
Doorway curtains or portieres should, of course,
look well when seen from either side ; they are fitting
76 THE DRA WING-ROOM. [CHAP.
subjects for elaborate embroidery. Our illustration
shows the desirability of a horizontal treatment of
CUKTAINS FOR A DOORWAY.
stripes as pointed out in a former chapter. Thin
Persian carpets made of cotton, with a curious kind
of open-work introduced, and a long loose fringe,
V-]
SCREENS.
77
do excellent service as portieres.
Indian durries, which are also of
cotton, and have richly striped
patterns, might avail in certain
positions. Portieres look well
made of serge, or serge-cloth,
in soft greens or peacock blues,
and may be decorated most
simply with an ornamental stitch
worked in silken cord all round
the edges, harmonizing or con-
trasting gently with the chosen
colour. Silk with a stamped
velvet pattern and silken lining
would make a rich-looking por-
tiere.
An effectual protection against
any chilly effect of a doorway,
may be gained by the intro-
duction of a most decorative
piece of furniture, that is, a
screen, which may be made in ^1H|S;::; H^
folding divisions or in one frame. 'l!Brl4:^ti'^i
vtrelMr ..'7!«X'<£'
A very satisfactory and pretty
design is shown in our woodcut,
where an embroidered curtain
hangs from rings, on a lacquered
and gilded frame. Or pieces of
embroidery might be stretched
tightly in the divisions of a fold- A JAPANESE SCKEEN-
ing screen. The frame should be simple but strong,
and may be ebcnized and gilded, or painted and
m
THE DRAWING-ROOM.
[CHAP.
decorated with a slight relief of the same colour.
Lovely pieces of Japanese embroidery are shown
below worked in glowing silks, representing pea-
cocks' feathers, most beautiful and useful as a folding
screen. Old Venetian leather, richly patterned velvets,
A PEACOCK SCREEN.
or eastern materials, may be considered suitable for
screens ; but we strongly recommend less expensive
materials enriched by personal energy and endeavour
— energy, to begin untried work, which afar off seems
impossible to untried hands ; endeavour, which con-
duces to the aptitude and dexterity inferred in the
oft -used words " artistic taste."
True intention makes sincerity of work. Our greatest
living writer says, " All true work is sacred : in all
v.] DOORS. 79
true work, were it but true hand-labour, there is
something of Divineness." Nothing that we could
say to encourage need be said after this.
The usually poor proportion, mean mouldings and
panellings of modern doors, cause them rather to de-
tract from than add to the beauty of drawing-rooms.
In old houses the woodwork of doors in best rooms
was frequently elaborately shaped and carved, and
carried up into a pediment, or sometimes a cove, which
gave dignity and height, making the door an import-
ant feature in the room. That a want of something
was felt, even in meaner abodes, is evident in the
old custom of placing a shelf for ornaments above
the door — this indeed is a great improvement. The
shelf should be about eight inches in width and agree
in length with the architrave of the door, like which
it should be painted, and upon which it should rest ;
supported by brackets, or fixed to the wall by means
of glass-plates. A handsome jar or jars of good shape
and colour, such as may be met with at moderate
cost in Flemish grey ware, suit such a position,
which is benefited by a background of Delft plates or
blue tiles, rich in colour but not too delicate in treat-
ment, resting on the shelf and leaning against the
wall.
Another plan is to place along and above the archi-
trave a back piece of wood, large enough to admit
a row of pattern tiles, or possibly pretty decorative
china plates, to stand side by side ; and above these a
repeat of the upper moulding of the doorway, painted
like the rest of the woodwork. A simple row of tiles
or plates resting on the top of the architrave, and
8o THE DRAWING-ROOM. [CHAP.
cleverly secured in position by effective but invisible
means, would give the eye something more satisfactory
to dwell upon than inferior carpenter's work. If these
details seem to some such minor points in drawing-
room decoration that they urge against us an inclination
to waste words on trifles, let them reflect that life's joys
are made up of trifles. We look for sympathy from
the earnest — from those upon whom the dull routine;
and tame reality of ordinary every-day life weigh
heavily. We place before them the idea of progress
towards the beautiful, with its unceasing, if faltering,
efforts after realization, giving happiness and interest,
even when centred in nothing more important than
windows, doors, and draperies.
vi.] FURNITURE. Si
CHAPTER VI.
FURNITURE.
ITHOUT doubt, the desire to be com-
fortable is universal. Some satisfy
their craving in one way, some in
another ; each is convinced of the
correctness of the chosen plan, if not
truly satisfied with its result. There is
an equally universal impression that, " East or West
Home is best," that is, most comfortable ; and as we
are dealing with so important a part of home, and
have now arrived at the very core of all drawing-
room decoration — the Furniture — it behoves us most
carefully to consider the desirable quality of comfort,
and above all things to see that it is included in our
suggestions for artistic furnishing, as opposed to the
late general inclination in almost all classes to covet
gay elegance at the cost of solid comfort.
It is rather difficult to define elegance. All art- work
is not elegant, for Greek statues are simply beautiful ;
yet true elegance must be akin to beauty, though
perhaps suggestive of inferior parts of that beauty.
82 THE DRA WING-ROOM. [CHAP.
Beauty must have dignity and grace ; elegance may
be graceful, yet lack dignity ; — beauty is suggestive of
severe straight lines and strength ; elegance of flowing
curves and weakness. Elegance and beauty in form
seem to stand in the same relation as fancy and
imagination in thought.
One has only to study the tables, chairs, and sofas of
past generations to be aware that, in their days, com-
fort was the chief consideration in the composition
of furniture for drawing-rooms. The luxury of the
present day, coveted, and attained to, by most
classes, was then confined to one. Uninterested in-
activity, productive of indolence, was then almost
impossible. Women of the middle and upper classes
could not disdain to take an active part in the man-
agement of their households, for, as comparatively
few servants were employed, there was absolute need
for their mistress's help. Ladies cooked and dusted,
knitted, sewed, and spun, their lives were more busy,
therefore more healthy and more tired, their chairs
were made for rest, their sofas for repose, their tables
for substantial needs. Fitness was desired before
beauty ; beauty was sought rather than elegance.
Our ancestors had not our temptation to travel, so
with content abode long in one house, beloved from
associations, passing from one generation to another.
Fashion in furniture did not, as now, change rapidly
to please fleeting taste, but slowly, to meet the re-
quirements of gradual advance. Money, not having
attained its present pre-eminence, was not the only
test of prosperity. Well-filled chests of homespun
cloths made a valuable addition to a daughter's dower,
vi.] FURNITURE. 83
and the furniture of the father's home served its
time to a succeeding son and to his children after
him.
The furniture for the drawing-room was then
treated by clever workmen with a view to fitness, com-
fort, and durability. Elegance was rather a natural
result than a primary object, so that although we find in
the furniture dating from the reign of Queen Anne, and
for nearly a century later, great elegance, it is through-
out subservient to a general air of strength and solid
worth. At the present time there is a quite different
state of things. Furniture for a drawing-room must,
above all things, be graceful, light, showy. As
it is not likely that the children born to, and
bred up in, continually changing fashions will be
content with things as they now are, when it is their
time and turn to choose for themselves ; there is no
object to be gained by solid, honest, inward depth
and goodness of construction, or by the use of valu-
able material ; all produced must have the greatest
effect at the least cost, for a short time — and the
result is that, broadly speaking, modern drawing-
room furniture is superficial, showy without worth,
elegant without beauty, and elaborate without fitness.
Witness the lofty gilded mirrors, the ormolu cheffoniers
with marble tops, the papier-mache chairs and coal-
scuttles, the tables of indifferent make inlaid with
inferior marquetry, the spirally supported occasional
tables that tumble over with a touch, the badly
formed padded lounges, the bulging easy or uneasy
chairs, the suites of ugly shapes, the coverings of
brilliant-hued material : all designed by those who
ORR. G
84 THE DRAWING-ROOM. [CHAP.
lack knowledge, and principally executed by machines
instead of hands.
In the chapters on walls and ceilings, fire-places
and floors, gentle progress has been urged from the
safety of simplicity to the difficulties of elaboration ;
so have the constructors of furniture ascended gradu-
ally from the absolutely necessary to the convenient,
from the convenient to the beautiful ; and we cannot
do better than bring before our readers examples of
furniture more than a century old, which, by their
present excellent condition and fitness for modern
needs, are the best proofs of the desirability, for art
and comfort's sake, of clever, earnest, honest handi-
work, brought to bear upon such everyday articles as
tables, chairs, and sofas.
As it is obvious that the stock of old furniture is
limited, and that all who desire them cannot be the
fortunate possessors of Chippendale, Sheraton, or
Hepplewhite chairs and tables, a portion of this
chapter will be devoted to the consideration of the
virtues of oH furniture as it is ; and the latter pages
to new furniture as it might be.
