■ NKm5| LSi- §1 ill ! I:!: ?tate College of agriculture SLt Cornell Um'berSirp Stbaca, M. g. Hifararp I0GI 'I! «Vf IN College Bulletin COLLEGE OF INDUSTRIAL ARTS THE STATE COLLEGE FOR WOMEN DENTON, TEXAS INTERIOR DECORATION BY MARIAN LONG INTERIOR DECORATOR DEPARTMENT OF FINE AND APPLIED ART NK 21 15X84™" Universi, y Library ..^lenor decoration NUMBER 78 JUNE 1, 1920 Issued monthly by the College of Industrial Arts, Denton, Texas. Entered December 17, 1917, Denton, Texas, as second-class matter, under Act of Congress, August 24, 1912. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924014499515 INTERIOR DECORATION The popular conception of the term Interior Decoration does not mean much more to the average person than fads, fashion, and wealth. If this were its true meaning, a beau- tiful home would prove beyond the reach of the woman in moderate, or more limited circumstances. But it is all wrong. It is not the amount of money, but the amount of knowledge and earnest effort which is put into the home that counts. One may as well have good color on her walls and wood- work, as bad color. It is not so much a question of money, as of material, and the labor one is willing to spend hunting for it. Rugs and furniture present a more difficult problem than wall coverings. But certainly the homemaker may refuse to buy rugs with large, highly colored patterns, or furniture with tortuous curves and a superabundance of ornamentation. As house furnishings must last for a long period it is wiser to do without them, no matter how great the inconvenience, until what we want may be found, than to take something ugly which will never cease to be a thorn in the flesh. This latter course would eventually bring better colors and better patterns into the market, be- cause the supply has been, and always will be, regulated by the demand. Interior Decoration begins with the choice of every ar- ticle that goes into the home, and continues until walls and floors receive their coverings, and all the articles have been arranged to form a useful and restful whole. We have reached the day when beautiful homes are a necessity ; they have ceased to be an expensive luxury. A home is one large "design" made up of sub-designs in the shape of individual rooms; consequently, a simple and COLLEGE OF INDUSTRIAL ARTS ILLUSTRATION 1 A. Simplicity in outline. Good lines. ILLUSTRATION 1 B. Superabundance of ornamentation, and bad lines in structure. artistic whole can only be obtained by the application, con- sciously or unconsciously, of the fundamental principles of design, which are: 1. Good Spacing. Spaces should not be too even, producing monotony, nor so unlike as to appear unrelated to each other. Disregard of good spacing is frequently seen in interior architecture. For example, in the relation of size, shape, and arrangement of windows and doors to wall space; like- INTERIOR DECORATION 3 wise in door panels, mouldings, built-in furniture and base- boards. Good spacing also occupies an important place in the construction, decoration, and arrangement of all articles which constitute the furnishing of a home; as furniture, curtains, pictures, rugs, and ornaments. 2. Good Lines. There should be no superfluous lines, either in the struc- ture or decoration of furniture or ornaments. III. 1 A and B. True decoration exists to emphasize and strengthen the structure of the object and to add beauty. Restraint should always be exercised in the amount of decoration used. Exaggerated curved lines are always un- desirable. III. 1 B. 3. Repetition. Similar shapes and colors should be repeated through- out the room to give balance and unity. Rooms are made to appear higher by repeating vertical lines; as in the case of striped wall paper. They are made to appear longer and lower by the repetition of horizontal lines ; as in the use of overhangs across the top of windows. Also by arranging long pieces of furniture parallel with the sides of the room which it is desirable to lengthen. 4. Balance. It is the principle of balance which preserves the feel- ing of rest in a room, and prevents an unpleasant tipping sensation caused by a preponderance of furniture, color, or any attractive power on one side of the room. 5. Emphasis. Emphasis is the principle of arrangement through which attention is called to only such things as are impor- tant in the room, and to these in the order of their impor- ance. Color, or a contrast of dark and light, placed near the COLLEGE OF INDUSTRIAL ARTS ILLUSTRATION 2. Only very large rooms will carry columns, or part columns. This room feels overcrowded. object to be emphasized may procure this. 6. Unity. When completed the room and the entire house should present one beautiful whole, (or design,) from which noth- ing may be taken, nor to which anything may be added, without detracting from its restfulness and beauty. A FEW GENERAL SUGGESTIONS CONCERNING INTERIOR ARCHITECTURE The architecture of a room has an important bearing, not only on its appearance, but also on its real restfulness; and careful planning before the building is begun, may save extensive alterations and extra outlay. All the home associations cling about the family living- room, and seem to center around the big open fireplace. If within the limit of possibility let there be a fireplace in the INTERIOR DECORATION 5 living-room. The size of the room must determine the di- mensions and the style adopted. The windows should be sufficiently large to admit plenty of light and air, whatever the location of the room may be, and should bear a pleasing proportion to the room and the wall in which they are placed. Frequently a room is spoiled by a superabundance of woodwork, which is sometimes accentuated by a dark stain. All woodwork should be of the simplest style consistent with good workmanship. The fashion of separating rooms by means of columns surmounting a short low partition at each side of the wall, is responsible for much heaviness and overcrowding. (III. 2) Only very large rooms will carry columns, or part columns, without creating the feeling of a superabundance of wood. It will be much more satisfactory to separate rooms by means of large French doors, which may be opened and closed at pleasure. Plate and chair rails do not add charm, but on the con- trary serve to cut the walls into unpleasant sections. "Built-in" furniture is another device which requires clever planning. To make it attractive it must be treated with the utmost simplicity; it should be carefully propor- tioned, and painted the same color as the other woodwork or the wall paper. If, when building, the doors and windows were placed with some regard for the placement of furniture which re- quires large wall space, it would save the mistress of the home future problems. A bed, for example, should be placed where strong light will not disturb the sleeper and where air can reach it freely. "Good spacing," "good lines," "balance," and common sense are involved in architectural detail as well as in furnishings. 