56 AMERICAN 
HOMES AND GARDENS 
February, 1912 
This piano, the panels of which were painted by Mr. Everett Shinn, has been well placed, both from the point of view of lighting and acoustics 
Pianos in Relation to [heir Surroundings 
By Mira Edson 
HE placing of a piano satisfactorily is not 
always an entirely simple matter. Whether 
one is considering the square or the upright, 
care is needed to select the place in the room 
which is best suited to it, and with which one 
can be entirely content afterwards. For this 
one must consider the comfort and convenience of the per- 
son who uses the piano, and also the relation of the piano 
itself to other articles of furniture which the room contains. 
The modern interest in household art has made us all sus- 
ceptible to arrangement and shown clearly the importance of 
achieving harmony in matters of form and color. 
While the placing of a piano in respect to its surroundings 
is important, it is even more important that the comfort of 
the performer be considered, and that the music itself shall 
have opportunity for the best possible effect. It should not 
be placed in a recess which would interfere with the sound. 
It should stand at the end of an apartment rather than at the 
side. Generally, it is well placed across a corner, and should 
not be too flatly against a wall. If possible, it is desirable 
that it be near a window, so that there may be a good light 
upon the score for day use, enabling one to read very easily. 
The articles which surround a piano can be made to help 
its perfect relation to the rest of the furnishing. The richer 
and darker things which are available for this purpose 
generally offer the best opportunity for choice. A piece of 
tapestry placed upon the wall near by is one of the best and 
simplest ways of securing a good effect. The rich and heavy 
suggestion which tapestry gives accords well with a piano, 
each possessing a dignity of its own, while the colors of the 
tapestry reflect themselves in the dark polished case, modi- 
fying and lightening it. Richly colored rugs help, too, of 
course, and portraits seem an appropriate accompaniment, 
with their hint of leisure and of that luxury of taste which 
can revel in abundance without falling into the ornate. The 
piano which is most graceful in form is, of course, the 
grand, with its sweeping lines. ‘These are fine in themselves, 
and every chance should be given to aid the effect of the 
curves. With the upright piano the problems are of quite 
another sort, but can be well solved, as the illustrations show. 
Placing articles upon the top of a piano is an expedient 
sometimes employed to bring it into relation with other 
parts of the room and take away a too great formality; and 
its broad expanse is tempting for this purpose. There is 
