House and Garden 
A CORNER OF THE GRILL ROOM 
Showing the Old King Cole Panel and the Memorial Piano 
aim of those in charge to preserve the original 
spirit of Mr. Eyre’s first conception of the 
Club H ouse. 
The architecture of the interior suggests 
the Tyrolese. The walls are plain rough¬ 
cast, and the woodwork, both inside and 
out, a dingy, lusterless sepia. The motive 
for the treatment of the wood was an acci¬ 
dental discovery The original beams, which 
are left bare in the ceiling of the first floor, 
were whitewashed as became a cleanly stable, 
lo avoid undue expense and labor in scrap¬ 
the middle. 
The stairway is 
half enclosed and 
the balustrade supported by a number of 
square posts at the several landings—for it 
makes three right angles in the ascent. 
The grill room is of course the main 
feature of the house. As it now exists, it is 
in three compartments. The old original 
room is separated from that which was added 
by wooden partitions the same height as the 
wainscoting—in effect continuing it. These 
partitions are on rollers so that when desired 
the whole may be thrown into one large room. 
In recent years the bricks of the fireplace 
ing them and preparing their rough surfaces, 
the brown paint selected was put on directly 
over the whitewash. The experiment was 
hazardous, but the result so happy that it 
was decided to give the new woodwork the 
same effect. To accomplish this, the fresh 
wood of the doors, the shelves, the deep 
wainscoting, window frames and casings were 
primed very roughly with thick white paint, 
laid on unevenly. This was allowed to dry 
partially, then the dark stain applied, the 
surplus being 
rubbed off with 
waste so that the 
white shows 
through distinctly 
and irregularly. 
So enthusiastic 
did the architect 
become over this 
discovery that he 
threw off' his coat 
and painted a 
door himself to 
show the work¬ 
man exactly his 
idea. 
The doors 
throughout the 
building are of 
heavy tongued 
and grooved 
chestnut boards 
laid diagonally 
toward what, in 
popular parlance, 
might be called a 
“bias seam’’ down 
the second story over the court and janitor’s 
rooms, deepening the stage and auditorium. 
The proscenium arch was moved back bodily. 
Two dressing rooms were provided in the 
extreme rear, while a flight of steps from the 
back of the stage leads to two more, situated 
in a sort of mezzanine floor between the 
first and second stories. 
The roof was changed by enclosing the 
original rafters and forming an air chamber. 
In all these modifications it has been the 