6 COLLEGE OF INDUSTRIAL ARTS COLOR Just as an understanding of the English language is necessary for one to express herself and to communicate her thoughts to another, so is an understanding of the lan- guage of color if one would apply it intelligently. Color cannot be used without expressing an idea, or something about the person using it. Color is a force as well as a language. During the great war it played an important part in the treatment of shell- shock and nerve diseases. So successful was the experiment that the cures reported in a London military hospital were 100 per cent. Is it not a logical conclusion then, if the skill- ful use of color has proved a valuable cure for nerve trouble, that it will be equally valuable as a preventive of nerve col- lapse and a means of conservation of nerve energy in child- ren ? It naturally follows that in order to use color success- fully one must understand its psychological meaning and be able to apply this understanding to one's own problems. It is also important that this meaning should be the same to everyone, while the manner of its application will neces- sarily vary with the personality of the individual. Other- wise all homes will be the same. The study of music is almost universal, and it should be, yet how few women continue to use it after they are married ? On the other hand, as long as she lives, a woman is forced to choose colors for her home and clothes. Must this choice always be made without knowledge? First, there should be a clear conception of what color can do for the home. Second, the individual should be able to apply it to her home; because the influence of a home without individu- ality is as undesirable as that of a person without character. Color can be made to supply, in a great measure, INTERIOR DECORATION 7 what climate, location, or architectural shortcomings have withheld. Yellow expresses light, sunshine, cheerfulness, viva- city. Therefore a soft, grayed yellow wall-covering will bring these qualities into a dark, dull room. Small areas of bright yellow in curtains, repeated in ornaments or pic- tures, will add still more light and cheerfulness. A north room, or one with insufficient light, should have grayed colors which contain yellow. As yellow, yellow orange, orange, red orange, yellow green, or green. The soft grayed hues, or variations, of yellow are, ecru, the color of domestic muslin and pongee silk, light buff, cream, taupe, etc. Red expresses fire, irritation, danger, blood, and aggres- sion. Its irritating effect upon animal life, and upon the nerves of most people, is conceded; hence it can have no place in the psychological treatment of nerve trouble. It is not good, therefore, for wall-coverings, or on large areas. Even in Christmas decorations the proportion of green should far exceed the amount of red. Because the individ- ual likes red in great splashes, does not prove that it is safe for her to play with it. However, if skillfully used in small quantities, it will create a pleasant feeling of warmth and hospitality. The variations of red are terra cotta, Indian red, wine color, maroon, brickdust, henna, oxblood, pink, old rose, etc. Blue is the most restful color. It is cool, dignified, re- strained; and if a soft tone is used in wall covering, or in large areas, it will give the impression of coolness, rest, and size. It is the color which "sobers" yellow and red, when the three are used in one color scheme. Blue, if entirely unre- lieved by orange, will make a room appear cold and even gloomy. Its variations are old blue, delf, Alice, royal, cadet, navy, turquoise, etc. Green combines the cheerfulness of yellow with the coolness and restraint of blue. Therefore, because of this 8 COLLEGE OF INDUSTRIAL ARTS quality of "modified cheerfulness," green is an ideal color for interior decoration, and if wisely used may form a part of any color scheme. Especially in ferns and flowers is the restfulness and cheerfulness of this color felt. Soft grayed green is the best color for conservation of eyesight and nerves. It is excellent for use in a warm climate. The variations of green are moss, sage, nile, olive, peacock, blue green, etc. Orange expresses the qualities of yellow and red, that is, sunshine and fire; therefore, it is the hottest color there is. Unless orange is restrained by blue, the restfulness of the color scheme will be impaired. A small quantity of brilliant orange is all that the average person can stand, as it is too stimulating, too exciting.. The large areas of a soft gray blue, brightened by partly grayed orange, make a refined, restful, and cool color scheme. The variations of orange in- clude the whole range of tans, red buffs, brown, etc. Violet or purple expresses the combined qualities of red and blue, that is, fire and ice. Violet suggests shade, quiet, mystery, and second mourning. If much is used in a room the effect will prove depressing. The variations are lilac, lavender, mulberry, elephant's breath, London smoke, mauve, etc. From the above six "color notes" and their variations are formed the sight harmonies which provide color schemes for everyone of the sixteen million homes in the United States. The light-giving colors are yellow, yellow orange, orange, red orange, yellow green, green, and blue green. Soft, grayed tones of yellow and the oranges are the best colors to use in a dark or north room and for lamp shades. The warmth-giving colors are red, red orange, orange, and red violet. These should be used sparingly unless very much grayed ; then they may be