Furnishing the Home of Good Taste Part 7

Living-rooms and libraries are usually more solid in color than drawing-rooms and so need deeper tones in the rugs. The choice is wide, and the color scheme can be the deciding note if one is buying new rugs.

If one already has rugs they must be the foundation for the color scheme of the room.

_Furnis.h.i.+ng With French Furniture_

"This is my Louis XVI drawing-room," said a lady, proudly displaying her house.

"What makes you think so?" asked her well informed friend.

To guard against the possibility of such biting humor one must be ever on the alert in furnis.h.i.+ng a period room. It is not a bow-knot and a rococo curve or two that will turn a modern room, fresh from the builder's hands, into a Louis XV drawing-room.

French furniture is not appropriate to all kinds of houses, and it is often difficult to adapt it to circ.u.mstances over which one has no control. The leisurely and pleasant custom of our ancestors of building a house as they wished it, and what is more, living in it for generations, is more or less a thing of the past. Nowadays a house is built, and is complete and beautiful in every way, but almost before the house-warming is over, business is sitting on the doorstep, and so the family moves on. We, as a nation, have not the comfortable point of view of the English who consider their home, their home, no matter how the outside world may be behaving. Their front doors are the protection which insures their cherished privacy, and the feeling that they are as settled as the everlasting hills gives a calmness to their att.i.tude toward life which is often missing from ours. How many times have we heard people say when talking over plans--"Have it thus and so, for it would be much better in case we ever care to sell." This att.i.tude, to which of course there are hundreds of exceptions, is an outgrowth of our busy life and our tremendous country. The larger part of the home ideal is the one which Americans so firmly believe in and act upon--that it is the spirit and atmosphere which makes a home, and not only the bricks and mortar.

It is this point of view which makes it possible for many of us to live happily in rented houses whose architecture and arrangement often give us cold s.h.i.+vers. We are not to blame if all the proportions are wrong; and there is a certain pleasure in getting the better of difficulties.

If one is building a house, or is living in one planned with a due regard to some special period, and has a well thought out scheme of decoration, the work is much simplified; but if one has to live in the average nondescript house and wishes to use French furniture, the problem will take time and thought to solve. In this kind of house, if one cannot change it at all, it is better to keep as simple and un.o.btrusive a background as possible, to have the color scheme and hangings and furniture so beautiful that they are a convincing reason themselves of the need of their being there, but one should not try to turn the room itself into a period room, for it would mean failure. The walls may be covered with a light plain paper, or silk, the woodwork enameled white or cream or ivory, and then with one's mirrors and furnis.h.i.+ngs, the best thing possible has been done, and it ought to be a charming room, if not a perfect one. If one can make a few changes I advise new lighting fixtures and a new mantel, for these two important objects in the room are conspicuous and nearly always wrong.

It is almost impossible to give a list of furniture for each room in a house, as each house is a law unto itself, but the fundamental principles of beauty and utility and appropriateness apply to all.

The furniture of the time of Louis XIV, having so much that is magnificent about it, is especially well suited to large rooms for state occasions, great ballrooms and state drawing-rooms. These rooms not being destined for everyday use should be treated as a brilliant background; paneling, painting, tapestry, and gilding should decorate the walls, and beautiful lights and mirrors should aid in the effect of brilliancy. It must be done with such knowledge that there is no suggestion of an hotel about it. Console tables, and large and dignified chairs should be used for furniture. Nothing small and fussy in the way of ornaments should be put in the rooms, for they would be completely out of scale and ruin the effect.

Every house does not need these rooms for the elaborate side of life, and the average drawing-room is a much simpler affair. If both kinds are required the simpler one should be in the same general style as the great rooms, but not on so grand a scale. If the style of Louis XV is chosen for all, in the family drawing-and living-rooms the paneling, or dado, and furniture should be of the simpler kind, and beautiful, gay, and home-like rooms, evolved with soft colored brocades, Beauvais or Gobelin tapestry, and either gilded or enameled or natural walnut furniture. The arm-chairs or _bergeres_ of both Louis XV and Louis XVI are very comfortable, the _chaise-longue_ cannot be surpa.s.sed, and the settees of different shapes and sizes are delightful. There need be no lack of comfort in any period room, whether French or English.

