The Complete Home Part 6

The following table, while it must not be taken as fully conclusive, gives at least a basis of consideration:

HOT AIR. STEAM. HOT WATER.

First cost.................. Small. Higher. Highest.

Comparative coal consumption ............ 18 1/2 tons. 13 1/2 tons. 10 tons.

Average durability.......... 12 years. 35 years. *Indestructible Heat distribution........... Uneven. Regular. Even.

Temperature................. Variable. Fair. Regular.

Ventilation................. Good, if Good, with Good, with properly indirect indirect managed. system. system.

Quality of heated air....... Ditto. Ditto. Ditto.

Dust and dirt............... Much. Little. None.

Danger of fire.............. Moderate. None. None.

Danger of explosion......... Slight. None. None.

Noise....................... None. Occasional. Almost none.

Management.................. *Delightful. *Pleasure. *Joy.

Relative cost of apparatus.. 9 13 15 Ditto, plus repairs and fuel for five years..... 29 1/2 29 2/3 27 Ditto, plus repairs and fuel for five years..... 81 63 52 1/2

* Makers' statement.

These comparisons are probably, on the whole, somewhat unfair to the high-grade furnace.

CHAPTER IV

FURNITURE

Much of good sense and more that is nonsensical has been written about furniture. Observation tends to justify belief that in general effect the nonsense has proved more potent than its ant.i.thesis.

THE QUEST OF THE BEAUTIFUL

Originality has been preached, and we have seen the result in abnormalities that conform to no conception of artistic or practical quality ever recognized. Antique models have been glorified, with a sequence of puny, spiritless imitations. Simplicity has been extolled, and we find the word interpreted in clumsiness and crudity. Delicacy of outline has been urged, and we triumph in the further accomplishments of flimsiness and hopeless triviality.

And yet through all that has been preached, through all that has been executed, there runs a vein of truth. Each age should express itself, not merely the thought of centuries past; still, it can expect to do little more than take from antecedent cycles those features that will best serve the present, adding an original touch here and there. So far, then, as we find in the furniture of the Georgian period, or of Louis Quinze, or even of the ancient Greeks, such suggestions as will help us to live this twentieth-century life more comfortably and agreeably, we may with good conscience borrow or imitate.

ANCIENT DESIGNS

Some "very eminent authorities" a.s.sure us that many of the objects of our admiration in museums and in private collections are remnants of the furnis.h.i.+ngs of the common households of the olden times. If the breadth of knowledge of the "eminent authorities" is indicated by this a.s.sertion, they must have touched only the high places in history, so far as it records social conditions. The truth is that the household appurtenances which have survived to our time are mostly those of the few and not of the many, of the palace and mansion and not of the cot.

These articles were costly then and they would be costly now, and very often quite as useless as costly. They were not found in the cottage of the older days, and they do not belong in the cottages of the present.

Nevertheless, many of these old designs exemplify the elementary essentials of furniture--good materials, gracefulness, and thorough workmans.h.i.+p. These are qualities that are to be sought for the cottage as well as for the mansion; and while they may add to the purchase cost of the separate articles, it is possible to secure them at no great increase for the whole over the cheaper goods, provided we guard against the common error in housefurnis.h.i.+ng--overpurchasing.

[Ill.u.s.tration: Good examples of Chippendale and old walnut.]

THE ARTS AND CRAFTS

What is known in America as the arts and crafts movement has, in its sincere developments, sought to adapt the better qualities of the old designs of furniture to the demands of modern conditions, artistic and practical. Not always, however, has it been possible to distinguish between the honest effort to enforce a better standard and the various forms of charlatanry under which clumsy and unsightly creations have been and are being worked off upon an ingenuous public at prices proportioned to their degrees of ugliness. In colonial times many an humble carpenter vainly scratched his noggin as he puzzled over the hopeless problem of duplicating with rude tools and scant skill the handiwork that graced the lordly mansions of merrie England; to-day some wight who can scarcely distinguish a jackplane from a saw-buck essays to "express himself" (at our expense) in furniture, repeating all the gaucheries that the colonial carpenter could not avoid making.

