The House in Good Taste Part 4

[Ill.u.s.tration: By permission of the b.u.t.terick Publis.h.i.+ng Co.

BLACK CHINTZ USED IN A DRESSING-ROOM]

As for your single windows, when you are planning them you will be wise to have the sashes so placed that a broad sill will be possible.

There is nothing pleasanter than a broad window sill at a convenient height from the floor. The tendency of American builders nowadays is to use two large gla.s.s sashes instead of the small or medium-sized panes of older times.

This is very bad from the standpoint of the architect, because these huge squares of gla.s.s suggest holes in the wall, whereas the square or oblong panes with their straight frames and bars advertise their suitability. The housewife's objection to small panes is that they are harder to clean than the large ones, but this objection is not worthy of consideration. If we really wish to make our houses look as if they were built for permanency we should consider everything that makes for beauty and harmony and hominess. There is nothing more interesting than a cottage window sash of small square panes of gla.s.s unless it be the diamond-paned cas.e.m.e.nt window of an old English house. Such windows are obviously windows. The huge sheets of plate gla.s.s that people are so proud of are all very well for shops, but they are seldom right in small houses.

I remember seeing one plate gla.s.s window that was well worth while. It was in the mountain studio of an artist and it was fully eight by ten feet--one unbroken sheet of gla.s.s which framed a marvelous vista of mountain and valley. It goes without saying that such a window requires no curtain other than one that is to be drawn at night.

The ideal treatment for the ordinary single window is a soft curtain of some thin white stuff hung flat and full against the gla.s.s. This curtain should have an inch and a half hem at the bottom and a narrow hem at the sides. It should be strung on a small bra.s.s rod, and should be placed as close to the gla.s.s as possible, leaving just enough s.p.a.ce for the window shade beneath it. The curtain should hang in straight folds to the window sill, escaping it by half an inch or so.

I hope it is not necessary for me to go into the matter of lace curtains here. I feel sure that no woman of really good taste could prefer a cheap curtain of imitation lace to a simple one of white swiss-muslin. I have never seen a house room that was too fine for a swiss-muslin curtain, though of course there are many rooms that would welcome no curtains whatever wherein the windows are their own excuse for being.

Lace curtains, even if they may have cost a king's ransom, are in questionable taste, to put it mildly. Use all the lace you wish on your bed linen and table linen, but do not hang it up at your windows for pa.s.sers-by to criticize.

[Ill.u.s.tration: PRINTED LINEN CURTAINS OVER ROSE-COLORED SILK]

Many women do not feel the need of inside curtains. Indeed, they are not necessary in all houses. They are very attractive when they are well hung, and they give the window a distinction and a decorative charm that is very valuable. I am using many photographs that show the use of inside curtains. You will observe that all of these windows have gla.s.s curtains of plain white muslin, no matter what the inside curtain may be.

Chintz curtains are often hung with a valance about ten or twelve inches deep across the top of the window. These valances should be strung on a separate rod, so that the inside curtains may be pulled together if need be. The ruffled valance is more suitable for summer cottages and bedrooms than for more formal rooms. A fitted valance of chintz or brocade is quite dignified enough for a drawing-room or any other.

In my bedroom I have used a printed linen with a flat valance. This printed linen is in soft tones of rose and green on a cream ground. The side curtains have a narrow fluted binding of rose-colored silk. Under these curtains are still other curtains of rose-colored shot silk, and beneath those are white muslin gla.s.s curtains. With such a window treatment the shot silk curtains are the ones that are drawn together at night, making a very soft, comforting sort of color arrangement. You will observe in this photograph that the panels between doors and windows are filled with mirrors that run the full length from the molding to the baseboard. This is a very beautiful setting for the windows, of course.

It is well to remember that gla.s.s curtains should not be looped back.

Inside curtains may be looped when there is no illogical break in the line. It is absurd to hang up curtains against the gla.s.s and then draw them away, for gla.s.s curtains are supposed to be a protection from the gaze of the pa.s.sers-by. If you haven't pa.s.sers-by you can pull your curtains to the side so that you may enjoy the out-of-doors. Do not lose sight of the fact that your windows are supposed to give you suns.h.i.+ne and air; if you drape them so that you get neither suns.h.i.+ne nor air you might as well block them up and do away with them entirely.

