The Complete Home Part 13

The maid stands behind the master or mistress to serve the plate of meat, the bowl of soup, and so on, taking it on her tray and placing it with her right hand from the right of the person served. All plates are placed by the waitress, while she serves all vegetables, sauces, etc., from the left, holding the dish on her tray or, if it be a heavy one, in her hand, within easy reach. Soiled dishes she removes from the right with her right hand, placing them on her tray one at a time, platter and serving dishes first, then individual dishes and silver until everything belonging to the course has been removed. Crumbs are taken up from the left with a crumb knife or napkin, never with a brush. Many housekeepers prefer to dismiss the maid after the main part of the meal is served, ringing for her when her services are necessary, thus insuring a greater privacy during the charmed hour, and affording an opportunity for those little thoughtful attentions when each serves his neighbor as himself.

THE BREAKFAST TABLE

The breakfast table is usually laid with centerpiece and plate doilies these days, and it may not be ill-timed to suggest that every effort be made to have this meal cheery and attractive, for it is, alas, too often suggestive of funeral baked meats and left-over megrims from the night before. If fruit is to be served, followed by a cereal and a meat or other heavier course, each place is provided with a fruit plate with its doily and knife, a breakfast knife and fork, a dessert spoon, two teaspoons, and a finger bowl. The fruit should be on the table when the family a.s.semble, with the cups and saucers and other accompaniments of the coffee service arranged before the mistress's place. Warm sauce dishes for the cereal and warm plates for the course which follows it must be in readiness.

LUNCHEON

Luncheon is the simplest, daintiest, most informal meal of the day--just a little halting place between breakfast and dinner, where one's pretty china comes out strongly. The setting of the doily-spread table follows the usual arrangement. Everything necessary for serving tea is placed at the head of the table, with the meat or other substantial dish at the opposite end. Most of the food is placed on the table before the meal is announced, and as there are usually but two courses the plates are changed only once. The only difference between luncheon and tea being the hour of serving, the same rules govern both. The lunch cloth or the hemst.i.tched linen strips may be used instead of the place doilies.

DINNER

Dinner is a more solemn matter. On goes our immaculate tablecloth now, over a thick pad, its one crease exactly in the middle of the table, and all wrinkles and unevennesses made smooth and straight.

Centerpiece and posy go squarely--or roundly--in the center, with silver, salts, and carving set arranged as usual. The b.u.t.ter plate is frequently omitted from this meal, an oblong slice of bread, a dinner roll, or a bread stick being placed between the folds of each napkin, or on the b.u.t.ter plate, if used, with the b.u.t.ter ball and knife. If soup is to be served, the spoon is placed at the right of the knives.

There is a preference for the use of a "service plate" at this meal--the plate which is at each place when dinner is announced, and is not removed until the first hot course after the soup--but this is usually dispensed with when there is but one servant. Proper cutlery for carving has its place before the carver, the carving cloth being removed before dessert. If black coffee is served as the last course, the after-dinner coffee spoons are placed in the saucers before serving. Finger bowls appear the last thing.

THE FORMAL DINNER

The formal dinner follows the general idea and arrangement of the family dinner, with considerable elaboration. Out come our dress-up table linen, china, gla.s.s, and silver, and we add certain festive touches in the way of vines and cut flowers loosely and gracefully disposed in gla.s.s or silver bowls and vases. At the four sides of the centerpiece go the dainty gla.s.s candlesticks, which cost 35 cents apiece, coming up to 91 cents with the candle lamp, candle, mica chimney, and shade complete, the shade matching the flowers in color.

The lesser light which thus rules the night casts a witching glamour over the table, shadowing imperfections, softening features, warming heart c.o.c.kles, and loosening tongues. Yellow is always good, green cool in summer, red heavy, and pink of the right shades genial. Lace and ribbon have been banished from the table as being inconsistent with simplicity, but a small bunch of flowers or a single flower at each place gives a pretty touch. The water gla.s.s is moved over to the top of the plate now, to make room for the wine gla.s.ses which are grouped above the knives. The oyster fork is placed at the right of the soup spoon, the fish fork at the left of the other forks. Overmuch silver savors of ostentation; therefore, if many courses are to be served, the sherbet spoon may go above the plate, the other extra silver to be supplied from the side table when needed. Fancy dishes containing olives, salted nuts, and confections are arranged on the table, all other dishes being served from the kitchen or side table. It being taken for granted that the food is properly seasoned, no condiments are on the table. Place cards rest on the napkins.

