> AND GARDENS September, 1911 231 
Fit the Bungalow 
. St. Clair 
The first is the easier way, and on the 
whole the most effective. There is a keen 
delight in walking into a room, for example, 
in which that delicious shade of old blue 
which looks as if a breath of smoke had 
blown across it meets the eye at every turn. 
It varies in tone, perhaps, until it melts into 
the pewter and silver accessories of the 
room without a sigh. On all sides is the 
harmony of cold blue, changing into gun- 
metal gray, to silver gray, to silver itself. 
These subtle gradations of colors and tones 
are the delight of the sybarite in fur- 
nishings, and nowhere has he a better op- 
portunity for experiment than in the mod- Fig. 4—This interior is finished in California redwood, nodibleiched 
ern bungalow. i E : 
Here everything conspires to show up 
his color scheme to good effect, and here 
he may safely introduce combinations that 
would be utterly out of place in a conven- 
tional house. The “studio,” that generic 
term which cloaked so many sins, no longer 
reigns alone; the bungalow has arrived to 
fight for first place. 
In illustration Fig. 1 we have a car- 
pet which is old blue, with a silvery high 
light over it. This blue is deepened in the 
couch coverings and window scarfs, and 
lightened in the walls. Pillows of blue 
velvet, embroidered with silver threads, are 
tossed upon the couch, beside silk ones of 
silver gray. The woodwork and furniture 
are of silvery satinwood, and the electric- 
light fixtures are little pewter lanterns. The 
lamp of Tiffany glass on the table alone 
varies, with its rich tones of blue and green, 
the color scheme of the room. 
It would be difficult to explain the reason Fig. 5—Dining-room, showing archway with posts and buttresses, and with wide box-shelf, 
why one instinctively combats the idea of above which is a simple lattice grill 
flowered or figured walls in a bungalow. So 
many of them are built with wood paneling 
instead of plaster, and these are so simple 
and restful in effect, that it may be this fact 
has induced a feeling against the use of 
flowered papers. 
Figured material, however, may be used 
delightfully with wooden walls, and is pic- 
tured in Fig. 2, an interior where the brown 
woodwork is offset by brocaded hangings in 
dull mahogany-red and white. Japanese 
baskets in black or dark-brown lacquer, and 
a few pieces of Japanese bronze, accentuate 
the scheme and assist in bringing the walls 
and hangings together. This room is very 
clean and rich in tone, and its carpet of 
neutral brown, “bungalow weave,” does not 
interfere with its scheme of color. 
There are many instances where it is im- 
portant to keep the floor and side walls of 
a room absolutely neutral, and this is nearly 
always the case when a rich or striking fig- 
ured material is used as drapery. 
Fig. 6—Dining-room of Charles Parsons’ bungalow, showing the Nouveau Art buffet 
