The House in Good Taste Part 6

Most houses, even of the smaller sort, have three day rooms--the dining-room, the parlor and the sitting-room, as they are usually called. People who appreciate more and more the joy of living have pulled hall and sitting-room together into one great family meeting place, leaving a small vestibule, decreased the size of the dining-room and built in many windows, so that it becomes almost an outdoor room, and given the parlor a little more dignity and serenity and its right name--the drawing-room.

We use the terms drawing-room and _salon_ interchangeably in America--though we are a bit more timid of the _salon_--but there is a subtle difference between the two that is worth noting. The withdrawing room of old England was the quiet room to which the ladies retired, leaving their lords to the freer pleasures of the great hall. Indeed, the room began as a part of my lady's bedroom, but gradually came into its proper importance and took on a magnificence all its own. The _salon_ of France also began as a part of the great hall, or _grande salle_. Then came the need for an apartment for receiving and so the great bed chamber was divided into two parts, one a real sleeping-room and the other a _chambre de parade,_ with a great state bed for the occasional visitors of great position. The great bed, or _lit de parade_, was representative of all the salons of the time of Louis XIII.

Gradually the owners of the more magnificent houses saw the opportunity for a series of salons, and so the state apartment was divided into two parts: a _salon de famille_, which afforded the family a certain privacy, and the _salon de compagnie_, which was sacred to a magnificent hospitality. And so the salon expanded until nowadays we use the word with awe, and appreciate its implication of brilliant conversation and exquisite decoration, of a radiant hostess, an amusing and distinguished circle of people. The word has a graciousness, a challenge that we fear. If we have not just the right house we should not dare risk belittling our pleasant drawing-room by dubbing it "salon." In short, a drawing-room may be a part of any well regulated house. A salon is largely a matter of spirit and cleverness.

A drawing-room has no place in the house where there is no other living-room. Indeed, if there are many children, and the house is of moderate size, I think a number of small day rooms are vastly better than the two usual rooms, living-room and drawing-room, because only in this way can the various members of the family have a chance at any privacy. The one large room so necessary for the gala occasions of a large family may be the dining-room, for here it will be easy to push back tables and chairs for the occasion. If the children have a nursery, and mother has a small sitting-room, and father has a little room for books and writing, a living-room may be eliminated in favor of a small formal room for visitors and talk.

[Ill.u.s.tration: THE DRAWING-ROOM SHOULD BE INTIMATE IN SPIRIT]

No matter how large your drawing-room may be, keep it intimate in spirit. There should be a dozen conversation centers in a large room.

There should be one or more sofas, with comfortable chairs pulled up beside them. No one chair should be isolated, for some bashful person who doesn't talk well anyway is sure to take the most remote chair and make herself miserable. I have seen a shy young woman completely changed because she happened to sit upon a certain deep cus.h.i.+oned sofa of rose-colored damask. Whether it was the rose color, or the enforced relaxation the sofa induced, or the proximity of some very charming people in comfortable chairs beside her, or all of these things--I don't know! But she found herself. She found herself gay and happy and unafraid. I am sure her personality flowered from that hour on. If she had been left to herself she would have taken a stiff chair in a far corner, and she would have been miserable and self-conscious. I believe most firmly in the magic power of inanimate objects!

Don't litter your drawing-room with bric-a-brac. Who hasn't seen what I can best describe as a souvenir drawing-room, a room filled with curiosities from everywhere! I shall never forget doing a drawing-room for a woman of no taste. I persuaded her to put away her heavy velvets and gilt fringes and to have one light and s.p.a.cious room in the house.

She agreed. We worked out a chintz drawing-room that was delicious. I was very happy over it and you can imagine my amazement when she came to me and said, "But Miss de Wolfe, what am I to do with my blue satin tidies?"

In my own drawing-room I have so many objects of art, and yet I think you will agree with me that the room has a great serenity. Over the little desk in one corner I have my collection of old miniatures and fans of the golden days of the French court. There are ever so many vases and bowls for flowers, _but they are used_. There are dozens of lighting-fixtures, brackets, and lamps, and a chandelier, and many candlesticks, and they are used, also. Somehow, when a beautiful object becomes a useful object, it takes its place in the general scheme of things and does not disturb the eye.