A very vague idea prevails with many people as to
what is really meant by " Queen Anne furniture," the
fashion and passion for which have so lately revived,
causing anxious search and high prices. Any hand-
some old mahogany chair, delicate table, or roomy
sofa, is put into the same comprehensive class ; while
the facts really are, that some of -the older pieces of
such furniture were designed, and probably executed,
by the great cabinetmaker, Thomas Chippendale, who
published his book of designs in 1754. A great deal
vi.] CHIPPENDALE. 85
of the same class of furniture was made by his dis-
ciples and imitators, and at a later period that style
of work was continued by Thomas Sheraton, who
published, as lately as 1791, a book of designs for
cabinetmakers. As may be judged by his most
excellent drawings for chairs, tables, " sophas,
buroes, cloaths-chests, and china-cases," he was even
a purer designer than Chippendale ; who, although
many of his undoubted works are excellent in design,
and all of them in the sterling honesty of work and
matter are standing rebukes to modern cabinet-
makers, was led slightly astray by the then fashionable
inclination for Chinese, Gothic, French, and rococo
styles of ornament, disfiguring to, and incongruous
with, a make otherwise well adapted to. English needs,
and thoroughly suitable and comfortable.
There is ample proof that there was well-designed
and handsome furniture, in good and bad taste, be-
fore the reign of Queen Anne. Specimens of splendid
carving on chests and chairs of the Jacobean and
Stuart times may now and then be met with, but they
do not abound, for of course a hundred years or so
will make a difference to furniture, and the pieces of
a date so far back, handed down from generation to
generation, now to be gazed upon as models of true
construction and sound workmanship, are usually
grand articles of furniture not likely to have had
common use.
Look at that magnificently carved oaken chair in
the plate on page 87, and it will be readily under-
stood that only persons of certain age and degree
could, in the more respectful and reverent days of our
G 2
86 THE DRA WING-ROOM. [CHAP.
ancestors, have ventured to seek rest on such a regal
seat. Most probably such a chair would be designed
and carved, lovingly and carefully, by one excellent
artist-workman, gloating over and rewarded by its
growing beauties.
The latter end of the seventeenth and the com-
mencement of the eighteenth centuries brought greater
wealth and importance to the middle classes, and
naturally a growing demand for a less elaborate but
still handsome style of furniture ; this, assisted by
increased facilities in dealing with foreigners, caused
large importations of Dutch, French, and other
cabinet work. Chairs, tables, sofas, of carved ebony
inlaid with ivory, were in favour, as were also boldly-
designed and exquisitely-worked specimens of mar-
quetry on tables, clock-cases, desks, and other articles,
by the illustrious ebeniste, Riesener, and others. These
foreign elements in fashionable furniture to a certain
degree influenced and sometimes warped the originally
pure taste of the later worker Chippendale, as may
be seen by the unsuitable style of ornamentation on
some of his most important designs, such as large
book-cases, wardrobes, and "sophas." The wood
used at this time was usually mahogany, decorated by
carving of a greater or less degree of relief, and by
nobly-worked brass knobs, handles, and plates.
There is a general appearance of comfort in " Chip-
pendale " chairs, arising from generous breadth of seat,
and a prevailing intention to support the backbone at
a reposeful slant, leaving spaces free from hard wood
for the easy reception of shoulder-blades. There are
few families of bygone respectability of position who
vi.]
CHAIRS.
A JACOBEAN CHAIR.
CH. vi.] DECORATED FURNITURE. 89
cannot produce or recall examples of these excellent
ordinary works of art. They still remain in use
amongst us and as serviceable as ever — proofs of a rare
quality of make and matter. They are not here held
up for imitation in modern work otherwise than as
concerns their depth of nature. A slavish imitation
of styles, probably unsuited in some of their solid
qualities to the lighter and more variable tone of
modern society, is not desirable. It is the in-
genious, affectionate, master interest, and the truthful
attention shown to the proper use of material, that
are so delightful ; these brought to bear upon present
labour, combined with originality of thought, and
knowledge of fit construction, would work wonders,
to the recovery of the now ailing state of furniture
manufacture.
Contemporary with Chippendale designs was the
more elaborate and delicate, painted satin-wood furni-
ture, sometimes ornamented with admirable mar-
quetry, or moulded and carved ormolu. Clever artists
did not then, as now, disdain to paint chairs and tables,
which may sometimes be met with daintily de-
corated with painted peacocks' feathers, garlands of
flowers, bunches of ribbon, and figure subjects, all
so beautifully touched, with rare talent, that one can
hardly grumble at the unsuitable class of ornament,
while the forms are so strongly constructed, that one
can but allow a mistake in style to be a slighter fault
than ignorant workmanship.
On page 91 is a drawing from a cabinet of satin-
wood with a panel painted by Angelica Kaufmann,
and otherwise gorgeously ornamented with delicate
90 THE DKA WING-ROOM. [CHAP.
little borders of marquetry and ormolu. It stands
sensibly upon four legs, which raise it to a comfort-
able level for view, and leave clear space for cleanly
sweeping underneath — a most important point worthy
of attention in modern china and book-cases ; for it
is obviously impossible to sweep truly and closely to
any furniture resting upon the floor, without injury
to it, or to its contents.
At a later date we have Thomas Sheraton, who,
while agreeing entirely with former great cabinet-
makers in absolute sincerity of execution, conceived
original ideas, not as elaborately decorative as some,
nor as largely solid as others ; resulting in abun-
dantly clever and ingenious designs, with divers me-
chanical contrivances, for tables and cabinets, refined
strength being a chief characteristic of all his works.
On page 94 is a copy from one of his sofas, with
wide seat, plentiful legs, slanting back, sloping ends,
and movable cushions ; a very combination of com-
fortable conditions. The framework of a sofa such as
this would be made of mahogany, with or without in-
laying or any other ornament than suitable moulding
lines ; the back and seat of strong fine canework, the
cushions covered with a more or less splendid covering.
A form so suited to its duties must charm every eye.
It is needless to cover such an elegant and attractive
shape with bulging bosses and lumpy cushions. Con-
trast it with a fashionable drawing-room lounge, with
its four stumpy legs, and mean frame, embossed into
bursting magnificence that makes fatigue feel quite
ashamed of itself. Remove the cushions from the
Sheraton sofa, and it is still a perfectly finished and
V,.]
CABINETS.
SATINWOOD CABINET.
CH. vi.] OLD FURNITURE. 93
graceful piece of furniture ; take off the padding from
a modern lounge, and what remains is more utterly
devoid of beauty than an artist's lay figure or a
tailor's block.
It would be much easier and less expensive to try
to reproduce such a sofa as the one just described,
than to attempt a revival of Chippendale and Shera-
ton chairs, which are almost invariably ornamented by
carving, boldly and cleverly executed. A modern
workman able to do work of such an advanced cha-
racter, by the standard of these days, could fix no
saleable price that would repay him and be agreeable
to a purchaser. A Chair is a little thing, and many
are wanted ; but a sofa, being a more important
article, and not needed by dozens or half-dozens,
admits of a higher charge.
If purchasers would only insist upon less show and
greater truth in what they buy, manufacturers would
give their attention to the desired points; and im-
provements would at once appear. What can be said,
that is sufficiently strong, about the flimsy, fragile,
factory-made seats of papier-mache, bent wood,
painted, silvered, or gilded, to make them "smart,"
without one honest, artistic, earnest personal thought
about them ! With such furniture, perhaps, "suites"
are a blessing — one ugly form, and all is over; one
vulgar, coarse colour, and the pain is ended.
Buy old furniture for the drawing-room, cover its
cushions with blue, green, or yellow, of the favoured
calm nature, and each thing would be so delightful in
its integrity, that incongruity would be as impossible
as if varied virtues in a human being were in question.
94
THE DRA WING-ROOM.
[CHAP.
vi.] CHAIRS. 95
What an inviting look there is in the lengthy
outstretched arms, rush seat, and cane back of
A PICTURESQUE CHAIR.
the picturesque old arm-chair above. Now-a-days
rush seats would never be combined with carving.
Notice that not only are the upper and more visible
96 THE DRA WING-ROOM. [CHAP.
parts cut into decoration, but all the lower supporting
rails — quite an unnecessary nicety in modern drawing-
room arm-chairs. Put into this chair cushions of the
richest velvet, or the coarsest serge, and it is still
the " true lady " or " well-bred gentleman " of chairs,
stately, dignified, kind, reposeful; and although
exception might be taken to the incongruous style
of ornament, it is still a picture in itself. Such things
give an atmosphere of beauty which dims the glare
of surrounding ugliness, and none need fear incon-
gruity as a worse evil than wholesale deformity.
There is something so inexplicably refined, grace-
ful, and picturesque, about the tables of the Chippen-
dale, Sheraton, and Hepplewhite period, that those
who are in need of such articles of furniture for their
drawing-rooms cannot do better than seek until they
find them. At present they are not so very rare;
some people are still foolish enough to wish to part
with " the old-fashioned things," to buy new gawds, to
the benefit of their wiser brethren.
