November, 1915 
43 
counterbalanced by an extension of the 
width through graceful pilasters on the side 
where the fine Georgian stairway has such 
commodious setting. The opposite side is 
relieved by interesting panels and large, 
light openings into rooms. The paneling 
of the ceiling also prevents any undue 
elongation of line, so that the effect of the 
whole is one of spaciousness combined with 
symmetry and proportion. A feature of 
this entire floor is its alluring vistas, ob¬ 
tained not only from the hall but from the 
various rooms. 
At the extremity of the hall one catches 
an attractive glimpse of what is known as 
the Palm Room. Probably this is not the 
room which the visitor would naturally en¬ 
ter first: the reception room might have a 
prior claim. At present we are inclined to 
allow the hall to lead us, especially as the 
Palm Room is one of the most notable 
rooms of its kind in America. Its black 
and white Italian marble floor contrasts 
pleasingly with the soft apple-green latticed 
walls and ceiling, and carries out the black 
and white color scheme of curtains and 
furniture. The numerous, large and beauti¬ 
ful windows, when swung open in summer, 
give all the airiness of out-of doors; and 
even when closed they impart somewhat the 
effect of a sun parlor. The idea of open¬ 
ness is further intensified by the latticed 
ceiling and walls. The center of the ceil¬ 
ing by a well-known artist includes inter¬ 
esting Wedgwood tile effects in black and 
white, connected with strands of green. A 
graceful finishing touch is noted in the 
chaste old palace mantel, with mirror com¬ 
pletely filling the arched wall panel above. 
The whole is in the style of Louis XVI, but 
is sufficiently in line with the motifs of the 
Georgian period. Indeed, a counterpart of 
this room is understood to exist to this day 
■on an estate in England. 
Immediately to the left on first entering 
the hall, is the reception room or salon. One 
well-defined characteristic of the interior of 
“Oak Knoll" is clearly observable here; 
namely, the artistic paneling of wall and 
ceiling surfaces. In the case of the ceiling, 
the octagonal and circular divisions, con¬ 
stitute a chaste setting for the ornate cen¬ 
tral lighting fixture. The rich moulding and 
cornice also deserve notice. The upper and 
lower paneling of the walls, faintly suggest¬ 
ing a wainscot without its heaviness, pre¬ 
vents the extension of flat masses and 
relieves the eye. The rare and distinctive 
fireplace furnishes an attractive objective 
point as seen from the large music room 
adjoining. The fireplaces in both rooms 
were brought from an ancient manor house 
in England, and are at least two hundred 
and fifty years old. Naturally, they are 
hand-carved original designs which cannot 
be found elsewhere. Their respective mo¬ 
tifs furnish the decorative motifs carried 
out in the rooms. For example, the sun¬ 
burst effect surrounding the cherub head in 
the fireplace illustrated, is repeated in radia¬ 
tions surrounding the central lighting fix¬ 
ture. A word of praise is due the splendid 
floor, inlaid with heart of oak in herring¬ 
bone pattern. Extending through both 
rooms, it makes one of the best dancing 
floors imaginable. 
The other rooms of the house have as 
well-defined individuality as those already 
leferred to, without doing any violence to 
(Continued on page 58.) 
A long Kali is generally rather 
difficult to treat successfully. 
The problem is solved, in 
part, by large openings in¬ 
to rooms and an extension 
of width on the other side 
Each bedroom has some dis¬ 
tinguishing characteristic. 
In the Lilac Room, for in¬ 
stance, the window treat¬ 
ment is at once charming 
and unusual 
Latticed walls and ceiling in 
soft apple-green contrast 
pleasingly with the black 
and white Italian marble 
floor in the Palm Room, 
which serves as a sun parlor 
