This book does not deal with antique furniture, such furniture being usually too costly for any but the plethoric pocket-book; nor will it consider large and magnificent pieces inappropriate to premises of moderate dimensions. Unfortunately, too, the writer cannot prescribe for the average buyer many, many delightful specimens of the furniture of France, Italy, Spain, and Portugal during many periods, for the simple reason that they are not made in commercial furniture. A number of such pieces are made at the desire or to the special order of the best interior architects or decorators and some of them may be seen in the work of decorators illustrated here. Such furniture is by its nature often, but not invariably, rather more costly than commercial period furniture, and, if price is not of the first consideration, it is advisable to visit such establishments.

As this volume is however for the general reader, the Period furniture that is shown in suites or separate pieces is the furniture which may readily be bought. It is fine furniture in every sense of the word, and, unfortunately, under conditions present and likely to continue for some years to come, such furniture cannot be made and sold very cheaply. The word "commercial" is one commonly employed simply to differentiate the furniture usually sold by dealers from that more exclusively provided for decorators' use.

Throughout this treatment of Period furnishing enough information will be provided for the purposes of the general reader and a sufficient number of illustrations supplied to give him a view of the field. It was impossible to do more without increasing the selling-price of the volume. It is hoped that many will become so interested in the subject of household art as to wish to pursue it still further. Detailed information of all descriptions will be found in the "Practical Series" - the volume on "Interior Decoration" by Eberlein, McClure, and Holloway and that on "Period Furniture" by the first two of these authors. Part I of the first volume treats exhaustively of the decoration of all Europe, and Part III contains about 150 illustrations of the furniture of France, Italy, Spain, and Portugal. The second book fully treats the furniture of England and America and the principal French periods.

Many pieces illustrated in the present volume are direct reproductions of authentic styles; many are "adaptations" preserving the general characteristics of their period. The habit of "adapting" - i.e. changing genuine styles to a greater or less degree - is one against which the writer has continually thrown such influence as he possesses, and in which he is joined by others. As it is now becoming more difficult in many quarters to sell adapted than authentic furniture the demise of the habit may be expected eventually. It is only fair to say on behalf of the manufacturer that it originated when knowledge was by no means so general as at present, and that the conditions of the industry are complex. But the sooner it is realised that commercial furniture should invariably be authentic the better it will be for everyone concerned.

Meanwhile, how shall the householder learn what of that which appears in the general market to buy and what not to buy? The best method is when, from the discussion of decoration and furniture here given, he has decided upon the style he wishes, closely to study the descriptions and illustrations of genuine pieces of those particular styles in the two books above mentioned. He will then be able to discriminate and purchase only authentic furniture or that closely approaching thereto. Needless to say, much furniture on the general market called by the names of certain periods resembles but remotely the correct styles and will give no permanent satisfaction.

It is very pleasant to be able to say that a certain piece is of the style of Charles II of England or of Louis Seize of France, and one familiar with furniture will be able to do so, but as all period furniture of all Europe and America groups itself under one or another of the four great decorative movements, and as each has its own marked characteristics which very much concern the general reader, his first necessity is to learn to which movement any piece belongs. The separate periods composing it are treated under each movement.

The reader will soon realise how easy it is, by this mode, to "place" the various styles of furniture he sees. These descriptions will be concise, omitting particulars and exceptions not generally needful.

After reading the following chapters he will not only be able to determine what wood he prefers, but what style of furnishing is most in accordance with his own temperament and general manner of life.