To me the most amazing evidence of the advance of good taste is the revival of chintzes, printed linens, cottons and so forth, of the Eighteenth Century. Ten years ago it was almost impossible to find a well-designed cretonne; the beautiful chintzes as we know them were unknown. Now there are literally thousands of these excellent fabrics of old and new designs in the shops. The gay designs of the printed cottons that came to us from East India, a hundred years ago, and the fantastic chintzes known as Chinese Chippendale, that were in vogue when the Dutch East India Company supplied the world with its china and fabrics; the dainty French _toiles de Jouy_ that are reminiscent of Marie Antoinette and her bewitching apartments, and the printed linens of old England and later ones of the England of William Morris, all these are at our service. There are charming cottons to be had at as little as twenty cents a yard, printed from old patterns. There are linens hand-printed from old blocks that rival cut velvet in their l.u.s.trous color effect and cost almost as much. There are amazing fabrics that seem to have come from the land of the Arabian nights--they really come from Austria and are dubbed "Futurist" and "Cubist" and such. Some of them are inspiring, some of them are horrifying, but all of them are interesting. Old-time chintzes were usually very narrow, and light in ground, but the modern chintz is forty or fifty inches wide, with a ground of neutral tone that gives it distinction, and defies dust.

When I began my work as a decorator of houses, my friends, astonished and just a little amused at my persistent use of chintz, called me the "Chintz decorator." The t.i.tle pleased me, even though it was bestowed in fun, for my theory has always been that chintz, when properly used, is the most decorative and satisfactory of all fabrics. At first people objected to my bringing chintz into their houses because they had an idea it was poor and mean, and rather a doubtful expedient. On the contrary, I feel that it is infinitely, better to use good chintzes than inferior silks and damasks, just as simple engravings and prints are preferable to doubtful paintings. The effect is the thing!

One of the chief objections to the charming fabric was that people felt it would become soiled easily, and would often have to be renewed, but in our vacuum-cleaned houses we no longer feel that it is necessary to have furniture and hangings that will "conceal dirt." We refuse to _have_ dirt! Of course, chintzes in rooms that will have hard wear should be carefully selected. They should be printed on linen, or some hard twilled fabric, and the ground color should be darker than when they are to be used in bedrooms. Many of the newer chintzes have dark grounds of blue, mauve, maroon or gray, and a still more recent chintz has a black ground with fantastic designs of the most delightful colorings. The black chintzes are reproductions of fabrics that were in vogue in 1830. They are very good in rooms that must be used a great deal, and they are very decorative. Some of them suggest old cut velvets--they are so soft and l.u.s.trous.

My greatest difficulty in introducing chintzes here was to convert women who loved their plush and satin draperies to a simpler fabric. They were unwilling to give up the glories they knew for the charms they knew not.

I convinced them by showing them results! My first large commission was the Colony Club, and I used chintzes throughout the Club: Chintzes of cool grapes and leaves in the roof garden, hand-blocked linens of many soft colors in the reading-room, rose-sprigged and English posy designs in the bedrooms, and so on throughout the building.

Now I am using more chintz than anything else. It is as much at home in the New York drawing-room as in the country cottage. I can think of nothing more charming for a room in a country house than a sitting-room furnished with gray painted furniture and a lovely chintz.

[Ill.u.s.tration: STRAIGHT HANGINGS OF ROSE AND YELLOW SHOT SILK]

Not long ago I was asked to furnish a small sea-sh.o.r.e cottage. The whole thing had to be done in a month, and the only plan I had to work on was a batch of chintz samples that had been selected for the house. I extracted the colorings of walls, woodwork, furniture, etc., from these chintzes. Instead of buying new furniture I dragged down a lot of old things that had been relegated to the attic and painted them with a dull ground color and small designs adapted from the chintzes. The lighting fixtures, wall brackets, candle sticks, etc.--were of carved wood, painted in polychrome to match the general scheme. One chintz in particular I would like to have every woman see and enjoy. It had a ground of old blue, patterned regularly with little Persian "pears," the old rug design, you know. The effect of this simple chintz with white painted walls and furniture and woodwork and crisp white muslin gla.s.s curtains was delicious.

The most satisfactory of all chintzes is the _Toile de Jouy_. The designs are interesting and well drawn, and very much more decorative than the designs one finds in ordinary silks and other materials. The chintzes must be appropriate to the uses of the room, well designed, in scale with the height of the ceilings, and so forth. It is well to remember that self-color rugs are most effective in chintz rooms. Wilton rugs woven in carpet sizes are to be had now at all first cla.s.s furniture stores.

Painted furniture is very popular nowadays and is especially delightful when used in chintz rooms. The furniture we see now is really a revival and reproduction of the old models made by Angelica Kaufman, Heppelwhite, and other furniture-makers of their period. The old furniture is rarely seen outside of museums nowadays, but it has been an inspiration to modern decorators who are seeking ideas for simple and charming furniture.

