480 
HOUSE AND GARDEN 
June, 1913 
?k- 
us may retain early recollections 
of curious pictorial furniture. The 
peasant furniture now appearing 
possesses that feature as well as a 
certain individuality of shape. Just 
as a peasant's garden is not con¬ 
fined to a single species of plant 
so one finds a variety of flowers 
adorning a single piece of this 
furniture. This is apparent in the 
interesting chair shown on the 
preceding page. While the 
nosegays conform in a general 
way to the contour of the dif¬ 
ferent splats, they are not too 
studiously conventional. This 
Italian peasant furniture may 
be had in a variety of pieces. 
It has the advantage of being 
equally appropriate in a simple 
summer cottage or a more pre¬ 
tentious villa. 
Another type more elegant 
than the above may be seen in 
chairs and tables essentially 
French, reflecting the Direc- 
toire impulse. Perhaps they 
are most appropriate in the 
finer veranda rooms where 
their classic lines, resembling 
the carved marble furniture of 
Pompeii, is particularly suit¬ 
able. 
The cretonnes and printed 
linens show a marked trend to¬ 
ward strong designs and color¬ 
ings. Chinese motifs and scenes 
are much in evidence. Of the 
two examples shown, one might 
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jj-uvumi 
Instead of a crown the tones of a small figured paper may be 
duplicated in strips to panel the room or to act as a border 
COPYRIGHT 
The paper here is a reproduction of woven 
raffia in tones to blend with a forest frieze 
ggjt " £ lag . 
Inexpensive double faced cretonnes may be 
had in such patterns as these, 
viates the necessity of a lining 
This ob- 
almost have been 
taken bodily from a 
native tea poster. It 
is a far cry from it 
to the fetching little 
design of Chinese 
lanterns hung from 
trailing vines. Be¬ 
tween these two ex¬ 
tremes there is a 
world of variety to 
choose from. 
Among the motifs 
birds also are more 
popular than ever, 
birds large and 
small, cockatoos, 
peacocks, birds of 
completeness in the 
ensemble that ap¬ 
peals to the artistic. 
Among the sim¬ 
pler papers, three at 
least deserve special 
mention on account 
of their associations 
(shown on page 
481, right side). 
The striped paper 
when in blue and 
white is an exact 
copy of the wall 
covering on the Em¬ 
press Josephine’s 
quarters at Mai 
Maison. The gray 
parauise, mue Dircis, ere. 
chintzes in general are in high 
favor. One has no difficulty in 
choosing suitable flowered cre¬ 
tonnes because there is such a 
profusion of them. One can com¬ 
mend the double-faced variety for 
window hangings and portieres. 
Having both sides alike, it re¬ 
quires no lining, saving both ex¬ 
pense and labor. 
The impulse toward match¬ 
ing wall-papers and fabrics, 
continues and is even increas¬ 
ing. A new idea is to have the 
material match the border or 
binder of the paper rather than 
the body of it. This same tend¬ 
ency is carried further and ap¬ 
plied to rugs, which are now 
made with borders to match 
fabrics. All of this goes to 
show a sort of development in 
decoration which makes to¬ 
wards an almost classic unity 
in furnishing. This applies to 
body color also. In the room 
illustrated the fine willow fur¬ 
niture is stained dark red. This 
same color is used in the roses 
of the cretonne and in those of 
the rug also. The upholstery, 
screen, lining for tray and lamp 
shade are all in the same pat¬ 
terned cretonne. But the nota- 
able touch in the room is the 
rug with its border exactly 
matching the design of the 
fabric. There is a fascinating 
The main features of a wall paper crown 
may be emphasized in strips to panel a 
plain or small figured paper 