Various are the shapes, and dainty the fashions, of
these slim ancestors of our modern massive " pillar
and claw " class of table. Most frequently they are
of the best mahogany, dark and rich in colour ;
often inlaid with fanciful borders in satin-wood ;
with beautiful brass handles to the invariable
drawer or drawers ; with flaps to fall down ; with four
or more slight but firm legs, always well shaped,
often delicately decorated. Small, large, oval, round,
square, round-cornered, square-cornered, card-tables,
Pembroke-tables, pier-tables ; each and all, models of
what tables might still, and ought to, be — usually as
vi.] TABLES. 97
firm and stable after their century of use as in their
first year, with wood so sound and thick, without
clumsiness or veneer, that careful scraping to remove
scratches, and fresh polish, make age a matter of no
moment.
Tables with movable legs that never get out of
joint, allowing a half turnover, converting a square
into an oblong or triangular shape ; little quartette
tables, that fit and hide, each under and within the
larger, to emerge separate and distinct whenever
required to do so. Those who have been fortunate
enough to see specimens, or even the drawings, of
such tables, can bear witness to their invariable grace
and picturesqueness, most absolutely fitted for, and
worthy of, a place in the daintiest drawing-room.
Doubtless a good plan to secure such treasures
now-a-days is to attend sales in old-fashioned towns,
or places slightly out of the way of the fashionable
run after old furniture.
But as the present object is to point out that there
are modes of making the best of modern ways, rather
than to dilate upon the rarely attainable results
of past efforts, it is time to draw attention to what
may be called the Victorian style in furniture now
attempted, and, in some cases, successfully carried
out by a few cabinetmakers.
The intending buyer of modern furniture must,
unless most liberally disposed, at once resign all ideas
of wood-carving as a decoration. The ancient and
honourable calling of carver and gilder seems to have
utterly died out, or to have altered in quality of
character so much as to be scarcely recognisable.
98 THE DRA WING-ROOM. [CHAP.
Dependence upon extremely good woods, and some
excellent construction, from designs made by men
firmly attached to the rule that honesty of purpose
is indispensable to successful result, is the only safe
plan when seeking for important pieces of new
furniture.
Cabinets, hanging-shelves, tables, sofas, occasional
tables, may be made in American walnut, ma-
hogany, or oak. They may be French-polished, or
first stained and then French-polished, which, if the
stain be black, is called " ebonizing." Such furniture
cannot be called " cheap," the price of good wood
and clever labour forbids it. Cheap furniture is a
delusion, lasting for a short time only, with a quickly
attained shabby apology for its former superficial
gaiety.
Models of form are not wanting, manual dexterity
is still amongst us. On the opposite page is a coffee-
table, with a little under-shelf, divers supporting rails,
and three well-separated legs for firm upholding.
Nothing but deliberate intention could overturn this
light and elegant little table, which would look well,
made in English oak, American walnut, or mahogany,
ebonized, French-polished, or hand-polished. A
little covering of amber velvet, with heavy bobbing
fringe or dark green cloth, with a border of butter-
cups and leaves worked in two dim yellows and two
shades of green, would add richness and comfortable
softness to this already pretty and convenient thing.
On page 100 is another idea for a very possible
occasional table, and really easy chair. The four
slim legs of the table have a bold sprawl, which looks
VI.]
TABLES.
99
neither inconvenient nor awkward, overhung as they
are by the projecting slab of the table. The chair is
a copy of an antique shape (probably of Stuart date),
A COFFEE TABLE.
which has been reproduced at intervals with but
slight changes. Obviously the intention of such a
form is to allow entire change of position, yet in any
ORR. H
100
THE DRAWING-ROOM.
[CHAP,
case to give easy support for back and arm. A row
of nicely-moulded little rails would satisfactorily take
the place of the two carved supports, which might
suggest insurmountable difficulties to the ordinary
AN "As-You-LiKE-Ir" CHAIR.
cabinetmaker. Both chair and table could be made
of mahogany, and perhaps stained dark green or
black, and French-polished ; suitable cushions and
covers are always efficient in giving a look of comfort
and luxury.
The pertinacious attachment of modern furniture-
makers to curves, and these almost always ugly
curves, is one of the greatest hindrances to amend-
ment in cabinetmaking. When looking through the
furniture-design books published by Chippendale,
Sheraton, or Hepplewhite, one cannot fail to notice
the prevailing inclination for straight forms of con-
struction ; and if curves are introduced, it is usually
vi.] CORNER CUPBOARDS. 101
in the ornamental part of a piece of furniture. A
slightly increasing favour for curved lines may be
seen in the later designs of these makers ; but they
are only graciously slight deviations from the straight,
and always in the right place. An ordinary modern
rosewood, walnut, or mahogany chair, easy-chair or
cheffonier, has so many bendings in and out, so many
excrescences and knobs of carving, that it is often
difficult to carry away any idea of the real shape of
the article.
Certain designs for drawing-room furniture, made by
a few present time cabinetmakers and decorators,
exhibit, in a high degree, the possible beauty and
grace of straight lines delicately moulded, and
arranged with educated ideas of construction and
proportion.
The corner cabinet and china-case on page 103
is a decorative piece of furniture, making the most
of a commonly-neglected part of space in a drawing-
room. This highly ornamental, useful, and movable
article, with upper and lower cupboards and shelves,
would look very well if made of American walnut, with
a few gilded lines here and there, and brightened
above and below by glowing beauties of china. It
stands, in the approved way, on legs that raise it
from the ground. The uppermost rail might perhaps
advantageously be dispensed with. If preferred, such
a corner cupboard might reach only to the surbase
of the dado, and be supported, from thence, by
delicately-turned legs, leaving valuable space under-
neath— a great benefit in a small drawing-room. In-
deed, if many ornamental pieces of furniture, such
H 2
102 THE DRAWING-ROOM. [CHAP.
as cabinets and cheffoniers, were carried up and hung
upon the walls, or could stand upon slim legs, leaving
roomy spaces underneath, not only would freer
scope for walking result, but material benefit would
arise from better freedom for sweeping and con-
venience for carpet-shaking.
Very dainty corner cabinets are now designed
with little doors of lattice panes, and shelves intro-
duced for convenience and beauty of arrangement.
An intelligent cabinetmaker could, from the drawing
here given, construct a more or less elaborate piece
of furniture of the woods before mentioned, stained
and French-polished to a surface and colour like
ebony.
The process of staining, often referred to, is very
simple, and only requires the stain, and patient
energy ; the woodwork must be free from all grease,
and be rubbed with fine sartd-paper or brown paper to
a smooth surface. The stain, if black, should be put
on with a broad smooth brush, evenly and quickly,
leaving no time for patchy marks ; several coats are
required, with time left between for the perfect drying
of the wood, and the gentle rubbing down with paper.
When a tone of perfect blackness is obtained, the
wood is ready for the French-polish, the application of
which, to be effectual, requires patience above all
things. The polish should be poured on to the wood
in small quantities only, and rubbed diligently round
and round, with soft linen or silken rags, until a slight
feeling of stickiness is felt, when a little more polish
must be added. Much labour is required to produce
the transparent surface that, once gained, lasts for
VI.]
CABINETS.
103
A COKNEK CABINET.
CH. vi.] STAINING AND PAINTING. 105
long years. If a green colour is wished, the number
of coats of stain should be limited by the desired
tone. Oak wood stained with two coats of green,
and then one of black, and French-polished, has a
charming effect for tables or shelves.
The painting of delicate little articles of furniture,
if properly managed, may be a domestic occupation
without appreciable annoyance. If possible a room
not otherwise in use should be chosen ; and the work
should be carried on with as little movement as
may be, to prevent the dispersion of dust, which,
falling upon the paint when wet, would greatly mar
its smooth surface. The object to be decorated
should be conscientiously rubbed to a glassy smooth-
ness, with sand-paper and brown paper. The paint,
to suit the sensitive artist, should be picture oil-paint,
sold in single, double, and treble tubes; turpentine
must be gradually mixed in, until the paint is of the
consistency of thin cream, when it may be laid on
thinly with variously-sized soft brushes, avoiding
streaks, blots, or smears. After a coat of paint has
been effectually applied, ample time for drying, in
perfect stillness, should be given ; then should
follow a patient rubbing down, with soft paper,
to ensure smoothness. This process should be
repeated until the artist is satisfied with the depth
and soundness of colour. Delicate little diapers or
other decorative ornaments may at last be executed,
in harmonious colours, and when the work is perfectly
hard and dry, a coat of the best hard white varnish
should be quickly applied. Good shades of suitable
greens for furniture may be gained by differently
io6 THE DRA WING-ROOM. [CHAP.
mixed quantities of middle-green lake, chrome, black
and white.
China plates look very pretty upon little green
oaken shelves, ranged around a room at one level,
or, if preferred, one above another, or over a door-
way ; they may be of the most inexpensive nature,
requiring only proper dimensions to allow plates to
lean safely against the wall, and to be protected from
slipping by an upright ledge of correct proportion.