A very attractive room can be made by taking unfinished pieces of furniture--that is, furniture that has not been stained or painted--and painting them a soft field color, and then adding decorations of bouquets or garlands, or birds, or baskets, reproducing parts of the design of the chintz used in the room. Of course, many of these patterns could be copied by a good draftsman only, but others are simple enough for anyone to attempt. For instance, I decorated a room in soft cream, gray, yellow and cornflower blue. The chintz had a cornflower design that repeated all these colors. I painted the furniture a very soft gray, and then painted little garlands of cornflowers in soft blues and gray-greens on each piece of furniture. The walls were painted a soft cream color. The carpet rug of tan was woven in one piece with a blue stripe in the border.

The color ill.u.s.trations of this book will give you a very good idea of how I use chintzes and painted furniture. One of the ill.u.s.trations shows the use of a black chintz in the dressing-room of a city house. The chintz is covered with parrots which make gorgeous splashes of color on the black ground. The color of the foliage and leaves is greenish-blue, which shades into a dozen blues and greens. This greenish-blue tone has been used in the small things of the room. The chintz curtains are lined with silk of this tone, and the valance at the top of the group of windows is finished with a narrow silk fringe of this greenish-blue. The small candle shades, the s.h.i.+rred shade of the drop-light, and the cus.h.i.+on of the black lacquer chair are also of this blue.

The walls of the room are a deep cream in tone, and there are a number of old French prints from some Eighteenth Century fas.h.i.+on journals hung on the cream ground. The dressing-table is placed against the windows, over the radiator, so that there is light and to spare for dressing.

Half curtains of white muslin are s.h.i.+rred on the sashes back of the dressing-table. The quaint triplicate mirror is of black lacquer decorated with Chinese figures in gold, and the little, three-cornered cabinet in the corner is also of black and gold. The chintz is used as a covering for the dressing-seat.

Another ill.u.s.tration shows the writing-corner of the bedroom which leads into this dressing-room. The walls and the rose-red carpet are the same in both rooms, as you see. This bedroom depends absolutely on the rose and blue chintz for its decoration. There is a quaint bed painted a pale gray, with rose-red taffeta coverlet. The bed curtains are of the chintz lined with the rose-red silk. There are several white-enamel chairs upholstered with the chintz, and there is a comfortable French couch with a kidney table of mahogany beside it. The corner of the room shown in the ill.u.s.tration is the most convenient writing-place. The desk is placed at right angles to the wall between the two windows. The small furnis.h.i.+ngs of the writing-desk repeat the queer blues and the rose-red of the chintz. A very comfortable stool with a cus.h.i.+on of old velvet is an added convenience.

The chintz curtains at the windows hang in straight, full folds. A flat valance, cut the length of the design of the chintz, furnishes the top of the two windows. Some windows do not need these valances, but these windows are very high and need the connecting line of color. The long curtains are lined with the rose-red silk, which also shows in a narrow piping around the edges.

[Ill.u.s.tration: MUSLIN GLa.s.s CURTAINS IN THE WAs.h.i.+NGTON IRVING HOUSE]

The other two color ill.u.s.trations are of the most popular room I have done, a bedroom and sitting room combined. Everyone likes the color plan of soft greens, mauve and lavender. There is a large day bed of painted wood, with mattress, springs and cus.h.i.+ons covered with a chintz of mauve ground and gay birds. The rug is a self-toned rug of very soft green, and the walls are tinted with the palest of greens. The woodwork is white, and the furniture is painted a greenish-gray that is just a little deeper than pearl. A darker green line of paint outlines all the furniture, which is further decorated with prim little garlands of flowers painted in dull rose, blue, yellow and green.

The mauve chintz is used for the curtains, and for the huge armchair and one or two painted chairs. There is a little footstool covered with brocaded violet velvet, with just a thread of green showing on the background. The lighting fixtures are of carved wood, painted in soft colors to match the garlands on the furniture, with s.h.i.+rred shades of lavender silk. Two lamps made of quaint old green jars with lavender decorations have s.h.i.+rred shades of the same silk. One of these lamps is used on the writing-table and the other on the little chest of drawers.

This little chest of drawers, by the way, is about the simplest piece of furniture I can think of, for any girl who can use her brushes at all.

An ordinary chest of drawers should be given several coats of paint--pale yellow, green or blue, as may be preferred. Then a thin stripe of a darker tone should be painted on it. This should be outlined in pencil and then painted with a deeper tone of green color; for instance, an orange or brown stripe should be used on pale yellow, and dark green or blue on the pale green.

A detail of the wall paper or the chintz design may be outlined on the panels of the drawers and on the top of the chest by means of a stencil, and then painted with rather soft colors. The top of the chest should be covered with a piece of plate gla.s.s which will have the advantage of showing the design of the cover and of being easily cleaned.

Old-fas.h.i.+oned gla.s.s k.n.o.bs add interest to this piece of furniture. A mirror with a gilt frame, or an unframed painting similar to the one shown in the ill.u.s.tration would be very nice above the chest of drawers.

