| March, 1914 
HOUSE AND GARDEN 
189 
Tlie Oriental landscape is being reproduced in exquisite coloring 
used with a chair-high baseboard, preferably in 
were given. If it is pos¬ 
sible to put on more than 
four coats before giving 
the final coat of enamel, 
by all means do so. True, 
it may cost more, but it 
is never economy to be 
niggardly with paint. 
One can save a great 
deal by doing much of 
the painting themselves, 
but due care must be 
taken to have the right 
kind of brushes and the 
paint of the proper con¬ 
sistency and mixture. 
Any reliable paint dealer 
will be willing to give 
the necessary advice. Be 
careful not to put the 
paint on too thickly. Don't take 
too much on the brush at once and 
keep the brush strokes all in the 
same direction. 
If some other color than white 
is to be used for the woodwork, 
several things must first be care¬ 
fully considered. In the first place, 
we must regard the purpose of the 
room that is to be painted ; in the 
second place, we must reckon the 
amount of light it receives; 
thirdly, we must think how it is 
likelv to be used by the family. 
Let 11s assume, for the sake of 
example, that a dining room is 
flooded with light, so much so that 
the glare from the sun on white 
paint is out of the question. A g 
the desired result—that is to say, a room flooded with 
with a soft and pleasing effect upon the 
eye. In summer this color is suggestive 
of coolness, and in winter may be 
warmed by using telling bits of color in 
hangings and rugs, so 
that even then the grey 
green is most pleasing. 
Next let us suppose a 
broad hall, which is to be 
done in white — for here 
the light is not so bright 
and a mahogany 
rail requires white 
proper setting. 
This is a good design when 
simple room 
terest 
grev green is selected and gives 
light, 
stair 
as a 
;tting. The 
white hall, with a grey 
green d i n i n g-r o o m, 
makes rather a pleasing 
combination. A living 
room beyond the hall is 
done in French grey, 
two tones being used on 
the wall panels, thus 
breaking the monotony 
and adding a note of in- 
where the effect would 
otherwise be flat and dull. For a 
small den opening from the 
French grey living room, white 
has been chosen. Here again the 
light is diffused and white adds a 
reflecting glow that is desirable. 
Thus, while we have a combin¬ 
ation of light colors, there is 
enough difference to vary the 
monotonv so often attributed to 
an all light or an all white interior, 
and, at the same time, each indi¬ 
vidual room is in itself pleasing; 
and when we consider the rooms 
as an open vista, the colors har¬ 
monize and the white room has its 
place without crowding out the 
other color effects. The foregoing suite of rooms, though imagin- 
yet ary, serves well enough to illustrate and suggest certain principles 
of color variety and combination. 
A second floor may be treated in much 
the same way as the lower floor just dis¬ 
cussed. Where a dead white is used 
An upper hallway properly furnished and papered with the pheasant design 
Japanese grass cloth now comes with Penciled pat¬ 
terns. This is a beautiful straw color, with two 
shades of blue upon it 
A bird and (lower pattern on a dark-pebbled back¬ 
ground that brings out its fine coloring 
A modern paper, with a design like the willow pat 
tern plates, but in several colors 