THE FORMAL LUNCHEON

The formal luncheon table closely follows the formal dinner table, except that place doilies are used instead of the tablecloth. The bouillon spoon replaces the soup spoon, and other changes in the silver may be necessitated by the lighter character of the food served. The room may be darkened and candles used if the hostess so elect. If additional light is required at either dinner or luncheon, it should come through shades harmonizing with the candle shades, and hung not higher than the heads of the guests.

WAs.h.i.+NG GLa.s.s

And after this, the deluge--of dishwas.h.i.+ng! The cleansing of the gla.s.s opens the session. If much fine or heavily cut gla.s.s is to be washed, cover the draining board and the bottom of the pan with a soft, folded cloth. Wash one piece at a time in water not too hot--about three quarts of cold water to one of boiling, to which a _very_ little white soap, with a tablespoon of ammonia, has been added--going well into the cuttings with a brush; then rinse in water a little hotter than the first, leave for a moment, and turn upside down on the board to drain until the next piece is ready. Then dry with a soft towel, or plunge into a box of nonresinous sawdust, better warm, which absorbs moisture not reached by the cloth. Remove from the sawdust, brush carefully, and polish with a soft cloth. If kept free from dust, sawdust can be dried and used indefinitely. Care must be taken that there is no sand in dishpan or cloth to give the gla.s.s a scratch which may end in a crack or break. Put a spoonful of finely chopped raw potatoes, or crushed eggsh.e.l.ls, or half a dozen buckshot into decanters, carafes, jugs, and narrow-mouthed pitchers, with a little warm soda or ammonia water, and shake vigorously till all stain is removed, rinse and dry.

The water in which gla.s.s is washed must be kept absolutely free from greasy substances. If milk, ice cream, or custard has been used, rinse off with cold, then blood-warm water before was.h.i.+ng. Cut gla.s.s must never be subjected to marked differences in temperature, and for this reason should not be held under the faucets, as the heat cannot be regulated. Gla.s.s with gilt decoration must be washed quickly and carefully with water free from either soda or ammonia, which attack the gilt, and dried gently.

WAs.h.i.+NG AND CLEANING SILVER

The silver comes next, careful was.h.i.+ng obviating the necessity for cleaning oftener than once a month. Knives, forks, and spoons, which were separated into piles when taken from the table, are washed first, then the other pieces in use, in hot white soapsuds with a little ammonia, rinsed with clear scalding water, dried with a soft towel, one at a time, and rubbed vigorously, when all are done, with chamois or Canton flannel. Egg or vegetable stains can be removed with wet salt, black marks with ammonia and whiting. Only enough silver to supply the family use is kept out; the handsome jelly bowls, cream jugs, etc., are wrapped in white tissue paper, placed with a small piece of gum camphor in labeled Canton flannel bags, closing with double draw strings, and are then locked away in a trunk or a flannel-lined box with a close-fitting lid. If put away clean and bright, as they should be, they retain their l.u.s.ter and only need polis.h.i.+ng once a year. When the regular silver-cleaning day comes around, wash and dry the silver in the prescribed way, and rub with sifted whiting wet with alcohol, leaving no part untouched, and allow to dry on. When all the pieces have been treated thus, rub with a flannel cloth and polish with a silver brush. Regular brushes are made for this purpose and are invaluable in getting into the ornamental work. Never make the mistake of applying a tooth or nail brush, which will surely scratch and mar the fine surface. Most silver polishes are made of chalk prepared in different ways, but beware of the one which cleans too quickly: it is liable to remove the silver with the tarnish. Silver must not be allowed to become badly stained, thus necessitating hard rubbing and additional wear and tear.

HOW TO WASH CHINA

China was.h.i.+ng requires a pan nearly full of water of a temperature not uncomfortable to the hand, beaten into a good suds with a soap shaker.

Very hot water, or a sudden change from cold to hot, is apt to crack the fine glaze. Use a dish mop for the cleanest dishes, and, beginning with the cups and saucers, and placing only a few in the pan at a time, wash quickly without allowing to soak, rinse in water a little hotter than the first, and wipe until perfectly dry and s.h.i.+ny. Pouring hot water over china and leaving it to drain itself dry may save time, but it will be at the expense of the polish. Spread the dishes out on the table to cool--piling them while hot injures the glaze--and put away the first was.h.i.+ng before commencing on the heavy, greasy things. The was.h.i.+ng water must be changed as soon as a greasy sc.u.m collects around the sides of the pan.