used in curtains, upholstery, cushions, and ornaments. INTERIOR DECORATION 9 The cool colors are blue, blue green, green, and blue violet. Light color tones express youth, femininity, gaiety, and informality. Dark color tones express strength, masculinity, dignity, repose and seriousness. Brilliant, or ungrayed colors are strong, loud and commonplace if used in large quantities. They create ex- citement, therefore should be saved for the purpose of giving emphasis in the room. They are to color what "fortissimo" passages are to the symphony. Grayed, or neutral, colors have a feeling of subtlety and refinement, therefore they are for the large areas of the room; they bear the same relation to it that "pianissimo" passages bear to the symphony. From the foregoing it is evident that one cannot use color without telling tales about one's self which may be pleasant or otherwise. Color Harmony. It is the same with sight or color harmony, as it is with sound, or music harmony ; and a violation of either will exact toll from the nerves. The six color notes and their variations furnish certain combinations which are called "harmonies," from which are "composed" homes that are symphonic, funereal, operatic, and ragtime, according to the knowledge and the personality of the homemaker. We work out in our environment what we are. If this is true, it is of paramount importance that an appreciation of beauty in every kind of thing should be cul- tivated in children and in adults. Harmony means "agreement." Just as the members of a family must agree, to live harmoniously together, so must all the colors in a room live quietly together to pro- duce harmony. 1. One color may be selected (such as tan, old blue, or green) to form the color scheme for the entire room. It 10 COLLEGE OF INDUSTRIAL ARTS may be used as dark or light, as bright or gray as de- sired; but the hue may not be changed, or more than one color used. This is called a "one-mode" harmony. It is rather monotonous and lacking in interest. 2. Any or all of the colors in the following groups may be used as a color scheme: yellow yellow red red yellow orange yellow green red violet red orange orange green violet orange red orange blue green blue violet yellow orange blue blue blue green blue violet green violet yellow green red violet These are called "analogous" harmonies. 3. Perhaps the most interesting and satisfying com- binations will be found in these clusters, of which, only one cluster may be used in the same room: yellow green blue blue green violet red orange red orange red violet blue violet yellow green yellow orange If carefully applied, green may be used with any color scheme. 4. The colors in the following groups, if soft, or grayed, may be combined to produce charm and interest : yellow orange red violet blue violet blue green yellow orange yellow green red violet blue green red orange yellow blue red blue violet yellow orange blue green red violet red orange yellow green Refinement and personality are brought into, or left out INTERIOR DECORATION 11 of, a home by the way color is applied. Avoid a spotty effect ; this is generally the result of too strong contrast in dark and light. Use brilliant color only in small spaces. THE ROOM BACKGROUND The background of a room consists of the ceiling, walls, and floor. It bears the same relation to the room that the background of a portrait bears to the portrait itself; there- fore it should always be less important and less conspicuous than the people and the furnishings. An otherwise beauti- ful room may be spoiled by a background, the color of which is not sufficiently grayed, or is too dark. Observing the law of nature as exemplified in a light sky, darker trees, and still darker earth; the ceiling should be made light, the walls about two tones darker, and the floor two or three tones darker than the walls. One color should be repeated somewhere in the three parts of the background, thus "keying" or "tieing" them together. The ceiling should be a very light tone of the wall color. An irritating glare is cast by large areas of pure white, mak- ing it undesirable for ceilings and woodwork. A picture moulding, painted either the ceiling or wall color, makes a more pleasing finish than a wall paper border; but if the latter is used select one which is narrow and inconspicuous in color and pattern. A painted moulding should always finish a "drop" ceiling. Whether calcimined or papered, the walls of a room should be kept a soft grayed tone. An unfigured, or practically unfigured paper is always best, because a patterned paper attracts attention to itself, thus robbing the people and the room furnishings of their rightful share of interest. It should be so soft and neutral (grayed) that any type of person, or any costume, (whether for morning, afternoon or evening) will be enhanced when seen against it. The wall should form a restful and har- 12 COLLEGE OF INDUSTRIAL ARTS monious background for woodwork, pictures, curtains, and furniture, whether they are seen by natural or artificial light. In fact, while always playing a modest part its importance cannot be overestimated. The main things to be considered when selecting wall paper, alabastine, or paint, are soft colors and light tones. It is well to remember that it is impossible to build up a beautiful room against a bad background. When the arrangement is such that the interiors of two or more rooms may be seen at the same time, they should all have the same ceiling, wall and floor treatment, or they should harmonize very closely with each other. The woodwork in a room is so closely related to the walls that its color and tone must be considered in its bear- ing toward them, or a "jumping out" effect may follow. To avoid such an unrestful result the woodwork should be painted either the same as the wall, or one tone lighter or one tone darker. As an alternative it may be painted an- other color, but it should not be darker than the walls. Stained doors or woodwork against a light wall creates this "jumping" sensation and a feeling of heaviness. When walls are finished with "beaver board panelling" the furring strips should, unquestionably, be painted the same as the walls, otherwise the latter will be cut into distracting spaces. FLOORS North Carolina and