It is almost imperative that the woodwork and walls should have the same finish throughout the apartment, unless you wish to find yourself living in a crazy-quilt of unfriendly colors. I have seen four room apartments in which every room had a different wall paper and different woodwork.

The "parlor" was papered with poisonous-looking green paper, with imitation mahogany woodwork; the dining-room had walls covered with red burlap and near-oak woodwork; the bedroom was done in pink satin finished paper and bird's-eye maple woodwork, and the kitchen was bilious as to woodwork, with bleak gray walls. Could anything be more mistaken?

You can make the most commonplace rooms livable if you will paint all your woodwork cream, or gray, or sage green, and cover your walls with a paper of very much the same tone. Real hard wood trim isn't used in ordinary apartments, so why not do away with the badly-grained imitation and paint it? You can look through thousands of samples of wall papers, and you will finally have to admit that there is nothing better for every day living than a deep cream, a misty gray, a tan or a buff paper.

You may have a certain license in the papering of your bedrooms, of course, but the living-rooms--hall, dining-room, living-room, drawing-room, and so forth--should be pulled together with walls of one color. In no other way can you achieve an effect of s.p.a.ciousness--and s.p.a.ciousness is the thing of all other things most desirable in the crowded city. You must have a place where you can breathe and fling your arms about!

When you have it really ready for furnishing, get the essentials first; do with a bed and a chest of drawers and a table and a few chairs, and add things gradually, as the rooms call for them.

Make the best of the opportunities offered for built-in furniture before you buy another thing. If you have a built-in china closet in your dining-room, you can plan a graceful built-in console-table to serve as a buffet or serving-table, and you will require only a good table--not too heavily built--and a few chairs for this room. There is rarely a room that would not be improved by built-in shelves and inset mirrors.

Of course, I do not advise you to spend a lot of money on someone else's property, but why not look the matter squarely in the face? This is to be your home. You will find a number of things that annoy you--life in any city furnishes annoyances. But if you have one or two reasonably large rooms, plenty of light and air, and respectable surroundings, make up your mind that you will not move every year. That you will make a home of this place, and then go ahead and _treat_ it as a home! If a certain recess in the wall suggests bookshelves, don't grudge the few dollars necessary to have the bookshelves built in! You can probably have them built so that they can be removed, on that far day when this apartment is no longer your home, and if you have a dreadful wall paper don't hide behind the silly plea that the landlord will not change it.

Go without a new gown, if necessary, and pay for the paper yourself.

Few apartments have fireplaces, and if you are fortunate enough to find one with a real fireplace and a simple mantel shelf you will be far on the way toward making a home of your group of rooms. Of course your apartment is heated by steam, or hot air, or something, but an open fire of coal or wood will be very pleasant on chilly days, and more important still your home will have a point of departure--the Hearth.

If the mantel shelf is surmounted by one of those dreadful monstrosities made up of gingerbread woodwork and distressing bits of mirrors, convince your landlord that it will not be injured in the removing, and store it during your residence here. Have the s.p.a.ce above the mantel papered like the rest of the walls, and hang one good picture, or a good mirror, or some such thing above your mantel shelf, and you will have offered up your homage to the Spirit of the Hearth.

When you do begin to buy furniture, buy compactly, buy carefully.

Remember that you will not require the furniture your mother had in a sixteen-room house. You will have no hall or piazza furnishings to buy, for instance, and therefore you many put a little more into your living-room things. The living-room is the nucleus of the modern apartment. Sometimes it is studio, living-room and dining-room in one.

Sometimes living-room, library and guest-room, by the grace of a comfortable sleeping-couch and a certain amount of drawer or closet s.p.a.ce. At any rate, it will be more surely a living-room than a similar room in a large house, and therefore everything in it should count for something. Do not admit an unnecessary rug, or chair, or picture, lest you lose the s.p.a.ciousness, the dignity of the room. An over-stuffed chair will fill a room more obviously than a grand piano--if the piano is properly, and the chair improperly placed.

In one of the ill.u.s.trations of this chapter you will observe a small sitting-room in which there are dozens of things, and yet the effect is quiet and uncrowded. The secretary against the plain wall serves as a cabinet for the display of a small collection of fine old china, and the drawers serve the chance guest--for while this is library and sitting-room, it has a most comfortable couch bed, and may be used as a guest-room as well.