CARE OF KNIVES

Bone-, wood-, or pearl-handled knives should never go into the dishpan, but be stood, blade down, in a pitcher containing a little water and soda, the blades having first been wiped off with paper, and left till everything else is done. They are then washed singly with clean suds, special care being bestowed upon the juncture of the blade with the handle, rinsed, and dried immediately. If stained, rub with half of a potato or with a cork dipped in powdered pumice stone, wipe dry, wash, and polish with a little bath brick or sapolio. Clean carving knives and forks in the same way, going around the joinings with a rag-covered skewer. Spots can be removed from ivory handles with tripoli mixed with sweet oil; from mother-of-pearl with sifted whiting and alcohol, which is washed off and followed with a polis.h.i.+ng with dry whiting and a flannel cloth. Cover rusted knife blades with sweet oil, rub in well, and leave for forty-eight hours, then rub with slaked lime.

Britannia, pewter, and block tin in table use are polished the same as silver.

CHAPTER IX

THE BEDROOM

The bedroom is very like an old familiar friend: it sees us as we really are, tempting us to throw off all veneer of pretense or worldliness and rest in just being ourselves--a rest so sweet and wholesome and good that we go from it recreated and strengthened. In the spirit of truest friends.h.i.+p it exacts nothing, but by its subtle, quiet sympathy charms away our restlessness and presents us anew to that person known as our better self. The friend of our choice is the one who wears well; who never intrudes, never wearies, never pains us; whose influence is one of rest, of restoration, of reinspiration--the embodiment of the true mission of the bedroom. It, like our friend, must be able to survive with honor the test of that familiarity which comes with intimacy--whether it shall breed contempt or content. And so as we plan it, let us endeavor to temper our likes and dislikes with judgment until we can be reasonably sure that it will be a room pleasant to live with, and companionable, which will not irritate our moods into becoming moodier, nor our weariness into becoming wearier.

LIGHT AND AIR

Of first importance, of course, are light and air; these we must have, and sun if possible. One good warm ray of suns.h.i.+ne is a more effective destroyer of disease and "dumps" than all the drugs on the market; while good ventilation is one of the most valuable as well as one of the cheapest and most ignored a.s.sets of the home, particularly of the bedroom, where our hereditary enemy, the microbe, loves especially to linger. Given air and light, we have the best possible start toward our rest room and upon its exposure and size depends largely what we shall add unto it in the way of furnis.h.i.+ngs and decorations. Dark walls and floors wrap one in gloom and have no place in any bedroom. A warm, sunny exposure invites the use of contrastingly cool light blues, grays, greens, and creams; while the glow of delicate pinks and yellows helps to make a suns.h.i.+ne in the shadows of a north light. East and west lights adapt themselves to the tasteful use of almost any color, saving and excepting red, which cannot be mentioned in the same breath with rest and has the red-rag-to-the-bull effect on nerves. If an overstrong affection for it demands its use, it must be indulged in sparingly and much scattered and tempered with white. Though a certain sympathetic warmth should be expressed in the bedroom coloring, we want rather to feel than to see it, and too much becomes a weariness.

CARPETS VERSUS RUGS

Beginning with the base, as becomes a good builder, and working upward, floor coverings which cover without covering, if one may indulge in an Iris.h.i.+sm, are far preferable to those which extend from wall to wall.

Carpets undoubtedly have their uses: they make over well into rugs, supply heat to the feet, particularly in summer, and to the disposition during the semiannual house cleaning. They also cover a mult.i.tude of moths. But they belong to the dark ages of unenlightened womanhood whose chief end was to keep house, and have been jostled into the background by bare floors or mattings, with rugs. Hardwood floors certainly are nice and seem to wear an air of conscious pride of birth, but their humbler self-made brethren of common pine, stained and varnished or oiled, answer the purpose fully as well. It really amounts to a case of rugs make the floor, for if they are pretty and conveniently disposed about it, the floor itself receives very little attention. Small rugs before bed, dresser, and chiffonier will suffice in a small room, and can be easily taken out and cleaned, but a more commodious room requires the dressed look imparted by the larger rug.