The ideal drawing-room has a real fireplace, with a wood fire when there is excuse for it. An open fire is almost as great an attribute to a drawing-room as a tactful hostess; it puts you at ease, instantly, and gives you poise. And just as an open fire and suns.h.i.+ne make for ease, so do well placed mirrors make for elegance. Use your mirrors as decorative panels, not only for the purpose of looking at yourself in them, and you will multiply the pleasures of your room. I have the wall s.p.a.ce between mantel and frieze-line filled with a large mirror, in my New York drawing-room, and the two narrow panels between the front windows are filled with long narrow mirrors that reflect the color and charm of the room. Whenever you can manage it, place your mirror so that it will reflect some particularly nice object.

Given plenty of chairs and sofas, and a few small tables to hold lights and flowers, you will need very little other furniture in the drawing-room. You will need a writing-table, but a very small and orderly one. The drawing room desk may be very elegant in design and equipment, for it must be a part of the decoration of the room, and it must be always immaculate for the visitor who wants to write a note. The members of the family are supposed to use their own desks, leaving this one for social emergencies. A good desk is a G.o.dsend in a drawing-room, it makes a room that is usually cold and formal at once more livable and more intimate. In my own drawing-room I have a small French writing-table placed near a window, so that the light falls over one's left shoulder. The small black lacquer desks that are now being reproduced from old models would be excellent desks for drawing-rooms, because they not only offer service, as all furniture should, but are beautiful in themselves. Many of the small tables of walnut and mahogany that are sold as dressing-tables might be used as writing-tables in formal rooms, if the mirrors were eliminated.

[Ill.u.s.tration: THE FINE FORMALITY OF WELL-PLACED PANELING]

There is a great difference in opinion as to the placing of the piano in the drawing-room. I think it belongs in the living-room, if it is in constant use, though of course it is very convenient to have it near by the one big room, be it drawing-room or dining-room, when a small dance is planned. I am going to admit that in my opinion there is nothing more abused than the piano, I have no piano in my own house in New York. I love music--but I am not a musician, and so I do not expose myself to the merciless banging of chance callers. Besides, my house is quite small and a good piano would dwarf the other furnis.h.i.+ngs of my rooms. I think pianos are for musicians, not strummers, who spoil all chance for any real conversation. If you are fortunate enough to have a musician in your family, that is different. Go ahead and give him a music room.

Musicians are not born every day, but lovers of music are everywhere, and I for one am heartily in favor of doing away with the old custom of teaching every child to bang a little, and instead, teaching him to _listen_ to music. Oh, the crimes that are committed against music in American parlors! I prefer the good mechanical cabinet that offers us "canned" music to the manual exercise of people who insist on playing wherever they see an open piano. Of course the mechanical instrument is new, and therefore, subject to much criticism from a decorative standpoint, but the music is much better than the amateur's. We are still turning up our noses a little at the mechanical piano players, but if we will use our common sense we must admit that a new order of things has come to pa.s.s, and the new "canned" music is not to be despised.

Certainly if the instrument displeases you, you can say so, but if a misguided friend elects to strum on your piano you are helpless. So I have no piano in my New York house. I have a cabinet of "canned" music that can be turned on for small dances when need be, and that can be hidden in a closet between times. Why not?

But suppose you have a piano, or need one: do give it a chance! Its very size makes it tremendously important, and if you load it with senseless fringed scarfs and bric-a-brac you make it the ugliest thing in your room. Give it the best place possible, against an inside wall, preferably. I saw a new house lately where the placing of the piano had been considered by the architect when the house was planned. There was a mezzanine floor overhanging the great living-room, and one end of this had been made into a piano alcove, a sort of modern minstrel gallery.