A music room, to be perfect, should not have heavy draperies to deaden the sound, and the window and door openings should be treated architecturally to make this possible. In a French music room the walls may be either paneled, or have a dado with a soft tint above it. This s.p.a.ce may be treated in several ways: it may have silk panels outlined with moldings, or dainty pastoral scenes painted and framed with wreaths and garlands of composition. The style of the Regency with its use of musical instruments for decorative motifs is also attractive. The chairs should be comfortable, the lights soft and well shaded side-lights, with a plentiful supply near the piano.

[Ill.u.s.tration: A beautiful doorway in the bedroom of the Empress, Compiegne. The fastening shows how much thought was expended on small matters, so the balance of decoration would be kept. The chairs are Louis XVI.]

[Ill.u.s.tration: An exquisite reproduction of the bed of Marie Antoinette.]

[Ill.u.s.tration: A simple but charming Louis XVI bed in enamel and cane.]

A piano is usually a difficulty, for they are so unwieldy and dark that they are quite out of key with the rest of the room. We have become so used to its ugliness, however, that, sad to say, we are not so much shocked by it as we should be, thinking it a necessary evil. If we walk through the show rooms of one of the great piano companies we shall see that this is a mistake, for there are many cases made of light colored woods, and some have a much more graceful outline than the regulation piano. Cases can be made to order to suit any scheme, if one has a competent designer. A music room should not have small and meaningless ornaments in it; the ideal is a restful and charming room where one may listen with an undistracted mind.

The modern dining-room with all its comforts is really of English descent. In France, even in the eighteenth century, only the palaces and great houses had rooms especially set apart for dining-rooms. Usually a small ante-chamber was used, which served as a boudoir or reception room between meals. To our more established point of view it seems a very casual method. At last, late in the century, the real ideal of a dining-room began to gain ground, and although they were very different from ours, we find really charming ones described and pictured. The walls were usually light in tone, paneled, with graceful ornamentation, and often there were niches containing wall-fountains of delightful design. The sideboards were either large side-tables, or a species of side-table built in niches, with a fountain between them which was used as a wine cooler. These fountains where cupids and dolphins disported themselves would be a most attractive feature to copy in some of our rooms, in country houses especially. The tables were round or square, but not the extension type which came later from England, and the chairs were comfortable, with broad upholstered or cane seats, and rather low backs. There should be a screen to harmonize with the room in front of the pantry door. We also add hangings, for, as I have said many times, our window-frames are not a decoration in themselves. Old prints show most delightfully the manner in which curtains were hung when they were used; the very elaborate methods, however, were not used by the better cla.s.s.

A morning-room should be furnished as a small informal living-room, and the simpler style of the chosen period used.

The style of Louis XVI is beautifully adapted to libraries, for they do not have to be dark and solid in style, as many seem to think. In fact a library may be in any style if carried out with the true feeling and love of books, but of course some styles are more appropriate than others. In a Louis XVI library the paneling gives way to the built-in bookcases which are s.p.a.ced with due regard to keeping the correct proportions. There is usually a cupboard s.p.a.ce running round the room about the height of a dado and projecting a little beyond the bookcases above. The colors of the rugs and hangings may be warm and rich as the books give the walls a certain strength.

There are also beautiful reproductions of bedroom furniture, chairs and dressing-tables, desks, chiffoniers and _Chaises-longues,_ and beds.

Andirons, side-lights for the walls and dressing-table, doork.n.o.bs and locks, can all be carried out perfectly. Lamp and candle shades and sofa cus.h.i.+ons should all be in keeping. The walls may be paneled in wood enameled with white or some light color, or they may be covered with silk or paper, in a panel design, with curtains to match. There are lovely designs in French period stuffs.