Wall-brackets for vases or candlesticks, little
bookcases with a shelf above for ornaments, and a
narrow under-ledge for tiles or plates, tiny hanging
china-cases, are all objects within most reasonable
reach, with the assistance only of an intelligent
cabinetmaker, and an ingenious and thoughtful
domestic designer.
The simple form and clever divisions of the little
Chinese china-case shown on the opposite page will
admirably illustrate what may be done by good use
of straight lines. The effect of the two drawers might,
at choice, be produced by cupboard-doors (with well-
wrought brass handles) opening to the right and left.
Good hard wood ebonized, would give nearly the
same effect as Chinese lacquer ; and although the
gilded decoration on the panels of the door would
be lacking, the brilliant brass handles, which should
be carefully chosen for delicacy of finish and pro-
priety of form, would give relief, and brightly-tinted
china and glass would supply the needed colour.
A most usual thing in the drawing-room is the
cottage or grand pianoforte, almost a pleasing spectacle
in spite of its ungraceful exterior. Picturesqueness
VI.]
PIANOFORTES.
107
of shape is certainly not to be found in pianos. The
costlier they are, the uglier they seem to become.
The ponderous legs and squat form of the " cottage,"
A CHINESE CHINA-CASE.
the ungraceful curve, and unpleasantly flat surface of
the " grand," and the inconvenient bulk of both,
make them most difficult articles to deal with in a
picturesque arrangement of a drawing-room.
There must be some special difficulty in combining
proper musical mechanism with a pleasing form,
io8 THE DRA WING-ROOM. [CHAP.
otherwise, surely, some ingenious mind would have
endeavoured to benefit the shape of a grand piano-
forte. As it is, it must be endured for the sake of
" the soul in it, ready to waken at a touch and charm
us with invisible beauty." The cottage piano is a
little more amenable to slight alterations, that could
not interfere with any musical tone, however tender.
If the frame were of oak or walnut, stained or other-
wise, with simpler, slenderer legs, perhaps two stand-
ing close together at either end, so as not to interfere
with duettists ; if the lid were of straight lines instead
of curves ; if there were less carving and " fretting,"
but better wood and sounder workmanship, a worthier
result would certainly be obtained than the usually
over-dressed piece of furniture. The silk introduced
into the front is usually of an evil tint, and there is
rarely a line of beauty to be found in the carved
woodwork by which it is commonly inclosed.
If this silk and fretwork were entirely removed, and
a rich piece of velvet or delicate embroidery substi-
tuted, if the lid at the top of the piano were made
with a more liberal projection, a better, if not a good
effect might be produced. There would, however, most
probably, be great difficulty in persuading the guild
of pianoforte-makers to alter their adopted ideas for
the sake of the fancy of a few, and it can only be
through strong combination of determined minds
that any improvement can be brought about in the
shape of these musical instruments.
The ordinary music-stool is usually an ugly, and
uselessly heavy article of furniture, and a pleasing
substitute might be found in the old-fashioned four-
vi.] FOOTSTOOLS. 109
legged single seats, which are otherwise picturesque
and convenient, and may, when not in use, be pushed
under the piano, table, or long-legged cabinet. Our
ancestors must have been so comfortable, in their
broad low-seated chairs and sofas, that they did not
require footstools, so rarely are they to be seen
amongst old furniture. They seem to be a modern
idea of luxury, very modern in their gaudy seeming
and comfortless capabilities. A very convenient form
of footstool is the ordinary hassock, which can, by
desire, be made small or large, round, square, or oval,
or indeed of any height, size, or shape required.
Covered with embossed velvet, or with richly em-
broidered serge or cloth, it may be made as decora-
tive as one could desire, and while it gives firm softness
for the feet, it does not offer a ponderous obstacle to
free passage. If several footstools are required, it is
comfortable to have them of different heights and
sizes, to suit varied positions and chairs.
Our space will not admit of detailed description of
all the varied and suitable pieces of furniture for a
drawing-room. An intending purchaser once firmly
convinced that personal needs and tastes ought not
to be, cannot properly be, entrusted to the wholesale
superficial knowledge of fashionable furniture dealers,
will gain much wisdom by the exercise of individual
fancy improved by use and increased by experience.
In all furniture, insist upon honest material, little
glue, and good, sound workmanship, even if a
sparsely decorated apartment be the temporary result.
The lasting powers of these properties will pay high
interest, and save money for other future wise specu-
1 10
THE DRA WING-ROOM.
[CHAP.
lations. Be proof against padding, let cushions be
independent, make sure that comfort reigns within
the arms of an easy-chair, and that to sit at ease
upon an ordinary chair is not ludicrously impos-
sible. Of course, even those whose thoughts upon
these subjects are agreeable, may not or cannot
depart suddenly from long existing fashions in furni-
ture. "By degrees must freedom from such follies
come."
vii.] GASLIGHT. in
CHAPTER VII.
LIGHTING AND FLORAL DECORATION.
|HE subject of lighting the drawing-room
is entered upon with hesitation, for
there is one way so easy, so accessible,
so universal, that we tremble to de-
nounce it as utterly bad, hurtful and
dangerous for heads, hearts, and hands.
Any doctor will answer the inquiry, " Is gas a
wholesome light for the drawing-room ? " in the nega-
tive. If unwholesome, it must, more or less, affect
the body, through that the mind, and thence hearts
and hands. Few but have felt the overpowering and
sickening influence of a room liberally lighted by gas,
and closely shut up, as frequently rooms are, at the
time when gas is most required. It is equally injurious
to decorations, be they pictures, papers, ceilings, or
hangings ; quickly making them dingy and dirty.
The light given is intense but hard ; and concentrated,
as it usually is, in the middle of the room, is equally
unpleasing from its potency when near, or its in-
efficiency when far off. For the reader, writer,
1 1 2 THE DRA WING-ROOM. [CHAP.
embroiderer, or artist at ease, it is at once irritating
and ineffective.
Many plans have been tried to soften and manage
the refractory brilliancy, but for a carefully and
thoughtfully decorated drawing-room they are un-
available ; ground glass globes are ugly in shape and
poor in colour, by day or by night. Shades of paper,
silk, or metal, succeed, it is true, in collecting the light
for the convenience of industry; but the deep and
gloomy shadows thus cast around and above are fatal
to all favourable effects. The plaster centre ornament
with a pendant constructed of glass, bronze, gilt, or
silvered metal, commonly of a weak and ill-conceived
pattern, is a blot upon the face of the fairest ceiling,
and would ill accord with any of the dainty schemes
proposed for drawing-rooms.
Of course it will be expected that after this crushing
condemnation, an efficient substitute will be proposed
for acceptance ; and a feeling akin to shame is ours,
that in this matter the needs of nations have pro-
duced nothing satisfactory since the time of the
Ancients ; when the Egyptians, Jews, Greeks and
Romans had their oil lamps and candlesticks of
various devices, in divers materials, invariably
executed with knowledge, sometimes with magnifi-
cence, and always admirably fitted for the function of
supplying and supporting a comfortable light.
Ere discussing the merits of a very few varieties
of oil-lamps and candlesticks, we would solace the
desponding feelings of some, who, while sympathiz-
ing with our views, cannot, for many reasons, hastily
decide to exclude from their drawing-rooms a light
vii.] CHANDELIERS. 113
which saves much daily labour, is instantly and easily
available, and confessedly economical. If gas light
must be chosen — (woe worth the day !) — and a central
arrangement is desired, choose, if possible, a brass
pendant ; simple, slender, suitable in shape, and
consistently elaborate. Well worked brass is never
cheap ; the simplest form, with two or three lights,
would rarely be obtainable for less than three pounds,
size and detail causing a rapid increase in price ; but
zeal will do more than knowledge when desire is
firmly fixed uponjpure and simple beauty at moderate
cost ; and search, even for a pretty gas-pendant, will
readily be rewarded by success in the present day,
when brasswork has found new favour for domestic
decorations.
Gas light, in a large room, would be much more
available if dispersed through pretty, straight, or
branching burners on brackets at convenient intervals
around the walls ; and would have a far better
general effect than the usual centre glare. Perhaps
some might find their advantage in tiny one-light
pendants, hanging by dainty chains, in the four
corners of the drawing-room. Simple brass gas
brackets are not very expensive, and some look very
graceful. Brazen sconce plates are costly, but, with
rich repousst and chased work, highly decorative, and
have a brilliant effect.
In the matter of oil-lamps suited for drawing-
rooms there is really little to be said. Some new
form, skilfully wrought, to meet modern need, is much
wanted. The lamp that finds most favour now-a-days
is the moderator, which burns colza oil, and yields a
H4 THE DRA WING-ROOM. [CHAP.
soft clear light; but it is almost invariably ugly in
shape, it requires a solid table to support it safely,
has an inconvenient habit of easily getting 46ut of
order, and the oil it consumes is expensive. A few
are picturesque, where the receptacle for the oil is of
blue and white earthenware> and the globe of ground-
glass of a greenish tinge ; but these are very expen-
sive, and what is wanted is some efficient oil-lamp
of simple good form and material, which might be
adapted for standing or hanging, and which should
not be costly.