The musician who used the piano was very happy, for your real musician loves a certain solitude, and those of us who listened to his music in the great room below were happy because the maker of the music was far enough away from us. We could appreciate the music and forget the mechanics of it. For a concert, or a small dance, this balcony music-room would be most convenient. Another good place for the piano is a sort of alcove, or small room opening from the large living or drawing-room, where the piano and a few chairs may be placed. Of course if you are to have a real music-room, then there are great possibilities.

A piano may be a princely thing, properly built and decorated. The old spinets and harpsichords, with their charming inlaid cases, were beautiful, but they gave forth only tinkly sounds. Now we have a magnificent mechanism, but the case which encloses it is too often hideous.

There is an old double-banked harpsichord of the early Eighteenth Century in the Morgan collection at the Metropolitan Museum that would be a fine form for a piano, if it would hold the "works." It is long and narrow, fitting against the wall so that it really takes up very little room. The case is painted a soft dark gray and outlined in darker gray, and the panels and the long top are in soft colors. The legs are carved and pointed in polychrome. This harpsichord was made when the beauty of an object was of as real importance as the mechanical perfection.

Occasionally one sees a modern piano that has been decorated by an artist. Sir Edward Burne-Jones, Sir Alma Tadema, and many of the other English artists of our generation have made beautiful pianos. Sir Robert Lorimer recently designed a piano that was decorated, inside and out, by Mrs. Traquair. From time to time a great artist interests himself in designing and decorating a piano, but the rank and file, when they decide to build an extraordinary piano, achieve lumpy ma.s.ses of wood covered with impossible nymphs and too-realistic flowers, pianos suggestive of thin and sentimental tunes, but never of _music_.

When you are furnis.h.i.+ng your music-room or drawing-room, be careful always of your colors. Remember that not only must the room be beautiful in its broad s.p.a.ces and long lines and soft colors, but it must be a background for the gala gowns of women. I once saw a music-room that was deliberately planned as a background to the gay colors of women's gowns and the heavy black ma.s.ses of men's evening clothes, a soft s.h.i.+mmering green and cream room that was incomplete and cold when empty of the color of costume. Such a room must have an architectural flavor. The keynote must be elegant simplicity and aristocratic reserve. Walls broken into panels, and panels in turn broken by lighting-fixtures, a polished floor, a well-considered ceiling, any number of chairs, and the room is furnished. This room, indeed, may evolve into a _salon_.

XI

THE LIVING-ROOM

The living-room! Shut your eyes a minute and think what that means: A room to _live_ in, suited to all human needs; to be sick or sorry or glad in, as the day's happenings may be; where one may come back from far-reaching ways, for "East or West, Hame's best."

Listen a minute while I tell you how I see such a room: Big and restful, making for comfort first and always; a little shabby here and there, perhaps, but all the more satisfactory for that--like an old shoe that goes on easily. Lots of light by night, and not too much drapery to shut out the sunlight by day. Big, welcoming chairs, rather sprawly, and long sofas. A big fire blazing on the open hearth. Perhaps, if we are very lucky we may have some old logs from long since foundered s.h.i.+ps, that will flame blue and rose and green. He must indeed be of a poor spirit who cannot call all sorts of visions from such a flame!

[Ill.u.s.tration: THE LIVING-ROOM IN THE C.W. HARKNESS HOUSE AT MORRISTOWN, NEW JERSEY]

There should be a certain amount of order, because you cannot really rest in a disorderly place, but there should be none of the formality of the drawing-room. Formality should be used as a sort of foundation on which the pleasant workaday business of the living-room is planned.

The living-room should always have a flavor of the main hobby of the family, whether it be books, or music, or sport, or what not. If you live in the real country there should be nothing in the room too good for all moods and all weather--no need to think of muddy boots or wet riding-clothes or the dogs that have run through the dripping fields.

I wonder if half the fathers and mothers in creation know just what it means later on to the boys and girls going out from their roof-tree to have the memory of such a living-room?

A living-room may be a simple place used for all the purposes of living, or it may be merely an official clearing-house for family moods, one of a dozen other living apartments. The living-room in the modern bungalow, for instance, is often dining-room, library, hall, music-room, filling all the needs of the family, while in a large country or city house there may be the central family room, and ever so many little rooms that grow out of the overflow needs--the writing-room, the tea room that is also sun and breakfast room, the music-room and the library. In more elaborate houses there are also the great hall, the formal drawing-room and music-room, and the intimate boudoir. To all these should be given a goodly measure of comfort.

