GRAY IN INTERIOR DECORATION 
By Harry Martin Yeomans 
Photographs by T. C. Turner 
mq] N the eternal striving after something differ- 
ent, a general revival is taking place in deco- 
rative art, as is evidenced by the coming into 
use again of lacquered furniture in the Chi- 
nese taste and the black chintzes which 
accompanied it. The old maple furniture 
of the 1840 period, which was not considered worthy of 
being gathered in by the collector of old mahogany, is now 
being sought after eagerly, and the great interest taken in 
painted furniture has brought forward the humble, rush- 
bottom, painted chair of our grandmother’s day. 
The gray paneled rooms of the Louis XVI period are 
reflected in the gray wall-papers which have gradually made 
their appearance in the shops. These gray papers are good 
in themselves, and are not merely evoked by a passing fancy. 
If judiciously selected and properly combined with other 
colors, they can be used in almost any room in a house, and 
I cannot imagine anything more charming in effect and rest- 
ful than a small country house having all of the rooms done 
in different tones of gray, relieved, of course, by accessory 
colors. 
One is apt to think of gray as a very cold color and to 
associate it with formal 
drawing -rooms, boudoirs 
and bedrooms. This erro- 
neous impression will be dis- 
pelled, however, if one will 
bear in mind that a real 
gray is not obtained by mix- 
ing black and white, but by 
combining yellow and vio- 
let, the resultant color being 
a warm, vibrant, living 
color, which is in reality a 
neutralized violet. The 
more yellow used in the 
combination will give a 
warmer and more luminous 
gray, and vice versa. When 
using this color it is well to 
remember that gray is the 
most neutral color we have, 
and therefore makes an ex- 
cellent background and will 
combine harmoniously with 
almost any color. It is 
especially attractive when 
used in connection with yel- 
low, apple-green, rose-pink 
The candle-lamp shaded 
AMERICAN HOMES AND GARDENS 
SUGGESTIONS ON INTERIOR DECORATING 
AND NOTES OF INTEREST TO ALL 
WHO DESIRE TO MAKE THE HOUSE 
MORE BEAUTIFUL AND MORE HOMELIKE 
The Editor of this Department will be glad to answer all queries 
from subscribers pertaining to ; 
should be enclosed when a direct personal reply is desired 
April, 1912 
ome Decoration. Stamps 
or mulberry. 
In rooms where gaily-colored cretonnes and 
chintzes are used in draperies and upholstery, restful gray 
walls will counteract the effect of these highly decorative 
fabrics. 
Gray is especially suited to a country house and gives an 
air of spaciousness and repose. There are so many varieties 
of gray papers now that a monotonous effect will not result 
from decorating a whole house in this color. There are the 
plain gray cartridge papers, narrow and wide stripe effects 
in self-toned papers, the chambray and oatmeal papers, the 
basket weaves and the always delightful gray tapestry effects 
which are being reproduced after old Colonial wall-papers. 
Ivory-white makes an ideal finish for the woodwork ina gray 
room, and one can hardly imagine any other combination so 
delightfully fresh and clean in appearance. Rooms situated 
on the northeastern side of the house should have the warm 
yellow grays, the cool grays being reserved for the rooms 
having a southern exposure. Additional color can be intro- 
duced by having over-curtains of golden-yellow or rose-pink, 
and repeating this same color in cushions and lampshades, 
and flowered cretonnes and chintzes will lend color to a 
gray scheme which needs to be livened up. In bedrooms, a 
narrow cut-out frieze of pink or yellow roses will give a 
touch of color. 
On account of its neutrality, gray is an excellent color for 
a hall connecting the different rooms of a house decorated 
in various colors. In a 
sitting-room in a country 
house a gray oatmeal paper 
was run up to the ceiling 
and finished with a mold- 
ing. All of the wood trim 
was painted ivory-white and 
a two-toned moss-green rug 
covered the hardwood floor. 
The chairs and settee were 
simple wicker shapes, 
enameled a soft gray, with 
seat-pads and cushions. of 
sage-green; the same color 
being seen in the China silk 
sill-length curtains at the 
windows. The tea-table, 
desk and desk chair were 
built on perfectly straight 
lines and stained a gray- 
green. The only pictures 
used were some Japanese 
prints framed in narrow 
moldings. ‘Two tall glass 
lamps had yellow silk 
shades, which added an 
agreeable note of color. 
The candle-lamp unshaded 