Georgia yellow pine are popular woods for floors, because of their comparative low cost, durability, and ease of working. But oak, ash, and maple are harder, take a finer polish, and are more beautiful and last- ing. Of these, quartered oak is probably the most satisfac- tory in price, appearance, and wear. It is said on good authority, that the total cost of a hardwood floor, including the finish, is much less than the cost of covering the same INTERIOR DECORATION 13 area with good carpet. There can be no question of dur- ability. To finish hardwood floors, apply a paste filler; when dry give a coat of shellac. When the shellac has become hard the floor should be sandpapered and dusted off with a cotton cloth before applying a moderate amount of floor wax. Rub the wax well into the pores of the wood and allow it to "set" for about half an hour ; then polish with a weighted polishing brush, rubbing with the grain of the wood and then across it. An application of wax, followed by polishing, should be given once or twice a month to keep the floor in good condition. Under no circumstances should water be used. A dry soft mop is sufficient for cleaning. The same general process may be followed for finishing soft wood floors. But in preparing omit the filler and substi- tute white varnish for shellac, as the latter stains pine. Hardwood floors which have had rough usage may be restored by scouring them thoroughly with steel wool, using a little wood alcohol at the same time. After all the objec- tionable surface coat has been removed and the floor scraped, the foregoing process of finishing may be employed. When restoring an old floor deep stains may be bleached by using oxalic acid. Old floors, either hard or soft wood, if badly marked or worn may be stained, or painted with deck paint. If the cracks are very large they should be stopped with putty; otherwise the paste filler will be suffi- cient. If to be stained, prepare the floor by sweeping thorough- ly, then apply a thin coat of stain the desired color putting it on with a brush ; follow by a thin coat of white varnish. When dry rub vigorously with No. 1 sandpaper, and apply paste filler thinned and colored to match the stain. It should be rubbed well into the pores of the wood with a coarse cloth. Dust carefully, wax, and polish. Before a floor is painted, all previous paint, varnish, or 14 COLLEGE OF INDUSTRIAL ARTS other glossy finish must be taken off with a paint remover to prevent flaking. Hard wood should never be painted unless worn beyond redemption. The degree of polish on any kind of wood depends upon the amount of labor one is willing to put on it. Floor Coveeings. When selecting coverings the function, or use, of a floor must be considered. No ornamentation should be used in rugs or carpet which is not consistent with the idea of a level surface. They should not represent a flower garden, birds, or animals; but should be either entirely without pattern, except a border, or the design should be small and the colors nearly the same tone as the background; then background and pattern will appear to blend into one softened color. All large or "fussy" patterns and strong contrasts should be avoided, whether in oriental or American weaves. If the floor is finished in a lighter tone than the walls, they should be brought into value (light and dark) relation by using a darker rug which will harmonize with the latter. If two or more rugs are used care should be taken that they do not "spot" themselves against the light floor. To avoid this unrestful result, place them near enough to each other to give the impression of a mass instead of single rugs. Choose sizes which are not so alike that they will produce monotony, nor so unlike as to appear unrelated to each other. Rugs should always be laid parallel with the bounding lines of the room, not obliquely or cat-a-corner. The latter placement violates structural unity and disturbs restfulness. CURTAINS Curtains do not exist for their decorative quality alone. They must be so made and hung that they will perform the use for which they were brought into being ■ — that of regu- lating the amount of air and light, also that of securing INTERIOR DECORATION 15 ILLUSTRATION 3 A. Curtain mater- ial when spread out. Good distribution of pattern. ILLUSTRATION 3 B. Same curtain material when draped. Repetition is regular, giving good color "spotting." privacy. To this has gradually been added the decorative idea, which in many cases has been carried to such an ex- tent that elaborate draping has destroyed utility and sim- plicity. According to the underlying principles of "A More Simple and Restful Home" these two, utility and decoration, should go hand in hand. A thing cannot be simple and really restful without acquiring more or less beauty. The following suggestions may prove helpful when pur- 16 COLLEGE OF INDUSTRIAL ARTS chasing curtain material: a. To insure harmony between background and cur- tains it is important that the wall or rug color is repeated in the curtain material. b. Avoid realistic and highly colored floral, or mixed- up patterns. They are seldom good, and soon become tire- some; and a tiresome thing causes irritation. c. When selecting material, study the arrangement of the design when the goods is spread out. If the color is in harmony with the" room background and the pattern repeats in regular order, not at too great intervals it is good. III. 3 A. d. A further test should be made before the material is chosen. Drape it in folds and note whether the colors repeat regularly, in whole or in part, over and between the folds. (III. 3 b.) Personality is revealed very decidedly in the choice of curtain material. There cannot be a hard and fast rule for making and hanging curtains, but a few general suggestions may prove helpful. Thin unfigured curtains, such as net, marquesette, scrim, etc., look best with a gathered heading of about two inches at the top, and a casing beneath it wide enough to allow the rod to pass through. (III. 4 a.) If they are to be left loose at the bottom, they should be finished with a two-and-a-half, or three inch hem ; but if fastened by a rod they should be made alike at both ends and just long enough to cover the glass. Thin curtains should be hung as close to the