Whether it be one or a dozen rooms, the spirit of it must be the same--it must offer comfort, order, and beauty to be worth living in.

Just as when a large family is to be considered I believe in one big meeting-room and a number of smaller rooms for special purposes, so I believe that when a family is very small there should be one great living-room and no other day room. Two young people who purpose to live in a small cottage or a bungalow will be wise to have this one big room that will serve for dining-room, living-room, and all. The same house divided into a number of tiny rooms would suffocate them: there would be no breathing-s.p.a.ce. In furnis.h.i.+ng such a room it is well to beware of _sets_ of things: of six dining-room chairs, of the conventional dining-table, serving-table, and china closet. I advocate the use of a long table--four by seven feet is not too long--and a number of good chairs that are alike in style, but not _exactly_ alike.

The chairs should not be the conventional dining-chairs. The idea that the only dining-room chair possible is a perfectly straight up and down stiff-backed chair is absurd. In a large house where there is a family dining-room the chairs should be alike, but in an informal living-room the chairs may be perfectly comfortable and useful between meals and serve the purposes of dining-room chairs when necessary. For instance, with a long oak table built on the lines of the old English refectory tables you might have a long bench of oak and cane; a large high back chair with arms of the Stuart order, that is, with graceful, turned legs, carved frame work, and cane insets; two Cromwellian chairs covered in some good stuff; and two or three straight oak-and-cane chairs of a simple type. These chairs may be used for various purposes between meals, and will not give the room the stiff and formal air that straight-backed chairs invariably produce. One could imagine this table drawn up to a window-seat, with bench and chairs beside it, and a dozen cheerful people around it. There will be little chance of stiffness at such a dining-table.

It should be remembered that when a part of the living-room is used for meals, the things that suggest dining should be kept out of sight between meals. All the china and so forth should be kept in the pantry or in kitchen cupboards. The table may be left bare between meals.

In a room of this kind the furniture should be kept close to the walls, leaving all the s.p.a.ce possible for moving around in the center of the room. The book shelves should be flat against the wall; there should be a desk, not too clumsy in build near the book shelves or at right angles to some window; there should be a sofa of some kind near the fireplace with a small table at the head of it, which may be used for tea or books or what not. If there is a piano, it should be very carefully placed so that it will not dominate the room, and so that the people who will listen to the music may gather in the opposite corner of the room. Of course, a living-room of this kind is the jolliest place in the world when things go smoothly, but there are times when a little room is a very necessary place to retreat. This little room may be the study, library, or a tea room, but it is worth while sacrificing your smallest bedroom in order to have one small place of retreat.

If you can have a number of living-rooms, you can follow more definite schemes of decoration. If you have a little enclosed piazza you can make a breakfast room or a trellis room of it, or by bringing in many shelves and filling them with flowers you can make the place a delightful little flower box of a room for tea and talk.

Of course, if you live in the real country you will be able to use your garden and your verandas as additional living-rooms. With a big living-porch, the one indoor living-room may become a quiet library, for instance. But if you haven't a garden or a sun-room, you should do all in your power to bring the suns.h.i.+ne and gaiety into the living-room, and take your books and quiet elsewhere. A library eight by ten feet, with shelves all the way around and up and down, and two comfortable chairs, and one or two windows, will be a most satisfactory library. If the room is to be used for reading smallness doesn't matter, you see.

We Americans love books--popular books!--and we have had sense enough to bring them into our living-rooms, and enjoy them. But when you begin calling a room a library it should mean something more than a small mahogany bookcase with a hundred volumes hidden behind gla.s.s doors. I think there is nothing more amusing than the unused library of the _nouveau riche_, the pretentious room with its monumental bookcases and its slick area of gla.s.s doors and its thousands of unread volumes, caged eternally in their indecent newness.