The rugs most appropriate for French period rooms are light or medium in tone, and of Persian design. The floral patterns of the Persians seem to harmonize better with the curves and style of furniture than do the geometrical designs of the Caucasian rugs. Savonnerie and Aubusson rugs may also be used, if chosen with care, and the plain carpets and rugs mentioned later are a far better choice than gaudy Orientals of modern make, or bad imitations.

_Country Houses_

The Country House is a comparatively modern idea, and one which has added much to the joy of life. There are all kinds and conditions of them, great and small, grand and simple, and each is a joy to the proud possessor.

Life was such a turbulent affair in the Middle Ages that country life in the modern sense was an impossibility. The chateaux and castles and large manor-houses were strongly fortified, and there were inner courts for exercise. When war became the exception and not the rule, the inherent love in all human beings for the open began to a.s.sert itself, and the country house idea began to grow.

Italy was the first country where we find this freedom of att.i.tude exemplified in the beautiful Renaissance villas near Rome and Florence.

The best were built during the sixteenth century, and were owned by the great Italian families, like the de Medici and d'Este. They seem more like places built for the parade and show of life than homes, but the home ideal with all its conveniences was another outgrowth of peace.

The plan of an Italian villa is very interesting to study, to see how every advantage was taken of the land, how the residence, or casino, was placed in regard to the formal garden and the view over the valley, for they were usually on a hillside and the slope was terraced, how the statues and fountains, the beautiful ilex and cypress and orange trees, the box-edged flower-beds and gravel paths, all formed a wonderful setting for the house, and together made a perfect whole. The Italian villa was not necessarily large, in fact the Villa Lante contains only six acres, which are divided into four terraces, the house being on the second and built in two parts, one on each side. Each terrace has a beautiful fountain, with a cascade connecting those on the fourth and third. This villa is indeed, an example of taking advantage of a fairly small s.p.a.ce. It was built by the great Vignola in 1547, and although slightly showing the wear of time, has all the beauty and charm and romance which only centuries can give.

The Italian villa can be adapted to the American climate and scenery and point of view, but it must be done by one of the architects who have made a deep study of the Italian Renaissance so the true feeling will be kept. There are some beautiful examples already in the country.

In France, the chateaux which have most influenced country house building are those which were built during the sixteenth century, many of them during the reign of Francis 1st. Among the number are Azay le Rideau, Chenonceaux, and Chaumont. Blois and Amboise are also absorbingly interesting, but belong partly to an earlier time. The chateau region in Touraine is a treasure land of architectural beauty.

In the time of Louis XIV Le Notre changed many of these old chateaux from their fortified state to the more open form made possible by a peaceful life.

We turn to England for the most perfect examples of country houses, for the theory of country living is so thoroughly understood there, one might really say it is a national inst.i.tution. Many of the manor-houses, both great and small, are beautiful examples of Tudor architecture, which seems especially suited to their setting of lovely green parks.

The smaller country house, which has no pretention to being a show place, is as perfect in its way. The English love for out-of-doors makes them achieve wonders with even small gardens, and the climate, being gentle, helps matters immensely.

In America we are taking up the English country house ideal more and more and adapting it to our own needs. The question of architecture is a question of personal choice influenced by climate, and there are now numberless charming houses scattered over the length and breadth of the land which have been built with the purpose of being country homes. They are not for summer use only, but all the year round keep their hospitable doors open, or else the season begins so early and ends so late, that, with the holiday time between, the house hardly seems closed at all. It is this att.i.tude which is changing country house architecture to a great extent. The terraces and porches and gardens and gla.s.shouses are all there, but the house itself is more solidly built and is prepared to stand cold weather.

For the average American the best types of country house to choose from are the smaller Tudor manor-houses, Italian villas, Georgian architecture in England, and our own Colonial style which of course was founded on the Georgian. In the south and southwestern parts of this country a modified Spanish type may be used in place of Tudor, which does not give the feeling of cool s.p.a.ces so necessary in hot climates.