window as its construction and efficient working will permit. (III. 5.) Each window, whether separate or in groups, should have two thin curtains, so hung that they may be conven- iently drawn back, leaving a free opening. While the privacy of the room must be provided for, the cnitlook must not be forgotten. Cretonne, chintz, English casement cloth, printed linen, tapestry, silk, velour, velvet, brocade, and damask are some CQ ^ n H « Eh w GO fl hJ 3 2; o < a CQ S3 JS ►J 3 if i ' ■ : r S>W^ X$ \ ■a s J3 - 13 _• to >> ■o 5 11 OS m ■• m 6 20 COLLEGE OF INDUSTRIAL ARTS of the materials which are used for heavy curtains; and most of them may be used for upholstery. A study should be made of the texture of material in relation to the other furnishings in the room, and consis- tency maintained. Try to feel the harmony of textures ; those which are suitable to use together in the same room, and that harmonize best with its function. Printed linen or a good quality of cretonne, tapestry, and oak feel "together" ; but heavy silk, damask, brocade, etc., seem to require a similar richness in the other articles in the room, to create fitness. Both heavy and thin curtains are better weighted. The former should be finished at the top with a hem about three inches deep, folded into box pleats caught at the bottom of the hem, forming what is called a "French heading." III. 4 B. This hem should be supported with some kind of stiffening. The bottom of the curtain should be finished with a hem three-and-a-half inches. If lining is used it should be left free at the bottom. Lining the color of the background of the material, or of the wall covering will prove most pleasing. If the window casing extends to the floor the cur- tains should be extended also; (Ills. 6, 7, 8, and 9) but in all other cases they should stop at the window sill. (Ills. 5 and 10.) Unless the window casing is exceptionally beautiful, the curtains should be hung to cover it (Ills. 5, 6, 7, 8, 9, and 10) ; otherwise a meaningless and uninteresting frame is left about the hangings. Unless rooms are furnished in strictly "period style" all curtains should hang straight with the window structure (Ills. 5, 6, 7, 8, 9, and 10) and not looped back with ribbon or cord and tassels. A valance or overhang will make a low room appear lower, and add width by its long horizontal lines. Proper color in curtains and lampshades is an impor- tant matter, as the whole effect of beautiful color in a room ■: ■* •'' ■ -i- ^^, y \4n ['yv^x.* *mmm m . .ItfCtei i^^jHi^r*^^-' i .J^:.£3tr ■-.:~*£'^-~ - O a t-1 rt 22 COLLEGE OF INDUSTRIAL ARTS may be changed and rendered disagreeable, by the light that niters through them. Light shining through yellow and the orange hues, will produce almost natural light which will "key" the furnishings and background together, giving a sunny and cheerful effect. On the other hand, the greens produce a cold light: and blue and violet a dim, muddy, un- pleasant result. Either a color shedding a pleasant hue over the room should predominate or the curtains should be rendered opaque by lining. It is much more satisfactory to test the effect of filtered light upon the room, before making a pur- chase. Curtains may be made the decorative feature in the room; in which case the other furnishings should be kept simple to avoid conflicting attractions and unrest. Ills. 6. 7, and 10. Or the furnishings may hold the interest and the cur- tains made subordinate. Ills. 8 and 9. All appliances necessary for hanging and keeping cur- tains in place should be hidden from view as much as pos- sible. Window shades are a necessary evil; but may be kept rolled up their full length except when in use. They should always show a light tone on the room side, and one color on all windows from the street. PICTURES A few pictures, if chosen for their soft harmonious coloring and interesting composition, will prove much more satisfying and restful than many, be they ever so valuable from a monetary viewpoint. Large pictures should conform in shape to the wall space in which they are to be hung (III. 8) ; while small pictures or photographs look best grouped close together so as to give the impression of one mass, not as individual spots, or of being splashed against the wall. 0> a) 55 ■Ss 24 COLLEGE OF INDUSTRIAL ARTS If so fortunate as to possess a number of good pictures, variety may be had by hanging a few at a time, and chang- ing them periodically, finally returning to the first lot. When hanging pictures use two wires running parallel with the vertical edges of the frame (not as in ILL. 11). Do not hang them too high (as in III. 11) ; the center of the picture should come about on the level of the eye. A large picture, though related to the wall space, looks more pleasing if placed above a large piece of furniture, or over a fireplace (III. 8). But a small picture is absolutely lost and lonesome if by itself on the wall. It should be hung above furniture, such as a small table and a couple of chairs, and near enough to them to form one of the group. The group may be more closely drawn together by placing candlesticks, or an ornament or bowl of fruit on the table, as shown in illustrations 7, 10, and 12. A few suggestions about frames may be to the point. Narrow frames in dull black finish will show Japanese prints to the best advantage. Wood frames, the same color and about as dark as the darkest value in the picture, are best for photographs. Water colors, or good colored prints look well in flat, dull gold, and sometimes in wood mouldings. The important thing is to avoid making the frame more attract- ive than the picture itself. FURNITURE AND ITS ARRANGEMENT Furniture is not good unless it is well made and is abundantly able to perform its work. It should be simple in outline and well proportioned: the chairs in illustration 11 are not good proportion, those in illustrations 7, 10, and 12 are better. It should be treated with a dull finish, and upholstered to harmonize with the room background. Curved and straight line furniture may be used together, if the for- mer is kept simple. There are a few general principles which will make it 26 COLLEGE OF INDUSTRIAL ARTS comparatively easy to obtain a pleasing and restful arrange- ment. The rule which is most frequently violated