Some day when you have nothing better to do visit the _de luxe_ book shops of some department store, and then visit a dusky old second hand shop, and you will see what books can do! In the _de luxe_ shop they are leathern covered things, gaudy and sn.o.bbish in their newness. In the old book shop they are books that have lived, books that invite you to browse. You'd rather have them with all their germs and dust than the soulless tomes of uncut pages. You can judge people pretty well by their books, and the wear and tear of them.

Open shelves are good enough for any house in these days of vacuum cleaners. In the Bayard Thayer house I had the pleasure of furnis.h.i.+ng a wonderful library of superb paneled walls of mahogany of a velvety softness, not the bright red wood of commerce. The open bookshelves were architecturally planned, they filled shallow recesses in the wall, and when the books were placed upon them they formed a glowing tapestry of bindings, flush with the main wall.

I think the nicest living-room I know is the reading room of the Colony Club. I never enjoyed making a room more, and when the Club was first opened I was delighted to hear one woman remark to another: "Doesn't it make you feel that it has been loved and lived in for years?"

The room is large and almost square. The walls are paneled in cream and white, with the cla.s.sic mantel and mirror treatment of the Adam period.

The large carpet rug is of one tone, a soft green blue. The bookcases which run around the walls are of mahogany, as are the small, occasional tables, and the large table in the center of the room. In this room I have successfully exploded the old theory that all furniture in a well planned room must be of the same kind! In this room there are several Marlborough chairs, a davenport and a semi-circular fireside seat upholstered in a soft green leather, several chairs covered in a chintz of bird and blossom design, and other chairs covered with old English needle-work. The effect is not discord, but harmony. Perhaps it is not wise to advise the use of many colors and fabrics unless one has had experience in the combining of many tones and hues, but if you are careful to keep your walls and floors in subdued tones, you may have great license in the selecting of hangings and chair coverings and ornament.

I gave great attention to the details of this room. Under the simple mantel shelf there is inset a small panel of blue and white Wedgwood. On the mantel there are two jars of Chinese porcelain, and between them a bronze jardiniere of the Adam period; four figures holding a shallow, oblong tray, which is filled with flowers. The lamp on the center-table is made of a hawthorn jar, with a flaring shade. There are many low tables scattered through the room and beside every chair is a reading-lamp easily adjusted to any angle. The fireplace fittings are simple old bra.s.ses of the Colonial period. There is only one picture in this room, and that is the portrait of a long gone lady, framed in a carved gilt frame, and hung against the huge wall-mirror which is opposite the fireplace end of the room.

I believe, given plenty of light and air, that comfortable chairs and good tables go further toward making a living-room comfortable than anything else. In the Harkness living-room you will see this theory proven. There are chairs and tables of all sizes, from the great sofas to the little footstools, from the huge Italian tables to the little table especially made to hold a few flower pots. Wherever there is a large table there is a long sofa or a few big chairs; wherever there is a lone chair there is a small table to hold a reading-light, or flowers, or what not. The great size of the room, the fine English ceiling of modeled plaster, the generous fireplace with its paneled over-mantel, the groups of windows, all these architectural details go far toward making the room a success. The comfortable chairs and sofas and the ever useful tables do the rest.

So many people ask me: How shall I furnish my living-room? What paper shall I use on the walls? What woodwork and curtains--and rugs? One woman asked me what books she should buy!

Your living-room should grow out of the needs of your daily life. There could be no two living-rooms exactly alike in scheme if they were lived in. You will have to decide on the wall colors and such things, it is true, but the rest of the room should grow of itself. You will not make the mistake of using a dark paper of heavy figures if you are going to use many pictures and books, for instance. You will not use a gay bed-roomy paper covered with flowers and birds. You will know without being told that your wall colors must be neutral: that your woodwork must be stained and waxed, or painted some soft tone of your wall color.

Then, let the rugs and curtains and things go until you decide you have to have them. The room will gradually find itself, though it may take years and heartache and a certain self-confession of inadequacy. It will express your life, if you use it, so be careful of the life you live in it!

XII

SITTING-ROOM AND BOUDOIR