There are certain lamps, used for state cabins,
that are picturesque, and look very well in wrought
brass ; they might be hung by little chains from a
hook fixed firmly, but neatly, in the centre of a
ceiling, or, if the room were large, at two or more
points. The scarcely perceptible swing in such lamps
would not be unpleasant ; they would diffuse a soft
and mellow light, and, if well cared for, would emit
neither smell nor smoke.
There is a light called the " duplex," which seems
to possess the merit of simplicity, is easily kept in
order, and burns a wick that lasts for a long period.
This and many other lamps are constructed to burn
different spirits and oils, but they cannot be com-
mended for any advantage, save the doubtful one of
greater cheapness, and they are to be avoided for the
explosive or inflammable nature of their contents.
It is difficult to understand why candles gave way
so readily to gas and oils ; they are not much more
costly than the latter, give much less trouble, are more
cleanly, never get out of order — (repairs form a large
VII.]
CANDLES.
proportion of the expense of a lamp) — require -no
winding up, and have freed themselves from the need
of snuffing — that difficulty of bygone days.
A WALL SCONCE AND ETAGEKE.
No light is so charming as that of many candles,
be it for general effect or for particular purposes ; the
ORR. I
ii6 THE DRAWING-ROOM. [CHAP.
old-fashioned sconces or branching candlesticks could
not be surpassed for slender, delicate grace ; and
beautiful shapes in brass have, in late years, met with
the approval they deserve. Those who aim at a truly
picturesque effect in their drawing-room cannot do
better than seek for old silver-plated, brass or even
iron, candlesticks, with repousse wall-plates. From
Germany and Holland we get most charming
examples of such metal work ; the designs on the
back-plates boldly executed in patterns which are
perfect studies of fitting form. Picked up abroad, at
old shops, they are often very cheap, yet undoubted
treasures for the seeker after decorative beauty ; the
bright back grounds reflect the light of the candles,
but there is no glare in the brilliancy.
Of course there are modern sconces, with and
without reflectors, good and bad ; but it is better
not to put new and old side by side. Very good
repousse" v/ork is done, but it is very costly, arid it is
painful to many to pay heavily for so simple a thing
as a candle or gas sconce and its appurtenances.
On page 115 is a drawing of a sconce for three
candles, attached to a beaten-brass wall-plate; not
growing out of the jade-dish surmounting the etagere,
as it appears in our woodcut to do, from want of
a little more space. This lighted up by its three
candles would shed a rich glow, brightening many a
yard of space around, and giving subdued light even
to the extreme points of a good-sized room.
Delightful little old brazen sconces, for three lights,
with delicate ornamental borders, have been bought
at shabby shops in seaport towns ; and there are
CHANDELIERS.
117
doubtless many like them, in other retired shops, look-
ing dingy and dubious to the eyes of ignorant passers-
by ; only awaiting an inquiring and appreciative
purchaser, and a slight but meaning rub, to brighten
into unsullied beauty.
A SILVER CHANDELIER.
Hanging chandeliers are not common objects ; they
were chiefly used for grand rooms, when grand rooms
did not abound as they now do. Specimens are still
to be seen, distinguished by delicacy and real elegance
of treatment ; strength where needed, and lightness,
not weakness, in the curved branches. Chain-pulleys,
and such mighty machinery, are the workings of a
darker day of decorative art.
The accompanying illustration is a copy of an
I 2
1 1 8 THE DRA WING-ROOM. [CHAP
old silver chandelier, with a certain massiveness
about the centre, fitted to sustain an octave of lights ;
while the single branches are suited, in their slimness,
to the slightness of their duties ; the saucers of the
actual candlesticks are of a generous capacity, to
defend from fear of falling wax, and the whole thing
has at once dignity and grace, " a silvery pyre of
brightness." Very delightful candelabra might be
fashioned, after this kind, for three or five lights, of
brass or plated metal ; to please fastidious eyes and
yet not distress moderate means.
Single candlesticks are of more simple intention,
but have an upright dignity of their own ; and possess
the advantage of being readily moved to the most
convenient spot ; if made in shining silver, or
gleaming brass, with tall white, or red, not pink,
candles in them, either standing closely together
on the busy side of the table, or separated only
by a vase of flowers, or apart at either end of a
mantelshelf, or placed on tiny brackets, they may be
made picturesque touches of brightness, supplying a
sweet and kindly light equally sufficient for social or
domestic need.
In deciding the position of lights, there is an art
to be learned by trial and experience; and by duly
consulting the bhape, size, decorations, and other
points of the drawing-room. That centre chande-
liers are usual is no rigid reason for that style
of lighting, if choice or convenience urge a superior
comfort in wall-sconces, or candlesticks on brackets,
shelves or tables. On this point, as on all others in
this little book, it is wished to encourage individual
vii.] FLOWERS. 119
fancy, personal arrangement, self-willed ideas ; pro-
ductive of more varied and more comfortable results,
than are to be met with by a close adherence to the
" correct style."
No drawing-room is complete without floral de-
coration, in which is included vegetation of many
kinds. Green leaves are lovely and last long, and
are available in winter to all, when only a few
are favoured with blossoms ; but skill is necessary to
make the best of flowers brought into unnatural
positions. Beautiful as these are in form, colour, and
scent, they may suffer from inappropriate combi-
nations ; while the brightness emanating from their
pure colouring, judiciously dealt with, may go far to
atone for the lack of more costly ornaments.
Those who live in the country know no stint of floral
decoration ; if there be no garden, or greenhouse, to
produce the curious or rare varieties, every lane or
field has its diversities of form and colour in flowers ;
many quite as beautiful as their more cultivated
relations ; prized perhaps for rarity equally with
worth. No flowers can be more delicious than the
yellow daffodil, or primrose, the violet, the hyacinth,
the scented dog-rose, and the honeysuckle, the ox-
eye daisy, with its amber boss and pearly points ;
the golden buttercups. While gathering such gems
of pure colour and form, Nature gives a hint for their
arrangement : invariably are they met with in masses
of colour, not broken up into varieties ; and the lover
of floral decoration will find it effective to study
harmony in the disposal of flowers in vases.
Any single form or colour is often insufficiently
120 THE DRAWING-ROOM. [CHAP.
loved and honoured ; and a conviction of this will
instinctively strike any one who sees a group of
yellow daffodils, with their scant green leaves, in a
vase of Flanders grey ; which with a background of
an olive-green or peacock-blue serge curtain, makes
a perfect picture of colour and form. A green Al-
gerian flower-pot, with fo'ur handles, brought from the
Aures mountains, or a more polished specimen, good
in colour and more expensive, by Deck, of Paris ;
filled with a gradually ascending mass of green
leaves, from the yellowest olives to the bluest greys,
is a study in shades of green, worthy of attentive
consideration.
Variety of form and colour is not to be disdained
when arranged harmoniously, but the preference must
surely be given, as in music, to the theme, as more
impressive than the cleverest variations. Individual
interest and activity are to be urged upon the dweller
in town, who will find difficulties, and who may have
to feel content with tiny bought bunches of fading
flowers without leaves ; yet almost every one has
some country friend who would occasionally send
branches of " ivy never sear," which with care and
washing would last for months; and raised leaf by
leaf, supported by tall branches, with touches of
colour, if only of hips and haws, or the scarlet
berries of holly, has a dim sedate beauty of its own.
Fine bits of colour may be gained by dried leaves,
such as those of the Schumack, which turn red before
falling; and if gathered and pressed between blotting-
paper retain their rich colouring. Bracken ferns in
some parts of England change from green to the
VIL] LEAVES.
121
brightest yellows, reds, and richest browns, long before
dying down; and though when dried they lose much
of their ruddy brightness, beautiful shades of yellows
and browns remain. A large jar filled cleverly with
these has varied natural form and much sober colour
to delight the eye.
A severe yet splendid winter bouquet can be made
of bulrushes, dark and solemn, contrasting with the
light, and spreading sprays of the Pampas grass,
either intermingled thoughtfully, or, to give more
decided contrast, the grass might be arranged as a
sort of feathery bed, from which upsprings a crowd of
the rich spikes of the massive bulrush.
Peacocks' feathers, though not floral, are so entirely
decorative that they cannot fail to be appreciated if
properly placed. Their slim white stems, their mys-
teriously metallic and changing colours, where, in
spite of gleaming brightness, one fails to match a tint,
mark them for the favourites of artistic eyes, and one
can imagine no more fitting filling for a splendid
vase, in a proper light, than a mass of these Nature's
jewels.
These very common objects thus suggested for
consideration are only " wonders at which habit has
made us cease to wonder," and their marvellous-
ness may be renewed at pleasure by simply " taking
thought."