is the misplacement of leading articles of furniture; rugs, tables, sofas, pianos, bookcases, desks, dressers, and very large chairs should be placed to follow the bounding lines of the room, not cat-a-corner fashion. Chairs and other small ar- ticles may be placed less formally to lend variety as in illus- trations 8 and 9. This does not mean that everything must be against the wall, but that the large articles must follow the room structure, whether against, or away from, the wall, so that order and repose may be maintained. Ills. 6, 8, and 9. It is thinking of chairs and couches with people occupy- ing them ; and of tables, lamps, and books convenient for use, that provides inspiration for a happy grouping of furniture. Chairs should be grouped together, or near a couch for con- versation; while one or more may be placed against the wall so that they may be conveniently moved to a group when required. Therefore, if the purposes for which fur- niture may be used are keenly sensed the problem of inter- esting arrangement is almost solved. For example, a desk to be useful at all times must be supplied with good light, and should occupy a quiet place away from the groups that are conversing. Again, a table on which is a good lamp, and some interesting books or magazines will form an attractive center for the intellectual and industrious members of the family; hence chairs should be arranged conveniently about it. On the contrary, a table in the middle of a room without its friends (other appropriate articles) is a lonesome thing. There is a "human idea,"with many activities, closely con- nected with furniture arrangement. The next quality to be considered is balance, which is the principle of arrangement through which rest is ob- tained. It is by shifting furniture backward and forward until proper balance is obtained, that a growing apprecia- tion of its subtle power is felt. Begin by placing the larg- est, strongest, or most attractive article at, or nearest the ■ ■ill t ^i^^^J^^B t-U^EjJiuA-HJi^J^*... £ j j- | . - 1 1 t ' ! L^-~4l ;L:-_.,. T i ! i: „ >i ll ..' * Tj i" r '~ L_Jt _il Jj,.. _J 1 j T j 'I j] i ••■■' 1 ' ] . . 1 r ¥ t nr r is n 1 OS*""*' flfe- *" _J~'- •a- , ^to.-'-Mt"S. 1 ■ , 4 . ; w. -„.■_-_.„„.. ^— ~~~ -">.. ■'V ■H 7 3 a I -a o!« rt, »o !? 2 a g5" H 0) n < Is a a Sag Hgfl 28 COLLEGE OF INDUSTRIAL ARTS center ; then move the others back and forth, experimenting until a pleasing and restful result is obtained. When finished try to have the adjacent and opposite walls balance. In illustrations 7 and 10, the balance is mathematically per- fect; it is formal and dignified but quite uninteresting, ex- cept possibly for a dining room, a breakfast room, or hall. Illustrations 5, 6, and 12 give a much more pleasing and • "intimate" arrangement, which preserves the idea of bal- ance, rest, and interest. Sometimes it transpires that a large or heavy article may be balanced by some bright spot of color; or strong value (light and dark) contrast. For example, a small color- ful picture hung over a comparatively slender article of fur- niture; or a very dark contrasting value in some textile (al- though in small quantity) , will balance a larger picture less bright over a cabinet or piano. Again, a small brilliant spot of color may be balanced by one much larger and less bril- liant, if otherwise they are equally attractive. This demon- strates that it is not size, number, and weight of objects only, but also their power to attract the eye, which produces balance. To give repose, objects must have the same power to attract, whether by color, value, quantity, or size. Therefore, to obtain pleasing results, and to reflect her own personality, the homemaker must accustom herself to sense the relative attractive force of each of her household gods. The next significant element in furniture arrangement is Emphasis. Through this art principle attention is called to only such things as are important, and to these in the order of their importance. There is always some one thing that attracts the eye first, as a room is entered. It may be a beautiful piece of furniture; a pleasant spot of color; or interest- ing color or value contrast. On the contrary, it may be a distracting defect in architecture (III. 2 or the mantel and pictures in III. 11) ; a blemish on rug or wall INTERIOR DECORATION 29 paper ; a loud bit of color ; or unpleasant contrast that holds the attention. If it is a defect some means should be devised to correct or cover it, if possible. If it exists about the win- dow it may be covered, or rendered less noticeable, by the curtains ; or possibly by a coat of paint ; or an application of gasoline may prove effective. But if it will not "out," then it is the homemaker's problem to provide a pleasanter and stronger attraction in another part of the room, thus leading the eye away from the things she does not wish to empha- size to something pleasing that will hold the interest. A fireplace naturally becomes the center of interest in a living room and the place to be emphasized. Furniture should be grouped about it, not only to invite the eye, but the individ- ual to its cheerful hospitality. (III. 9.) This group must be made more tempting; soft beautiful color in orna- ments and shaded lamps and pictures should add their per- suasive power. It should be remembered that an over- loaded mantel can frustrate all efforts to make a beautiful room and instead render it a veritable eyesore. (III. 11.) But if there is no fireplace, then some attractive pic- ture, or fine, simple piece of furniture (or both) may be the spot around which to build emphasis and interest. (Ills. 7 and 10. The fruit emphasizes the breakfast table.) Thus it has been seen that the homemaker who leaves the "emphasis" in her room to accident, or is indifferent to its kindly aid, deprives herself of a valuable opportunity to express her own personality. It is evident that it is not so much the amount of money, but the amount of thought and effort, which is put in a home that counts. THE INDIVIDUAL ROOM AND ITS FUNCTION It is impossible to lay down a set rule for the furnish- ing of a home : therefore the fundamental principles, given 30 COLLEGE OF INDUSTRIAL ARTS above, must be worked out for the individual home by the in- dividual