July, 1922 
33 
wmmmm 
Halls and foyers are receiv¬ 
ing infinitely more attention 
than they did. They are 
rather an indication of the rest 
of the house and one seldom 
hears as we used to so often, 
“Oh, I'll stick it in the hall.” 
It is a problem to get away 
from the commonplace in halls, 
as the essentials are restricted 
to a group or groups of table, 
chair and mirror. The walls 
should be made unobtrusive, if 
the room is unsightly in shape, 
but if of pleasant proportions 
with well placed openings, the 
walls should be made a fea¬ 
ture. Painted canvas decora¬ 
tive panels give it immediately 
a certain animation. The ceil¬ 
ing may be made interesting 
by using gold or silver leaf 
and glazing it down, and using 
a little of the gold or silver 
rubbed into the moldings. All 
the halls in the world seem to 
have William and Mary or 
Colonial furniture. To get 
away from this bromidic treat¬ 
ment try a rich painted com¬ 
mode, and, on either side, a 
small French walnut console 
with a mirror above. On the commode place a 
big bowd of flowers. The two smaller mirrors 
will be a relief from the everlasting large mirror 
with table beneath. Halls generally look dim 
and “leggy” because we have no chance to 
use an upholstered piece, so the commode gives 
the necessary weight at the bottom. On the 
opposite side try two semi-upholstered Louis 
XVI walnut chairs with petit-point or tapes¬ 
try coverings. Such a hall has elegance and 
the pieces are interchangeable. 
The main bedroom walls should be paneled 
and painted or just painted, depending largely 
on the type of furniture used. If the furniture 
is to be French or Georgian, the paneled walls 
set it off better than plain paint. In guest 
rooms the walls may be treated with a little 
more freedom and unconventionally. An un¬ 
usual paper may be used, either set into the 
panels or papered all over and the moldings 
may be painted in a different tone from the 
wall. For instance, if the walls and woodwork 
are mauve, use soft blue moldings and rub in 
a little deep mauve and then glaze the whole 
thing to enrich and subdue it. On a light wall 
I find a gray glaze gives just the effect needed 
and does not leave a dirty look to the walls 
and also does not bring out imperfections of 
plastering, woodwork and painting as a dark 
glaze does. 
Carpets and rugs are so varied in quality 
that one must be sure that the fine qualities 
are fine enough. Seamless chenille is by far 
the best thing to use, leaving a foot border. 
(Continued on page 76) 
In the same residence the 
entrance hall has an un¬ 
usual treatment of the 
frieze, which is gaily 
painted in Italian reds, 
blues and green. An 
antique mirror and con¬ 
sole form the foyer group 
Another view of the liv¬ 
ing room on page 31 
shows furniture in black 
damask with bronze col¬ 
ored medallions. An old 
Chinese hanging in black 
and gold damask is used 
for overmantel 
Although one generally associates sturdi¬ 
ness with early English furniture, rooms 
in this style can also have an elegance 
when authentic designs and colors are 
used, as in the dining room to the right. 
Miss Gheen, Inc., decorators 