[Ill.u.s.tration: A CORNER OF MY OWN BOUDOIR]

The bookshelves are built high on each side of the mantel and between the windows, thus giving shelf room to a goodly collection of books, with no appearance of heaviness. The writing-table is placed at right angles to the windows, so that the light may fall on the writer's left shoulder. There is a couch bed--over three feet wide, in this room, with frame and mattress and pillows covered in a dark brocaded stuff, and a fireside chair, a small chair at the head of the couch and a low stool all covered with the same fabric. It really isn't a large room, and yet it abundantly fills a dozen needs.

I think it unwise to try to work out a cut-and-dried color plan in a small apartment. If your floors and walls are neutral in tone you can introduce dozens of soft colors into your rooms.

Don't buy ma.s.sive furniture for your apartment! Remember that a few good chairs of willow will be less expensive and more decorative than the heavy, stuffy chairs usually chosen by inexperienced people. Indeed, I think one big arm chair, preferably of the wing variety, is the only big chair you will require in the living-room. A fireside chair is like a grandfather's clock; it gives so much dignity to a room that it is worth a dozen inferior things. Suppose you have a wing chair covered with dull-toned corduroy, or linen, or chintz; a large willow chair with a basket pocket for magazines or your sewing things; a stool or so of wood, with rush or cane seats; and a straight chair or so--perhaps a painted Windsor chair, or a rush-bottomed mahogany chair, or a low-back chair of brown oak--depending on the main furniture of the room, of course. You won't need anything more, unless you have s.p.a.ce for a comfortable couch.

If you have mahogany things, you will require a little mahogany table at the head of the couch to hold a reading-lamp--a sewing-table would be excellent. A pie-crust or turn top table for tea, or possibly a "nest"

of three small mahogany tables. A writing table or book table built on very simple lines will be needed also. If you happen to have a conventional writing-desk, a gate-leg table would be charming for books and things.

The wing chair and willow chairs, and the hour-gla.s.s Chinese chairs, will go beautifully with mahogany things or with oak things. If most of your furniture is to be oak, be sure and select well-made pieces stained a soft brown and waxed. Oak furniture is delightful when it isn't too heavy. A large gate-leg table of dark brown oak is one of the most beautiful tables in the world. With it you would need a bench of oak, with cane or rush seat; a small octagonal, or b.u.t.terfly oak table for your couch end, and one or two Windsor chairs. Oak demands simple, wholesome surroundings, just as mahogany permits a certain feminine elegance. Oak furniture invites printed linens and books and bra.s.s and copper and pewter and gay china. While mahogany may be successfully used with such things, it may also be used with brocade and fragile china and carved chairs.

Use chintzes in your apartment, if you wish, but do not risk the light ones in living-rooms. A chintz or printed linen of some good design on a ground of mauve, blue, gray or black will decorate your apartment adequately, if you make straight side curtains of it, and cover one chair and possibly a stool with it. Don't carry it too far. If your rooms are small, have your side curtains of coa.r.s.e linen or raw silk in dull blue, orange, brown, or whatever color you choose as the key color of your room, and then select a dark chintz with your chosen color dominant in its design, and cover your one big chair with that.

The apartment hall is most difficult, usually long and narrow and uninteresting. Don't try to have furniture in a hall of this kind. A small table near the front door, a good tile for umbrellas, etc., a good mirror--that is all. Perhaps a place for coats and hats, but some halls are too narrow for a card table.

The apartment with a dining-room entirely separated from the living-room is very unusual, therefore I am hoping that you will apply all that I have said about the treatment of your living-room to your dining-room as well. People who live in apartments are very foolish if they cut off a room so little used as a dining-room and furnish it as if it belonged to a huge house. Why not make it a dining-and book-room, using the big table for reading, between meals, and having your bookshelves so built that they will be in harmony with your china shelves? Keep all your gla.s.s and silver and china in the kitchen, or butler's pantry, and display only the excellent things--the old china, the pewter tankard, the bra.s.s caddy, and so forth,--in the dining-room.

However, if you have a real dining-room in your apartment, do try to have chairs that will be comfortable, for you can't afford to have uncomfortable things in so small a s.p.a.ce! Windsor chairs and rush bottom chairs are best of all for a simple dining-room, I think, though the revival of painted furniture has brought about a new interest in the old flare-back chairs, painted with dull, soft colored posies on a ground of dull green or gray or black. These chairs would be charming in a small cottage dining-room, but they might not "wear well" in a city apartment.