The bungalow type is also popular in the South.

There are many architects in this country who understand thoroughly the plan and spirit of Colonial times, and who succeed in giving to the comforts of modern days the true stamp of the eighteenth century. The style makes most delightful houses, and with the great supply of appropriate furniture from which to choose, it would be hard to fail in having a charming whole.

The house and garden should be planned together to have the best effect.

Each can be added to as time goes on, but when a plan is followed there is a look of belonging together which adds greatly to the charm.

[Ill.u.s.tration: A hall to conjure with--although a Hepplewhite or Sheraton chair would be more in keeping.]

In an all-the-year country house a vestibule is a necessity as much as in a town house, and the hall should be treated with the dignity a hall deserves, and not as a second living-room. In many English houses of Tudor days the stairs were behind a carved screen, or concealed in some manner, which made it possible to use the hall as a gathering place. Our modern hall is not a descendant of this old hall of a past day (the living-room is much more so), but is really only a pa.s.sage, often raised to the _n_th power, connecting the different rooms of the house, and should be treated as such. The stairs and landing and vista should be beautiful, and the furnis.h.i.+ng should be dignified and in perfect scale with the rest of the house. Marble stairs and tapestry and old carved furniture and beautiful rugs, or the simplest possible furniture, may be used, but the hall should have an impersonally hospitable air, one which gives the keynote of the house, but reserves its full expression until the privacy of the living-rooms is reached.

[Ill.u.s.tration: A very rare block-front chest of drawers with the original bra.s.ses.]

The average country house is neither very magnificent nor very simple, but strikes the happy medium and achieves a most delightful home-like charm, which at the very outset makes life seem well worth living. It is rarely furnished in a period style throughout, but has the modern air of comfort which good taste and correct feeling give. For instance, the hall may have paneling and Chippendale mirror, a table, and chairs; the living-room furnished in a general Colonial manner mixed with some comfortable stuffed furniture, but not over-stuffed, lovely chintz or silk hangings, and a wide fireplace; the morning-room on something the same plan, but a little less formal; and the drawing-room a little more so, say in Adam or simple Louis XVI furniture. The library should have plenty of comfortable sofas and chairs, and a large table (it is hard to get one too large), some of the bookcases should be built in to form part of the architectural plan of the room, and personally I think it is a better idea to have all the s.p.a.ce intended for bookcases built in in the first place, as this insures harmony of plan. Another important thing in a library is to have the lights precisely right, and the window-seats and the fireplace should be all that their names imply in the way of added charm and comfort to the room. The dining-room should be bright and cheerful and in harmony with the near-by rooms. A breakfast-room done in lacquer is very charming.

The bedrooms should be light and airy, and so planned that the beds can be properly placed. They may be furnished in old mahogany, French walnut in either Louis XV or XVI style, or in carefully chosen Empire; painted Adam furniture is also lovely, and willow furniture makes a fresh and attractive room. The curtains should be hung so they can be drawn at night if desired, and the material should be chosen to harmonize in design with the room.

The children's rooms should be sunny and bright and furnished according to their special tastes, which if too astounding, as sometimes happens, can be tactfully guided into safe channels.

The servants should be given separate bedrooms, a bathroom, and a comfortable sitting-room beside their dining-room. Making them comfortable seems a simple way of solving the servant question.

The bungalow type of small country house is usually very simply furnished, and the best type of Mission furniture or willow is especially well suited to it. Bungalows are growing more and more in favor, and, although they originated in America in the West, we find delightful ones everywhere, on the Maine coast and in the woods and mountains. They are a tremendous advance over the small and elaborate house of a few years ago.

Cretonne and chintz can be used in all the rooms of a country house with perfect propriety, and is a really lovely method of furnis.h.i.+ng, as it is fresh and washable, and comes in all gradations of price. Willow furniture with cretonne cus.h.i.+ons makes a pleasant variety with mahogany in simple rooms.