MISSION FURNITURE

Others have set themselves to reproducing the so-called mission furniture which the good priests of early California would have rejoiced to exchange for the convenient modern furniture at which the faddist sniffs. But most of us who stop to think, realize that there is no magic virtue in antiquity of itself. The average man, at least, cannot delude himself into the belief that there is comfort to be found in a great deal of the harsh-angled stuff paraded as artistic.

Let us not be understood, however, as hinting that artistic qualities must be disregarded. Though furniture should not be chosen for its beauty or a.s.sociations alone, it must not be considered at all if beauty is absent.

COMFORT, AESTHETIC AND PHYSICAL

The first consideration of the home is comfort. Let no one dispute that fact. But there is such a thing as being aesthetically as well as physically comfortable. Conceptions of physical comfort differ with individuals, but are usually well defined; some of us actually have no conception whatever of aesthetic comfort. That is no reason why we should not seek it. Probably we had a very faint idea of what good music or good painting was like until we came to an acquaintance with the masters; but we are surely not sorry to have progressed in experience and feeling. And so it is that though we may not feel specially urged to insist upon tasteful surroundings, the higher instincts within us that persuade us to make the most of ourselves demand that we shall not be content with mere physical comfort.

Therefore we may need to look a bit beyond our definite inward aspirations, and we should not disdain to follow others so far as they adhere to certain well-authenticated canons of good taste.

OLDER MODELS IN FURNITURE

Study of the older models of furniture is bound to prove suggestive, and it is better to secure from the library or bookseller a book by some authority than to depend upon dealers' catalogues, which are not always edifying. English models affecting present-day outfitting date back as far as the Elizabethan period, approximately 1558-1603.

Following there came the Early Jacobean, the Early Queen Anne, and the Georgian. The last includes the work of Chippendale, Heppelwhite, Sheraton, and the Adams, all of whom executed some beautiful designs.

The so-called colonial furniture belongs also to the Georgian period, as does the "Debased Empire," corresponding to or following the Empire styles in France. In the latter country the periods of vogue are known as Francis Premier, Henri Deux, Henri Quatre, Louis Treize, Louis Quatorze, Louis Quinze, and Louis Seize. Under the designation of the "Quaint style" W. Davis Benn groups the "Liberty," Morris, and arts and crafts designs. Mr. Benn's "Styles in Furniture" will be found helpful in both text and ill.u.s.tration to those who would learn to distinguish between the products of the various periods.

[Ill.u.s.tration: A Chippendale secretary.]

MAHOGANY AND OAK

Mahogany and oak are the best materials for furniture. The former is cleverly imitated in a mahoganized birch, which presents a pleasing appearance and sometimes deceives those who are not familiar with the beautiful rich tones of the genuine article. Mahogany adapts itself to almost any sensible style of interior decoration, is likely to be of careful manufacture, and is almost invariably cherished for its beauty.

Like other highly finished woods it takes on a bluish tint in damp weather, and if not well protected, will demand attention more frequently than other materials. But if its purchase can be afforded the care given it will scarcely be begrudged. The eggsh.e.l.l (dull) finish requires less attention than the higher polish.

Next in degree to mahogany, oak in the golden, weathered, or fumed effect is handsome and durable, while it is somewhat less expensive.

The moment one drops below genuine mahogany, however, a wary eye must be kept upon construction. There are s.h.i.+fts innumerable to make cheap furniture that has an alluring appearance, and the variety of design in the moderate-priced materials will lead to confusion for those who do not exert a Spartan discrimination.

SUBSTANTIALITY

To insure satisfaction there must first of all be substantiality--a quality which affects both comfort and appearance. A chair may be beautiful, it may be comfortable, at the time of purchase, but if it be not substantial its glories will soon depart. A superficial view cannot be conclusive. The carefully made article built upon slender lines is often quite as strong as a more rugged creation hastily put together. The chair that is properly constructed may be almost as solid as if it were of one piece, and still not require a block and tackle to move it. The strongest article is made entirely of wood, and we find some of the old models so st.u.r.dily built that no rounds were required between the legs. In chiffoniers, dressers, or side-boards a handsome exterior should not blind us to cheaply constructed drawers.

The latter should be of strong material, properly fitted, and well sealed. There need be no sagging, jamming, or acc.u.mulation of dust in drawers that are well constructed.