herself. The solution of the problem depending largely upon the function of the different rooms; their ex- posure, whether north, south, east, or west ; whether in the country or city ; in an apartment or a house ; its geographical situation ; and the personality of the individual. One would not furnish a home in Texas, Maine, and Norway after the same order, any more than a physician would prescribe the same treatment for "flu" and typhoid. If the room needs light, warmth, coolness, or quietness, the colors which give these qualities should be selected and combined with others that harmonize, to develop a well- balanced color scheme. The living-room is the most important room in the home. In it is lived the family life ; and ideals and character are formed. Therefore let the living-room have everything it needs to fulfill its function ; even at the expense of the rest of the house. As much has already been said about the living-room furnishings and arrangement, the dining-room will be the next consideration. The dining-room, the place where we eat, should have in it the things which will enable us to do so in comfort. Nothing should be here which does not contribute to that end. "A bright and cheerful environment when partaking of food," says the physician, "is a great aid to the digestion and has a rejuvenating result!" Everything must be spotless, all dust and "germ catchers" must go that the function of the room shall not be violated. There should be a dining-table sufficiently large to ac- commodate the household, it should be good in line and pro- portion, with chairs that harmonize. As family customs have radically changed since arm chairs first came into fash- ion for the host and hostess, it would seem as though this somewhat awkward member might give way to side chairs, especially in small rooms. There should be a serving table, INTERIOR DECORATION 31 a sideboard, simple in line and decoration and free from mir- rors; also other articles essential to the function of this room. As sociability centers around the dining-table it is un- doubtedly the essential to be emphasized. Furniture may be more formally arranged here than in the living-room. Hitherto, "collections" or pictures of fish and game have been foisted upon a much-abused dining-room, because they suggested the carnivorous habits of the human animal! It should be remembered that the pictures should harmonize with the wall-background and furnishings, and not with the menu. Many things crowded together, even though all are in- dividually good, produce unrest and prevent any one of them being effectively shown. Overcrowding is particularly fre- quent in the matter of cut glass, china, and silver; these should not be displayed except when in use. Quantities of these glittering objects on sideboards or serving-tables; or in cabinets with mirror background and glass shelves which reflect them, disturb rest and violate the idea of simplicity. A cabinet of pleasing lines and proportion may be made of beautiful wood where the contents are hidden by simply panelled or carved doors, thus providing a dignified and at- tractive "sanctuary" for these treasures. Of course the unsanitary and ugly plate-rail is tabooed. China should harmonize with the other table acces- sories, and not with the menu. Naturalistic designs of fish, fruit, birds, and flowers, swimming, flying, and sprawling over dishes is gross violation of good taste, and is unappe- tizing. Plain white china ; a simple band of dull gilt or color ; or a narrow conventional design around the edge of the dishes is good, and seems to strengthen their structure. It is never good to have the picture more important than the object it decorates. One good sized rug is best for the dining-room. In some cases it may be necessary to combine the living- 32 COLLEGE OF INDUSTRIAL ARTS room and dining-room; in which case one should endeavor to strike a happy medium, that the room may perform its double function in such a manner as to disturb, as little as possible, the idea of rest and comfort. As one acquires the habit of putting into practice these fundamental principles it will become "second nature" to choose the right things and to put them in their right places. The object for which the bedroom exists is to induce rest and sleep. This thought must be uppermost as the homemaker selects a quiet, restful color for the background. Pink and old-rose are not colors contributing to this end, as they are too irritating and may turn "nature's sweet re- storer" into a nightmare. Therefore, if used they should appear in only small quantities in curtains and ornaments. Keep the wall paper free from "spotty" patterns of any kind ; an absolutely plain paper is best. Remember that the selection of wall paper has nothing to do with fad or fashion, but everything to do with the restfulness of the bedroom. The amount of light the room receives will be a guide to the choice of color and tone. As the only essentials in the bedroom are those which induce rest and sleep, its background and furnishings should ex- press that idea. Curtain material which may be laundered is the most appropriate for this room, and should give a feeling of airi- ness and cleanliness. If it is suitable in color and design the curtain material may be repeated in the upholstery or bed spread; possibly in both if not overdone. However, there is nothing so restful as plain white, or blue and white spreads. (III. 5.) Hangings at doors should be arranged so as to allow easy passage and ventilation. One plain rug, with or without a border ; or two or more small ones are suitable for all rooms except the dining-room. Though the function of all bedrooms is identical, the man's room must be viewed from a man's angle. His per- INTERIOR DECORATION 33 sonality, interests, and pleasures differ widely from those of a woman. The dainty "frills" which she loves would prove a snare and a delusion to him. If desired, a somewhat darker background may be used in a man's room as dark color tones express masculine qual- ities. The colors should be neutral and the value contrasts in the furnishings should produce a deeper, stronger effect. The furniture should be larger, more severe in outline, and of natural wood with a dull finish, fainted furniture does not seem