One single flower with sprays of green, in a cup or
vase of good colour and shape, on a bracket by a
chair, would give a tinge of homelike comfort to the
dreariest room. It is the inborn love of natural
beauty, seeking undeformed expression in affection
122
THE DRA WING-ROOM.
[CHAP.
for the forms and colours of flowers, that snatches
the stigma of entire vulgarity from the arrangements
of many a richly-furnished room ; so that education
into artistic comprehension of the beauties of pure
form and colour will, it is hoped, gratefully include
floral, in drawing-room decorations.
VIIL] PICTURES. 123
CHAPTER VIII.
PICTURE FRAMES, MIRRORS, ODDS AND ENDS.
1AY we exhort such of our readers as
have no pictures hanging in their
rooms to put up one immediately ?
We mean in their principal sitting-
room ; in all their rooms if .possi-
ble, but, at all events, in that one."
Thus writes a deceased English author, not so much
read as his works merit ; he adds that pictures " serve
to refresh us for endurance ; to render sorrow unselfish ;
to remind us that we ourselves, or our own personal
wishes, are not the only objects in the world ; to in-
struct and elevate us, and put us in a fairer way of
realizing the good opinion which we would all fain
entertain of ourselves, and in some measure do ; to
make us compare notes with other individuals, and
with nature at large, and correct our infirmities at
their mirror by modesty and reflection."
With this quotation shall our consideration of
pictures and prints begin and end ; and for all good
and sound advice on the subject the reader is referred
to the able rules for choice and purchase given by
124 THE DRAWING-ROOM. [CHAP.
Mr. Loftie in his book, A Plea for Art in the
House.
Frames for pictures may be of various materials,
and have in late years suffered from the usual desire
for magnificence at the expense of purity of form and
decoration. When it is considered desirable to give
a gilded surrounding to a picture, it is open to choice
whether it shall be a flat mount inclosed by carved
ebony, ebonized oak, oiled walnut, or other wooden
border, or whether the entire frame should be gilded.
In the latter case ornament should be most care-
fully chosen, and should not interfere with the sin-
cerity of the outer and inner straight lines of the
frame. Moulded lines should be fine in proportion
to general size.
Simplicity, with most delicate detail, for such a
naturally attractive object as a gilded frame, is desir-
able. Ebony, or ebonized frames, with lines moulded or
cut into slight relief, are effective when combined with
gilded oak mounts. Gilding may also be discreetly
introduced in the decoration of ebony frames.
It is a wise plan to consult congruity in the fram-
ing of pictures, and to attend to the rule that all their
bases should range at one level. If there are so many
pictures to be hung that one row does not include all,
the remainder may form a second line, with regular
intervals.
Attention has been previously drawn to the utter
disregard of utility and beauty in the size and posi-
tion of the frequent " drawing-room lofty mirror."
Looking-glass properly inclosed is a pretty thing
when doing its duty and making the most of its sur-
vin. MIRRORS. 125
roundings, but when raised aloft to some ten or twelve
feet from the ground to multiply many square yards
of whitewash, it becomes actually unpleasant from the
falsity of its position, and wonder grows in thoughtful
minds, how people can have gone on so long spend-
ing large sums of money on such individually un-
beautiful material inclosed in frames of falsely
conceived twisted rope, foliated, and other patterns
of no particular style or shape.
Those who are the unfortunate possessors of one
of these costly modern mistakes would confer the
greatest benefit upon their drawing-room decoration
by having it removed from its aerial position, and the
plate, which is probably of good thick glass, cut into
two or three oblong pieces. These put into narrow gilt,
ebony, or other frames, and hung at a level where
pleasant reflections are possible, would have far more
than double or treble the effect of the one large
surface.
Old fashioned mirrors may sometimes be bought,
often with bevelled glass and moulded ebony mounts,
surrounded by a slight, but invariably elegant, gilt,
oblong, oval, or square frame. Square bevelled
mirrors, in solid ebony frames, splendidly moulded
with telling lines, are also occasionally seen, such as
the one shown on page 127, where position ensures
utility, and allows for easy rubbing and brightening
of the glass, an all important point.
Convex mirrors, until lately neglected, and left
forlorn, in old inns, country houses, and brokers' shops,
were frequently to be purchased for a few shillings,
when with proper cleaning and re-gilding, their solid
726 THE DRAWING-ROOM. [CHAP.
old-fashioned make enabled them to appear in perfect
beauty. They are probably all of the last century,
and either of French manufacture, or made by French
colonists in England, they are usually surmounted by
an eagle, well moulded, and carved, and sometimes have
side branches for candles. Their frames are massive
but delicate, elaborate but honest ; decorated with tiny
chains and balls, they form splendid spots of spark-
ling reflection, and are at last elevated by fashion to
suitable rank and position.
It would be, as was shown in the case of old furni-
ture, most expensive to try to have copies made of
these old, slower-time works of art. If workmen
could be found capable, which is very doubtful, the
prices of such articles would so far exceed reason, that
they would forbid purchase. If new plain mirrors
are desired, an effort should be made to have the
best plates, -finished by a gently bevelled edge of
about one inch in width, following the shape of the
glass. The frame, either of carved and gilded wood,
ebony, or ebonized oak, should be refined in style
and carefully executed, when brightly gleaming bits
of decoration will result.
If strong unwillingness should exist to have
large plates of glass cut into pieces, an alternative
which, if not admirable, is still an improvement upon
the large unbroken surface, remains for choice. An
ebonized oak or " oiled " walnut-frame, altogether in-
closing and dividing by cross-pieces the surface of
the glass into compartments, and leaving perhaps one
uninterrupted, oblong piece, about eighteen inches
high, at the bottom, with a trellis work of shelves and
vni.l
MIRRORS.
127
MIRROR AND CABINHT.
CH. viii.] BOOKS. 129
brackets filled with bright china, carried up from
thence to the top, would give forms and tints to
reflect and enhance the lustre of the glass by the
contrast of dark wood-work. At a convenient
height for easy access, little rows of book-shelves
might be introduced by clever arrangement, or small
cupboards with .tiny latticed doors, giving a through
glimpse of the glint of rare treasures within.
Custom has not assigned a suitable abiding place
for books in the drawing-room ; people are not sup-
posed to be in the mood for reading when the hour
comes for retiring to the withdrawing-room. Conversa-
tion and music are the proper things, and the chief
impression to be gained from books, if present, is that
they are well bound and cost a good deal. But the
mere titles of books often suggest conversation.
What sweeter companions can be had than books all
about, here and there and everywhere, within reach,
and in the most convenient spots ?' The varied tones
of books, soberly bound, make a rich bit of decora-
tion, and suggest consolation and calmness. Recesses
filled with book-shelves affectionately open, treated as
delicately and ornamentally as may be chosen, can-
not but look suitable anywhere, and if well filled must
be proper and comfortable. A great deal should be
thought of comfort in all cases, and it cannot but be
considered discomfort to concentrate the principal
imaginative luxury of life into one apartment, often-
times remote and gloomy. It is a rare case for
any one to possess enough really sterling books to
make a separate apartment for them necessary.
Glazed book-cases interfere with easy access, and
i3o THE DRAWING-ROOM* [CHAP.
are therefore undesirable. A certain worn look
about the outsides and insides of books is better than
brand-new gloss, and shows them to be old familiar
friends. It is not needful here to dwell upon the varied
beauties found in rare old binding, since the reader
can consult Mr. Loftie's treatment of the subject in
his book, A Plea for Art in the House.
Searchers for old Chippendale and Sheraton furni-
ture may chance to meet with simply formed, but
dainty little hanging shelves for books, of mahogany,
more or less ornamented with carving or with inlaying.
The upper shelf often offers standing room for orna-
ments, or indeed if so chosen, the lower shelves only
might be filled with books, resigning others to less
solid beauty and worth.
Let us suppose an ugly ill-proportioned recess, giving
no depth for the reception of cabinet or table. Book-
shelves of well-seasoned deal reaching from skirting-
board to cornice, might with advantage be introduced,
and painted to agree with other woodwork in the
room. A pretty, if unusual look, might be produced
by projecting .bracket-shelves, on one side, agree-
ing with the arrangements of the bookcase, the
whole overhung by a well-wrought cornice. The
brackets, filled with specimens of pottery, the
shelves with interesting books, will together ably
cloak a builder's errors. If preferred, the lower
shelves, inclosed by doors with brass handles, form
convenient cupboards for magazines and papers.
On the opposite page is a light and easy kind of book-
case, fitting comfortably into, and projecting beyond,
the surbase in a drawing-rc^m, and forming a pretty
VIII.]
BOOKSHELVES.
recess for a convenient writing or reading-table.
