The furniture of the hall should consist of benches or straight-backed chairs, and marble-topped tables and consoles. If a press is used, it should be architectural in design, like the old French and Italian armoires painted with arabesques and architectural motives, or the English seventeenth-century presses made of some warm-toned wood like walnut and surmounted by a broken pediment with a vase or bust in the centre (see Plate XXXIII).

The walls of the staircase in large houses should be of panelled stone or marble, as in the examples given in the plates accompanying this chapter.

1 For a fine example of a hall-niche containing a statue, see Plate XXX.

In small houses, where an expensive decoration is out of the question, a somewhat similar architectural effect may be obtained by the use of a few plain mouldings fixed to the plaster, the whole being painted in one uniform tint, or in two contrasting colors, such as white for the mouldings, and buff, gray, or pale green for the wall. To this scheme may be added plaster medallions, as suggested for the vestibule, or garlands and other architectural motives made of staff, in imitation of the stucco ornaments of the old French and Italian decorators. When such ornaments are used, they should invariably be simple and strong in design. The modern decorator is too often tempted by mere prettiness of detail to forget the general effect of his composition. In a staircase, where only the general effect is seized, prettiness does not count, and the effect produced should be strong, clear and telling.

For the same reason, a stair-carpet, if used, should be of one color, without pattern. Masses of plain color are one of the chief means of producing effect in any scheme of decoration.

When the floor of the hall is of marble or mosaic, - as, if possible, it should be, - the design, like that of the walls, should be clear and decided in outline (see Plate XXX). On the other hand, if the hall is used as an antechamber and carpeted, the carpet should be of one color, matching that on the stairs.

In many large houses the stairs are now built of stone or marble, while the floor of the landings is laid in wood, apparently owing to the idea that stone or marble floors are cold. In the tropically-heated American house not even the most sensitive person could be chilled by passing contact with a stone floor; but if it is thought to "look cold," it is better to lay a rug or a strip of carpet on the landing than to permit the proximity of two such different substances as wood and stone.

Unless the stairs are of wood, that material should never be used for the rail; nor should wooden stairs be put in a staircase of which the walls are of stone, marble, or scagliola. If the stairs are of wood, it is better to treat the walls with wood or plaster panelling. In simple staircases the best wall-decoration is a wooden dado-moulding nailed on the plaster, the dado thus formed being painted white, and the wall above it in any uniform color. Continuous pattern, such as that on paper or stuff hangings, is specially objectionable on the walls of a staircase, since it disturbs the simplicity of composition best fitted to this part of the house.

For the lighting of the hall there should be a lantern like that in the vestibule, but more elaborate in design. This mode of lighting harmonizes with the severe treatment of the walls and indi-cates at once that the hall is not a living-room, but a thoroughfare.1

If lights be required on the stairs, they should take the form of fire-gilt bronze sconces, as architectural as possible in design, without any finikin prettiness of detail. (For good examples, see the appliques in Plates V and XXXIII). It is almost impossible to obtain well-designed appliques of this kind in America; but the increasing interest shown in house-decoration will in time doubtless cause a demand for a better type of gas and electric fixtures. Meantime, unless imported sconces can be obtained, the plainest brass fixtures should be chosen in preference to the more elaborate models now to be found here.

Where the walls of a hall are hung with pictures, these should be few in number, and decorative in composition and coloring. No subject requiring thought and study is suitable in such a position. The mythological or architectural compositions of the Italian and French schools of the last two centuries, with their superficial graces of color and design, are for this reason well suited to the walls of halls and antechambers.

1 In large halls the tall torchere of marble or bronze may be used for additional lights (see Plate XXXII).

The same may be said of prints. These should not be used in a large high-studded hall; but they look well in a small entrance-way, if hung on plain-tinted walls. Here again such architectural compositions as Piranesi's, with their bold contrasts of light and shade, Marc Antonio's classic designs, or some frieze-like procession, such as Mantegna's "Triumph of Julius Caesar," are especially appropriate; whereas the subtle detail of the German Little Masters, the. symbolism of Durer's etchings and the graces of Marillier or Moreau le Jeune would be wasted in a situation where there is small opportunity for more than a passing glance.

In most American houses, the warming of hall and stairs is so amply provided for that where there is a hall fireplace it is seldom used. In country houses, where it is sometimes necessary to have special means for heating the hall, the open fireplace is of more service; but it is not really suited to such a situation. The hearth suggests an idea of intimacy and repose that has no place in a thoroughfare like the hall; and, aside from this question of fitness, there is a practical objection to placing an open chimney-piece in a position where it is exposed to continual draughts from the front door and from the rooms giving upon the hall.

The best way of heating a hall is by means of a faience stove - not the oblong block composed of shiny white or brown tiles seen in Swiss and German pensions, but one of the fine old stoves of architectural design still used on the Continent for heating the vestibule and dining-room. In Europe, increased attention has of late been given to the design and coloring of these stoves; and if better known here, they would form an important feature in the decoration of our halls. Admirable models may be studied in many old French and German houses and on the borders of Switzerland and Italy; while the museum at Parma contains several fine examples of the rocaille period.

PLATE XXXIII. FRENCH ARMOIRE, LOUIS XIV PERIOD.

MUSEUM OF DECORATIVE ARTS, PARIS.