HOUSE AND GARDEN 
October, 
1914 
261 
Before and After Furnishing 
(Continued from page 201) 
the curtains are of a luminous peacock 
blue, and this color note is repeated in the 
velours upholstery of two of the chairs. 
The foregoing enumeration includes a 
heterogeneous collection of articles, no two, 
saving a pair of chairs, belonging to the 
same period of design or manufacture, and 
yet the most rigid “period” purist could 
scarcely take exception to the manner in 
which the various pieces have been 
brought together. The Adam side table, the 
Hepplewhite chairs, the Sheraton secre¬ 
tary and a gate table that might have been 
made at any time between 1650 and 1750, 
are so sensibly and harmoniously disposed 
that one would have to be hypercritical in¬ 
deed to find cause of cavil in their arrange¬ 
ment. It recpiires far more judgment to 
furnish a room successfully with pieces of 
different styles and dates than it does to 
make it a creditable example of the mode 
of one period. A well arranged “no pe¬ 
riod” room, however, has more individ¬ 
uality and interest than a room in whose 
appointment strict period conventions have 
been observed. The equipment of such a 
room means that the elements of its com¬ 
position must be tried out in the Crucible 
of Good Taste. In this particular instance 
the different pieces all harmonize in a gen¬ 
eral way, all having straight legs or con¬ 
spicuously vertical lines, and all having the 
color of the wood nearly the same—two 
factors that make for a sense of unity. 
Then, too, they are not so juxtaposed that 
their unlikenesses force themselves upon 
the eye. The fit placing of furniture in a 
“no period” room requires furniture tact, 
and one of the secrets is so to arrange 
the pieces that their points of similarity in 
color and line may be emphasized, while 
their differences may be lost sight of in 
their common ground. 
The treatment given the dining-room is 
unusual and especially interesting. As 
elsewhere in the house, the woodwork is 
white. What in the illustration appears to 
be wainscot is, in reality, only a wooden 
molding, carried around the room at the 
height of a chair rail, while between it and 
the baseboard the smooth plaster surface 
of the wall is painted white and treated 
with the same finish as the woodwork. 
Above the chair rail the walls are covered 
with Japanese silver paper with a fine 
white stencil pattern so inconspicuous that 
it is scarcely visible except in a strong light 
or when closely examined. In the angle 
between walls and ceiling is a thin white 
picture molding. The ceiling is papered 
in white. 
At the two French windows on the south 
side, and at the wide triple window on the 
east, are straight curtains of white Swiss 
and the hangings are of plain pale yellow 
rep hung straight from thin brass rods. 
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