[Ill.u.s.tration: HERE ARE MANY LIGHTING FIXTURES HARMONIOUSLY a.s.sEMBLED IN A DRAWING-ROOM]

VIII

THE PROBLEM OF ARTIFICIAL LIGHT

In all the equipment of the modern house, I think there is nothing more difficult than the problem of artificial light. To have the light properly distributed so that the rooms may be suffused with just the proper glow, but never a glare; so that the base outlets for reading-lamps shall be at convenient angles, so that the wall lights shall be beautifully balanced,--all this means prodigious thought and care before the actual placing of the lights is accomplished.

In domestic architecture light is usually provided for some special function; to dress by, to read by, or to eat by. If properly considered, there is no reason why one's lighting fixtures should not be beautiful as well as utilitarian. However, it is seldom indeed that one finds lights that serve the purposes of utility and beauty.

I have rarely, I might say never, gone into a builder's house (and indeed I might say the same of many architects' houses) but that the first things to require changing to make the house amenable to modern American needs were the openings for lighting fixtures. Usually, side openings are placed much too near the trim of a door or window, so that no self-respecting bracket can be placed in the s.p.a.ce without encroaching on the molding. Another favorite mistake is to place the two wall openings in a long wall or large panel so close together that no large picture or mirror or piece of furniture can be placed against that wall. There is also the tendency to place the openings too high, which always spoils a good room.

I strongly advise the woman who is having a house built or re-arranged to lay out her electric light plan as early in the game as possible, with due consideration to the uses of each room. If there is a high chest of drawers for a certain wall, the size of it is just as important in planning the lighting fixtures for that wall as is the width of the fireplace important in the placing of the lights on the chimney-breast.

I advise putting a liberal number of base openings in a room, for it costs little when the room is in embryo. Later on, when you find you can change your favorite table and chair to a better position to meet the inspiration of the completed room and that your reading-lamp can be moved, too, because the outlet is there ready for it, will come the compensating moments when you congratulate yourself on forethought.

There are now, fortunately, few communities in America that have not electric power-plants. Indeed, I know of many obscure little towns of a thousand inhabitants that have had the luxury of electric lights for years, and have as yet no gas or water-works! Miraculously, also, the smaller the town the cheaper is the cost of electricity. This is not a cut-and-dried statement, but an observation from personal experience.

The little town's electricity is usually a byproduct of some manufacturing plant, and current is often sold at so much per light per month, instead of being measured by meter. It is pleasant to think that many homes have bridged the smelly gap between candles and electricity in this magic fas.h.i.+on.

Gas light is more difficult to manage than electricity, for there is always the c.u.mbersome tube and the necessity for adding mechanical accessories before a good clear light is secured. Gas lamps are hideous, for some obscure reason, whereas there are hundreds of simple and excellent wall fixtures, drop lights and reading lamps to be bought already equipped for electricity. The electric wire is such an un.o.btrusive thing that it can be carried through a small hole in any good vase, or jar, and with a suitable shade you have an attractive and serviceable reading light. Candlesticks are easily equipped for electricity and are the most graceful of all fixtures for dressing-tables, bedside tables, tea tables, and such.

It is well to remember that if a room is decorated in dark colors the light will be more readily absorbed than in a light-colored room, and you should select and place your lighting-fixtures accordingly. Bead covers, fringes and silk shades all obscure the light and re-absorb it, and so require a great force of light to illuminate properly.

The subject of the selection of lighting-fixtures is limitless. There are so many fixtures to be had nowadays--good, bad and indifferent--that it were impossible to point out the merits and demerits of them all.

There are copies of all the best lamps and lanterns of old Europe and many new designs that grew out of modern American needs. There are Louis XVI lanterns simple enough to fit well into many an American hallway, that offer excellent lessons in the simplicity of the master decorators of old times. Contrast one of these fine old lanterns with the ma.s.s of colored gla.s.s and beads and crude lines and curves of many modern hall lanterns. I like a ceiling bowl of crystal or alabaster with lights inside, for halls, but the expense of such a bowl is great. However, I recently saw a reproduction of an old alabaster bowl made of soft, cloudy gla.s.s, not of alabaster, which sold at a fraction of the price of the original, and it seemed to meet all the requirements.

Of course, one may easily spend as much money on lighting-fixtures as on the remainder of the house, but that is no reason why people who must practise economy should admit ugly fixtures into their homes. There are always good and bad fixtures offered at the lowest and highest prices.

You have no defense if you build your own house. If you are making the best of a rented house or an apartment, that is different. But good taste is sufficient armor against the snare of gaudy beads and cheap gla.s.s.