Strength and simplicity are here admirably combined ;
BOOK-SHELVES.
the shelves passing through apertures on the
upright supports, need no glue or other doubtful
ORR. K
132 THE DRAWING-ROOM. [CHAP.
fastenings to keep them, steadily in position. A
more elaborate treatment of the same idea, might
be chosen. There might be more shelves with smaller
distances between, delicate carving on sides and
edges, tiles and plates ranged on the lowest, and
Venetian bottles, old Delft vases, or old Nankin cups
arranged on the upper shelf.
Books at arm's length only, or lying about on
one of the tables in a drawing-room, have a
happy look. Choose for such positions- those
likely to interest at a moment's notice, perhaps
of present, if of passing fame ; points' for con-
versation, when amusements are flagging, and
in all cases comforting additions to other not
more, not less, important items of drawing-room
decoration.
If rooms be small and ornaments and treasures
varied, great scope is given to ingenuity and con-
trivance to gain a suitable resting-place for each
art-object. It is excellent practice for the eager
mind to have to battle with inconvenience, and to
fight out a clear, if not perfect, path from the diffi-
culties of trying to make the best of ugly propor-
tions and coarse shapes ; but there difficulties end,
for colour is one's own to choose and may cover a
multitude of other sins.
Mistakes must be made, failures are inevitable ;
but experience is gained by each disappointment,
and knowledge is a natural consequence. Too much
content is dangerous and conducive to an unpro-
gressive policy. " What shall be added next ? "
should be a constantly-recurring thought, and it is
vin.] ORNAMENTS. 133
well if it can be illustrated by gleanings from foreign
countries to give zest to arrangement.
To an appreciative mind, not spoiled by the
luxury of wealth, what keen pleasure there is in the
possession of one new treasure ; a Persian tile, an
Algerian flower-pot, an old Flemish cup, a piece of
Nankin blue, an Icelandic spoon, a Japanese cabinet,
a Chinese fan ; a hundred things might be named,
not one being costly, yet each, in its own way,
beautiful and interesting. Where to place it, for the
best, is a fertile topic of conversation : then the
bracket must be made ; the tiny shelf designed. A
delight as pure as that of a child with a fresh toy,
and superior to that in its lasting power, is open to
the aspirant after the beautiful in art.
Probably those whose means are limited, so that
the sum to be expended in ornaments is com-
paratively small, have quite as much, if not more,
pleasure in their occasional acquisitions than the
wealthy, with whom to wish for is to have. Slow
acquirers have time to dwell upon qualities of
colour, to examine details of workmanship ; they are
not distracted by another thing until they have this
one by heart, and the pleasures of anticipation and
possession must surpass those of the latter alone.
To be able to purchase immediately, without any
doubts, without a certain preparation, does not strike
one as the happier state.
Surely there are not to be found more lovely bits
of ornament for a drawing-room than rare old china.
It is not proposed here to give details of all the
hundred pottery and porcelain marks, with all their
K 2
THE DRAWING-ROOM. [CHAP.
differences as known to the connoisseur ; to attempt
even a list of the varied beauties in china would
leave no room in this chapter for other scarcely less
important items of decoration. The disposal of such
bits of tender colour and shape will be more to the
purpose, and of course they should always be placed
where they can be perfectly seen, without being
touched; for would not one rather fracture a limb
than break a friend's old Persian or Chelsea, or
Nankin ?
All articles of delicate, minute work should be on
a level with, or not much above or below, the range
of the eye. Cheffoniers with cupboards and shelves
close to the floor, for valuable and interesting
ware are unsuitable, dangerous and inaccessible.
Here is a drawing of a hanging cabinet of hard wood
stained black and French polished, with bevelled plate-
glass doors, shelves above, below, around, lined with
mirrors and filled with fine old Venice glass and
Indian pots and pipkins ; the whole a gorgeous dis-
play, to some tastes perhaps too gorgeous. The idea
might be carried out with more simplicity of detail,
depending more upon pure proportion and good
material, and the various bits of antique china could
but gain by the contrast to their brilliant brightness.
Here a few words may be fittingly said about
antique things. It is a sad and acknowledged fact,
that modern decorative art, at home or abroad, can-
not compare in delicacy, conscientiousness, or know-
ledge with that of past times ; even present Persian
art is not to be desired, like that of days gone by.
Looking over Japanese toys, the difference between
VIII.J
CHINA-CASES.
'35
HANGING CHINA-CASE.
new and old is marked and marvellous. In ancient
art a great knowledge of suitable decorative effect is
136 THE DRAWING-ROOM. [CHAP.
evident, and loving toil, willing to spend any time to
gain goodness at last. In modern work, attention is
still paid to effect, but it must be attained by the
least amount of labour possible. Perhaps other
reasons for decadence need hardly be sought.
It is not that artistic power has left the world, but
that a more rapid life has developed itself in it,
leaving no time for deliberate dainty decoration, or
labours of love; hence, all crave to possess speci-
mens that are at present unequalled, and beauties
that may possibly never be rivalled. When they
are fortunately obtained, we cannot take too much
care of them, or enshrine them with more than
sufficient thought and heed.
Very pleasant places for tender cups, teapots, and
plates, are corner cupboards, either resting upon legs
or hung upon the walls, they may be small and
decorative, or roomy, severe, and simple.
The picture on the next page gives a good idea
of an old-fashioned one, with a pediment at the top,
and lattice doors. An evidently appreciative couple
are gloating over the inclosed wealth of glass,
silver, and china. Such a cupboard gives us for
choice either the support of a surbase, slim legs,
or an under cupboard.
A corner cupboard that has solid, unglazed doors,
either flat or rounded, would gain richness by the
insides of the doors being covered with choice bits
of old Venetian leather, or, failing that, a painted
diaper, perhaps with gold leaf back-ground : when
such doors are opened and laid back against either
wall, the warm fine colour would be a valuable
VIII.]
POTTERY.
137
adjunct to, not interfering with, the brilliant beauties
of shelved treasures.
A COKNEK CUPBOARD.
Vases of large size and bold pattern and colour
may advantageously stand aloft, on the top of book-
138 THE DRAWING-ROOM. [CHAP.
case, corner cupboard, or bracket, or on single stands,
or even on the floor in retired corners.
Plates of peculiar and dainty ware may be placed
on tiny shelves either connected like bookshelves, or
independent, and thus placed they look safer than when
suspended by cord or wire, as shown on page 139,
where ideas are given for dealing with varied orna-
ments. A double and decorative corner bracket for
large and small vases, three hand-painted tiles in
ebonized frame with oak mount, and a bevelled
mirror reflecting the graceful shapes of gas-bracket
and vases.
For purely decorative purposes, fine form and rich
colour are to be desired, and they may be met with
without large outlay — often a question more of fashion
than of beauty. Old Delft ware has good form, fine
colour, and suitable design. Old Nankin possesses
the most beautiful blues; new Flanders-grey boasts
charming shapes, clever hand-work, and fairly good
blue, for modern days. In Algeria and Spain, much
unspoiled natural taste is : iown, with touches of
acquired Persian knowledge of decoration. Green
glazed vases from the Aures mountains, common
Spanish unglazed water-bottles, Tunis coarse clay
and terracotta jars ; all have beauties that recom-
mend them heartily as interesting and satisfactory
for any drawing-room shelf or bracket.
Very good copies of green and blue enamel ware,
excellent in colour, are produced by M. Deck, of
Paris ; and in Belgium one may meet with desirable
modern specimens. No one need be reminded of
eastern china,, perhaps more suited than any other
VIII.]
ODDS AND ENDS.
139
ODDS *ND ENDS.
140 THE DRAWING-ROOM. [CHAP.
pottery for decorations, and ordinarily of moderate
cost. Even in English exhibitions, it is evident that
taste for, and knowledge of, ceramic work has started
a new growth amongst us, and should be rewarded
by encouragement.
One more little cabinet and tiagtre, and other
odds and ends must be briefly considered. This is
of Chinese make, and has the desirable legs, a
lower shelf suitable for coarse but decorative pieces,
such as saucers and bowls, little compartments oddly
and charmingly arranged, and delicate wooden fret-
work. It is not offered as an example to be
copied, but rather for favourable comparison with
the usual magnificent, marble-topped, low-shelved,
glass-backed, ugly cheffonier, with which every one
is too well acquainted.
Fans of Chinese and Japanese make, demand a
passing notice. Those who have the ordinary cheap
Japanese fans of a few years back will do well to
consider that in Japan, as elsewhere, purity of natural
art is gradually being distorted by acquired fashions
and tastes ; and that probably in a very few years
such frail fans will be more rare, less attainable,
more valuable. An efficient plan for their exhibition
and preservation from injury is to have pieces of
ebony or other wood, fixed against a wall and pierced
at intervals to allow the handles to slip through,
thus sustaining them in an upright position close to
the wall. Such an arrangement, carried round a
room, with the fans touching each other, at a level just
above the dado, would suit a room calm in colour,
VII!.]
&TAGERES.
CABINET AND ETAGHRE.
and with such Japanese arrangements as seem always
to tone well with old English furniture.
THE DRA WING-ROOM. [CHAP.