to possess the masculine quality. The easy chairs should be adapted in size and shape, higher and deeper in the seat, and altogether more roomy than the variety in- tended for a lady's room. Compare illustrations 5 and 6. The hall should be an index to the style of the whole house. Its function is to provide a passage from the out- side world into the home circle, and also from room to room. It should be simple, practical, and impersonal because it is used by so many people. It should partake of the dignity of the whole house and should be kept free from all objects which do not further its function. If the hall is dark and needs light, the walls should be covered with a grayed tone of one of the "light-giving" colors. But should it need "toning down," one of the cool hues should be used. As a rule, pictures and ornaments are out of place in the hall, therefore they should be used very sparingly. This room should not be used as a family cloak room; therefore, the wraps of those occupying the house should be kept elsewhere; however, hooks should be provided for the use of transient visitors. Whatever contrivance is provided for the accommoda- tion of wet umbrellas and muddy shoes it should be as little in evidence as possible ; because at the best it is a necessary evil. The rug should be a color which will not show foot- prints, such as a gray or light brown. 36 COLLEGE OP INDUSTRIAL ARTS A mirror seems to be one of the essentials; it should be of good glass, simply framed to harmonize with the room background and hung in a convenient place. If the size and shape of the room will permit without crowding a small table of simple lines and two chairs will add to its comfort. The mirror, chairs and table should form a group, and if possible should be arranged to balance some architectural feature. A combination hat-rack, mirror, seat, and umbrella stand is cumbersome and ugly. The hooks, placed above each other, interfere with clothes hang- ing upon them, and with dripping umbrellas in the umbrella section. The seat is generally requisitioned for a table and is never available for its intended use. The hall should not be crowded, but should be roomy, dignified, convenient and light. It is difficult to procure plain simple furnishings, but "Faint yet pursuing" must be the homemaker's slogan, until the producers discover that she knoivs what she wants and intends to wait until she finds it! REFURNISHING The problem of refurnishing is three-fold: 1. Discarding all useless and ugly things. 2. Arranging what remains to the best advantage. 3. Selecting new articles which will harmonize with these. The result desired should be the first consideration; then go to it. The very best effort should be centered on the family living-room, the aim of which should be to produce comfort and rest. It should be supplied with good natural and artificial light to conserve eyesight; good ventilation; and a number of comfortable chairs, couches, and tables fur- nished with shaded lights. (III. 13.) The battle begins when all that is useless and bad in design (Ills. 1 b and 11) or color must be dis- carded. Nothing should be left which does not contribute INTERIOR DECORATION 37 ILLUSTRATION 13. Lamps showing good lines. to the comfort and refinement of the family. Fad and fash- ion should have no place in the home, unless their products appeal to common sense, and beauty standards. Because furnishings cannot be changed every year or so, it will be wiser to put much thought on their selection, than to buy "in haste, only to repent at leisure." Among the treasures there may be some article of fur- niture, hangings, or a rug which will give the "key-note" to the color scheme; or possibly the selection may be made without reference to previous possessions, which is more simple. In either case the color scheme, background, cur- tains, furniture selection and arrangement, should be worked out in their relation to each other, and along the lines already set forth, toward the result desired. (III. 12.) Following are a few truisms, that, if taken to heart, will help the home to fulfill its function in the family and in the nation; which function is the development of the moral, physical, and intellectual in every occupant of the sixteen million homes in the United States: 1. The homemaker should exercise good judgment in every purchase made. There should be a use and a need 38 COLLEGE OP INDUSTRIAL ARTS for every article bought; also a definite place to put it. 2. Beauty is a necessity, not a luxury; therefore an object purchased for its beauty quality alone, is not an ex- travagance. 3. People become like the things in which they live; therefore it is an offense against one's self and against one's family to keep ugly things in the home. (Ills. 1 B and 11.) 4. An individual who has no knowledge or appreciation of beauty cannot make a beautiful home; therefore study to know and value Beauty. 5. There is no investment which gives larger dividends of beauty, than that put into a flower garden. Bring color and loveliness into the home by using cutfiowers, plants and ferns. A few flowers in a simple vase (III. 1 a) afford opportunity to enjoy their lovely shape as well as their color ; and a clear glass vase does not hide the attract- iveness of the stems. Artificial flowers used as a home decoration is only one more compromise with insincerity. We grow like our en- vironment. 6. Simplicity, sincerity, and restraint form the essen- tial qualities of Good Taste. 7. The influence of a home without personality is as undesirable as a person without character. 8. The homemaker should build up a comfortable and restful home as rapidly as finances will permit. EXTENSION SERVICE ADVISORY FACULTY COMMITTEE ON EXTENSION SERVICE F. M. Bralley, President of the College. Virginia M. Alexander, Director, Department of Fine and Applied Art. Lena Bumpas, Supervisor, Teacher-Training Vocational Home Economics. Margaret Gleason, Director, Department of Household Arts. Mamie W. Walker, Assistant Professor, Department of English. A STAFF OF COMPETENT LECTURERS AND EXTENSION WORKERS FROM THE REGULAR FACULTY Requests for Extension Service should be addressed to Lillian Humphries, Secretary, Department of Extension, College of Industrial Arts, Denton, Texas. I II IS IJ I