This section is from the book "Your Home And Its Decoration", by The Sherwin-Williams Company. See also: Nell Hill's Feather Your Nest: It's All in the Details.
Flounced white dimity bedcovers are used on the twin brass beds. The other pieces of furniture in the room are of bird's-eye maple stained silver gray.
The lattice introduced at the upper portion of the opening into the sitting-room was an inspiration to overcome an architectural defect. Curtains hung from the top of this opening were found to be ugly and ungraceful because of their great length. Since it was necessary to have curtains, the lattice - as the only form of grill to be tolerated - was introduced, and the curtains hung as shown in the drawing. This grill was treated with ivory white enamel, like the standing woodwork of the room. The suggestion for the wall-paper frieze was taken from this feature. It was necessary to introduce the frieze in this room to give it the livable air which a bedroom should show, as the ceilings are more than eleven feet.
The rugs of Wilton velvet carpet, showing small green figures on a soft gray ground, round out a color scheme which is attractive and practical, for it renders a room of northeastern exposure bright and almost sunny.
Plate XL offers a suggestion for window draperies in a room furnished in the Craftsman style. Gray linen crash is the fabric used, and the stencil decoration of peacocks and feathers is stunning in drawing and in color, - stencil No. 13 supplying these. The green, bronze, and blue tone used in these shade one into the other most effectively.
Plate XL. Suggestion for Window Treatment in a Room Furnished in the So-called Craftsman Style.
The walls of this room should be of the same gray color as the curtains, and against them the wide stencil frieze of strutting peacocks is found most decorative. A rug in two tones of bluish green, with woodwork and furniture of brown oak, would complete a room harmonious in color and full of artistic meaning.
The simple treatment, shown in Plate XLI, for a French door is easily followed. This, however, is really the only correct way to curtain such doors. The fabric used, whether of net, silk, or madras, should be run by a casing at the top and bottom on small brass rods, and fastened tautly on each door. Once-and-a-half the width of the glass is sufficient allowance of the material for fullness to obtain the best effect.
Plate XLII shows a type of window which appears in houses of to-day's designing. This type of window carries a suggestion of Colonial or Georgian architecture which, unfortunately, is not always borne out in the design of the house itself. The question of treating the upper half-circle window is a very puzzling one to the amateur. For the style shown in the drawings, or for any of the rounded fan-transomed types, frames of light wood less than two inches wide and three-eighths of an inch in thickness are made to exactly fit the space. The silk, madras, net, or lace to be used as curtains is tacked securely about the upper edge, and folds of the surplus material are carefully and tautly drawn to the center of the straight lower edge. Where the joining is covered by a motif of lace, or if silk is used, a semi-circular mold or large button covered with the material may be made to serve. The lower curtains may hang straight, as in the drawing, or be draped back on either side.
Plate XLI. Simple Treatment for a French Door.
Plate XLIII shows a window in a library in which the furnishings are of the Empire period. This, with the stenciled decoration of wreath and torch which forms the frieze, justifies the dull galloon applique of the velour curtains and valance.
Many people are possessed by inheritance, gift, or purchase of certain pieces which they designate as "French Period Furniture." To properly dispose of these is a question of burning interest.
"My house is not built after any special style or period," some anxious woman will say, "but I have lovely Verne Martin cabinets, and a set of Marie Antionette furniture in gold frames, and Aubosson tapestry mountings with shepherds and shepherdesses and rose garlands and bow knots in lovely pastel tones. The standing woodwork throughout my first floor is of oak with the exception of the music-room; this is finished in birch. My reception-room opens directly off the hall, and for that reason I would particularly like to place this furniture in the reception-room, but feel perhaps it would not look well with oak woodwork."
Fortunate doubt, which will save this amateur house furnisher from making the great mistake of introducing formal period furnishing recklessly into a vernacular house. The solution tor this particular problem was found in the birch woodwork of her music-room (which was quite shut off from the rest of the house) finished in ivory enamel, and in covering the walls with a satin-finished paper of soft old rose color, showing a two-toned effect of baskets and bow knots. In such a setting the gilded furniture, the shepherds and shepherdesses, and the Verne Martin cabinets would not look out of place. The location of this room, fortunately, permits it to be entirely shut off from the other living-rooms of this floor, which were finished in dark wood and would in nowise harmonize with the room described.
Plate XLII. The Question of Treating the Upper Half-circle Window is a Very Puzzling One to the Amateur.
Plate XLIII. A Window in a Library in Which the Furnishings are of the Empire Period.