Handles, finger-plates, and .bell-pulls are small
details in drawing-room decoration that contribute
greatly to a good or bad general standard. Those
made of gilded and decorated china have but one
recommendation — cleanliness ; for their cold hard
surface and colour, generally utterly at variance with
other ornaments, make them startlingly unpleasant
objects. In old houses, door-furniture and bell-
handles may be seen made of beaten brass, chased
and fretted into delicate honeycomb patterns, and
lately reproductions of old, and many new, ideas have
been offered for approval by a few brassworkers. A
very convenient form for finger-plates is when the
upper and lower parts being in one, a projecting piece
forms a back-plate to the door handle ; these are
made in brass, ebony, ebonized oak and other woods,
and are, in different degrees, elaborated by carving
and fretwork. It would not be difficult to get original
ideas for these small objects, carried out at a not
very exorbitant price, although good brass work,
which is nearly everlasting, can never be what is called
" cheap."
The encouragement of original ideas has been
throughout the motive of this book. Those of our
readers who from circumstances have never witnessed
the gradations by which any worthy art is acquired,
who have only seen the successful issue of an infinite
number of unsuccessful attempts, are, we trust, by this
time convinced, that personal perseverance in the
search after pure decorative beauty will be rewarded
by results apparently unattainable except by those
who have some gift of the nature of inspiration.
VITI.] CONCLUSION. H3
We urge such sympathetic minds to seize every
chance of studying acknowledged, beautiful, and
varied works of art. To fix a high standard for
their own efforts, and to prefer to stumble often in
a tedious ascent rather than to rest content at a
lower level. Honest progress towards a higher,
rather than mean accomplishment of a lower type,
is desirable in many other things as well as in
Drawing-room Decoration.
In the foregoing chapters an attempt has been made
to render tangibly practical some of the ideas now
dawning in the minds of those who, though as yet
uneducated in domestic art, incline naturally to better
things.
On awakening to a sense of the ugly, innumerable
schemes for amendment present themselves, but
vagueness is their chief characteristic. In matters of
action, thinking " at large " seldom leads to useful
results, and even experts in decorative art are,
perhaps, a little apt to talk widely ; hence the un-
cultured mind, bewildered by a multitude of new
ideas, finds much difficulty in concentrating itself
on the immediately possible : the things to do first,
and now.
Most of us live in a " row," either of houses in a
street, or of villas in a suburb. As regards our
outward walls, the livery of sameness is donned by
144 THE DRAWING-ROOM. [CHAP.
all, but there is scope for originality within doors,
and surely our rooms should be made to suit our
individual tastes and characters.
Not very long ago, taste in domestic art seemed, if
net defunct, at least moribund ; it is now, let us hope,
convalescent, if not yet robust. Even the changed
character of the display in the windows of our
leading decorators, indicates an altered -and, in most
cases, an improved taste.
It has been again and again urged in these pages,
that most old furniture is beautiful, and ought as such
to be sought after. The preference for it is well
grounded, since, added to the charm of beauty and
fit design, we have the old craftsman's rare skill and
conscience. The very fact that so much old furniture
exists in good condition, is evidence of its workman-
like character ; for it must have resisted the wear
and tear of at least a hundred years.
But obviously there is not enough old furniture for
us all. While it deserves to be loved and cherished,
and its masterpieces pointed out as types to be
followed, we should remember that there are amongst
us, not only imitators but inventors copying and de-
veloping the old ideas. Such designers and manufac-
turers can well supply genuine and beautiful furniture ;
if the public cares sufficiently for the right things.
Readers of the " Art-at-Home " Series do not need
to be told that the style of house decoration now
in favour is, if novel, in many respects ancient like-
wise. This book is an endeavour to put into words
the result of convictions and experiences of the truth
of the teachings of the new-old school.
VIIL] CONCLUSION. 145
But the theme is inexhaustible ; it is scarcely
possible to lay too much stress on the lasting pleasure
derived from personal care for, and interest in, the
decoration and embellishment of our homes. There
is a certain happiness even in incompleteness, be-
cause it ever leaves something more to be done. To
do that something, be it small or great, and to know
how to do it in the best and most practical way, is
what we have been trying to teach our readers.
THE END.
THE OLD POTTERY GALLERIES.
BY SPECIAL APPOINTMENT TO
HER MAJESTY THE QUEEN
AND
Their Royal Highnesses the Prince and Princess of TV ales.
MINTQN'S CHINA.
JOHN MORT LOCK
BEGS TO CALL ATTENTION TO HIS
jSpmalties in: |lri |)0tterg.
BREAKFAST, DINNER, DESSERT, TEA,
AND TOILET SERVICES,
In Porcelain and Earthenware.
SERVICES OF CUT, ENGRAVED, OR PLAIN GLASS.
The Pottery Studio, ruhere Ladies can learn to decorate their own
rooms, is conducted by Young Ladies from South Kensijigton.
All Goods marked in plain figures, with a Liberal Discount for Cash.
202, 203, & 204, OXFORD STREET,
AND
30, 31, & 32, ORCHARD STREET, PORTMAN SQUARE,
LONDON, W.
DR. R.]
SPECIALTIES FOR THE DECORATION OF DRAWING
AND DINING ROOMS.
WATER-COLOUR DRAWINGS.
& |rt best (femples 0nlg 0f % (Bnglislj & Continental
ENGRAVINGS.
The recently published Works of SIR JOSHUA REYNOLDS.
ENGRAVED BY S. COUSINS, R.A.
THE QOUNTESS SPENCER AND LORD ALTHORPE.
THE DUCHESS OF RUTLAND (in progress).
THE HON. ANN BINGHAM. LAVINIA.
THE STRAWBERRY GIRL. MISS PENELOPE BOOTHBY.
&c., &c., &c.
ETCHINGS
BY WHISTLER.— SEYMOUR HADEN.— F. WALKER.—
LEIGHTON.— MILLAIS, &c.
PHOTOGRAPHS
OF SEA AND SKY. BY COL. STUART WORTLEY.
EITHER ON PAPER, OPAL GLASS, OR IN A DECORA TIVE FORM
FOR WINDOW TRANSPARENCIES— IN ALL SIZES.
CHINA.
A CHOICE COLLECTION OF OLD BLUE-ORIENTAL CLOISONNE,
&c., &c.
THE FINE ART SOCIETY, LIMITED,
148, NEW BOND STREET, LONDON.
ART AT HOME SERIES.
" In these decorative da}rs the volumes bring calm counsel
and kindly suggestions, with information for the ignorant and
aid for the advancing, that ought to help many a feeble, if
well-meaning, pilgrim along the weary road, at the end whereof,
far off, lies- the House Beautiful .... If the whole series but
continue as it has begun — if the volumes yet to be rival the
two initial ones, it will be beyond praise as a library of
household art. " — Examiner.
The, following arc now ready : — •
A PLEA FOE ART IN THE HOUSE.
With Special Keference to the Economy of Collecting
"Works of Art and the importance of Taste in Education
and Morals. By W. J. LOFTIB, F.S.A. With Illus-
trations. Third Edition. Crown 8vo. 2s. Kd.
SUGGESTIONS FOR HOUSE DECORATION IN
PAINTING, WOODWORK, AND FURNI-
TURE.
By KHODA and AGNES GARRETT. With Illustrations.
Fourth Edition. Crown 8vo. 2s. 6d.
MUSIC IN THE HOUSE.
By JOHN HULLAH. With Illustrations. Third Edition.
Crown 8vo. 2s. 6d.
THE DRAWING-ROOM; ITS DECORATIONS
AND FURNITURE.
By Mrs. ORRINSMITH. With Numerous Illustrations.
Crown 8vo. 2s. 6rL
ART AT HOME SERIES.
(Continued.)
THE DINING-ROOM.
By Mrs. LOFTIE. With numerous Illustrations. Crown
8vo. 2s. 6d.
THE BEDROOM.
By LADY BARKER. Wi1 h numerous Illustrations. Crown
8vo. 2s. Qd.
In Preparation : —
DRESS.
By Mrs. OLIPHANT.
DOMESTIC ARCHITECTURE.
By J. J. STEVENSON.
DRAWING AND PAINTING.
By H. STAGEY MARKS.
Others to follow.
MACMILLAN AND CO., LONDON.
GEORGE BLAME,
UPHOLDER, & c.,
SUCCESSOR TO THE LATE CHARLES ELLIS.
21, BEDFORD STREET, COVENT GARDEN, W.C.,
DESIGNS IN ALL STYLES OF ARTISTIC FURNITURE
AND DECORATIONS.
ARCHITECTS' DESIGNS CARRIED OUT.
ARTISTIC FURNITURE
MESSRS. GREGORY & CO.
Wish to draw the attention of those who are
desirous of having their Houses Furnished in
Good Taste, and at a Moderate Cost, to their
ARTISTIC FURNITURE, in a great part designed
by well-known Artists. As it is of their own
Manufacture they can recommend it with
Confidence.
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