Whatever its size, avoid large figures and strong colors, choosing rather a small, somewhat indistinct pattern woven in the deeper shades of the other decorations of the room, at the same time supplying a foundation which, without calling attention to itself, becomes a good support for the general decorative plan--a base strong but neither heavy nor striking. Since we were made to stand erect and look up, it is irritating to have one's eyes drawn downward by the unattractive attraction of an ugly rug. The colonial cotton rag rugs are quite the most desirable for bedroom use, from a sanitary as well as an artistic standpoint, and are woven to produce charming effects. The usual combination is two colors--white with blue, yellow, green, or pink, black with red, different shades of the same color, etc. Occasionally three colors are used, but more are apt to destroy the dainty simplicity which is the chief charm of rugs of this kind. They are woven like any other rag rug, and of any dimensions.

MATTINGS

Mattings, if preferred to the bare floor, come in a variety of patterns and colors and look neat and fresh, and cool in summer if used without rugs. They are a yard wide and range in price from 10 to 50 cents a yard for the Chinese, and from 20 to 60 cents for the j.a.panese. There is very little choice between the two, though the Chinese wears a little better, perhaps. Matting is easily broken and should not be used where the bed must be drawn away from the wall to be made, or heavy furniture moved about.

WALL COVERING

Pa.s.sing from floor to walls, we reach that portion of the room which gives it its real atmosphere and supplies a background for all that it contains, of both "things and people." The bedroom seems to be preeminently a woman's room: here she reads and writes, rests and sews; it is her help in trouble, her refuge in times of storm. The intangible something which surrounds the eternal feminine clings about her room and tells a very truthful tale of the individuality of its occupant. Her favorite color peeps out from wall and drapery; her books, well-thumbed and hearing evidences of intimate a.s.sociation, lie cozily about, and her workbasket reveals the source of certain dainty covers and indescribable nothings which so materially refine the whole aspect of the room. Though she receives her formal calls in the drawing-room, it is in her bedroom that those confidential chats, so dear to the feminine heart, take place; therefore its background must be chosen with some idea of its becomingness, and the happy medium in color and tint selected, softening and becoming to all alike. As absence of manners is good manners, so absence of effect is, after all, the best effect. First and foremost, avoid the plague of white walls and ceilings, which cast a ghastly light over the whole room and make one fairly s.h.i.+ver with cold. The general plan is to shade the color up from floor to ceiling, and this is accomplished in so many differing and equally attractive ways that it is impossible to do more than offer suggestions which may be elaborated to suit individual tastes and conditions. Of course calcimine is the simplest and cheapest style of decoration, and recommends itself to the anti-germ disciple because it can be renewed annually at slight expense. The only difficulty lies in getting just the right tint, for decorators, though no doubt worthy of their hire, are not always capable of handling the artistic side of their business, and an uncongenial shade gets on the nerves after a while. The same thing holds true of painted walls and ceilings, though they too are hygienically good. When we come to papers, we are lost in a maze of stripes and garlands and nosegays, either alone or in combination. Prettiness is by no means synonymous with expense these days, when the general patterns and colors of costly papers are successfully reproduced in the cheaper grades. Tapestry papers are too heavy for bedrooms. Those figured with that mathematical precision which drives the beholder to counting and thence to incipient insanity, and others on which we fancy we can trace the features of our friends, are always distracting, especially during illness, when restfulness is so essential. The plain cartridge-papered wall with frieze and ceiling either flowered or of a light shade of the same or a contrasting color is never obtrusive and always in good taste. With a flowered wall a plain ceiling is a relief, and vice versa. Figures in both walls and ceiling are tiring, besides having none of the effect resulting from contrast. Walls in plain stripes need to be livened with a fancy ceiling, or ceiling and frieze, with their background always of the lightest tint in the side wall. One room of particular charm was all in yellow. The molding had been dropped three feet from the ceiling, giving the impression of a low ceiling and that snugness which goes with it, and up to it ran the satin-striped paper, while over frieze and ceiling ran a riot of yellow roses. And here was a.s.serted the ingenuity of its occupant, who had cut out some of the roses and draped them at the corners and by door and window casings, where they seemed to cling after being spilled from the garden above. This same idea can be worked out with garlands or bunches of different flowers, bow knots, or other distinct designs. No large figures of any description should be introduced into a small room, and the whole effect of the decoration must be cheerful without being boisterous, gay, or striking. If the ceiling is low, the wall paper continues up to it without a frieze, the molding--which corresponds with the woodwork--being fastened where wall and ceiling join. Backgrounds of amber, cream, fawn, rose, blue, or pale green, with their designs in soft contrasting colors, are the strictly bedroom papers.

BEDROOM WOODWORK