[Ill.u.s.tration: BUILT-IN BOOKSHELVES IN A SMALL ROOM]

If your apartment has two small bedrooms, why not use one of them for two single beds, with a night stand between, and the other for a dressing-room? Apartment bedrooms are usually small, but charming furniture may be bought for small rooms. Single beds of mahogany with slender posts; beds of painted wood with inset panels of cane; white iron beds, wooden beds painted with quaint designs on a ground of some soft color--all these are excellent for small rooms. It goes without saying that a small bedroom should have plain walls, papered or painted in some soft color. Flowered papers, no matter how delightful they may be, make a small room seem smaller. Self-toned striped papers and the "gingham" papers are sometimes very good. The nicest thing about such modest walls is that you can use gay chintz with them successfully.

Use your bedrooms as sleeping-and dressing-rooms, and nothing more. Do not keep your sewing things there--a big sewing-basket will add to the homelike quality of your living-room. Keep the bedroom floor bare, except for a bedside rug, and possibly one or two other rugs. This, of course, does not apply to the large bedroom--I am prescribing for the usual small one. Place your bed against the side wall, so that the morning light will not be directly in your eyes. A folding screen covered with chintz or linen will prove a G.o.d-send.

Perhaps you will have a guest-room, but I doubt it. Most women find it more satisfactory and less expensive to send their guests to a nearby hotel than to keep an extra room for a guest. The guest room is impractical in a small apartment, but you can arrange to take care of an over-night guest by planning your living-room wisely.

As for the kitchen--that is another story. It is impossible to go into that subject. And anyway, you will find the essentials supplied for you by the landlord. You won't need my advice when you need a broom or a coffee pot or a saucepan--you'll go buy it!

XVII

REPRODUCTIONS OF ANTIQUE FURNITURE AND OBJECTS OF ART

One must have preserved many nave illusions if one may believe in all the "antiques" that are offered in the marketplaces of the world to-day.

Even the greatest connoisseurs are caught napping sometimes, as in the case of the famous crown supposedly dating to the Fifth Century, B.C., which was for a brief period one of the treasures of the Louvre. Its origin was finally discovered, and great was the outcry! It had been traced to a Viennese artisan, a worker in the arts and crafts.

[Ill.u.s.tration: MRS. C.W. HARKNESS'S CABINET FOR _OBJETS D'ART_]

Surely, if the great men of the Louvre could be so deceived it is obvious that the amateur collector has little chance at the hands of the dealers in old furniture and other objects of art. Fortunately, the greatest dealers are quite honest. They tell you frankly if the old chair you covet is really old, if it has been partially restored, or if it is a copy, and they charge you accordingly. At these dealers a small table of the Louis XVI period, or a single chair covered in the original tapestry, may cost as much as a man in modest circ.u.mstances would spend on his whole house. Almost everything outside these princely shops (salons is a better word) is false, or atrociously restored. Please remember I am not referring to reputable dealers, but to the smaller fry, whose name is legion, in whose shops the unwary seeker after bargains is sure to be taken in.

Italy is, I think, the greatest workshop of fraudulent reproductions. It has an output that all Europe and America can never exhaust. Little children on the streets of Naples still find simpletons of ardent faith who will buy sc.r.a.ps of old plaster and bits of paving stones that are alleged to have been excavated in Pompeii.

In writing about antiques it is not easy to be consistent, and any general conclusion is impossible. Certain reproductions are objectionable, and yet they are certainly better than poor originals, after all. The simplest advice is the best and easiest to follow: The less a copy suggests an attempt at "artistic reproduction," the more literal and mechanical it is in its copy of the original, the better it is. A good photograph of a fine old painting is superior to the average copy in oils or watercolors. A chair honestly copied from a worm eaten original is better for domestic purpose than the original. The original, the moment its usefulness is past, belongs in a museum. A plaster cast of a great bust is better than the same object copied in marble or bronze by an average sculptor. And so it goes. Think it out for yourself.

It may be argued that the budding collector is as happy with a false object and a fake bauble as if he possessed the real thing, and therefore it were better to leave him to his illusions; that it is his own fault; that it is so much the worse for him if he is deceived.

But--you can't leave the innocent lamb to the slaughter, if you can give him a helping hand. If he must be a collector, let him be first a collector of the many excellent books now published on old furniture, china, rugs, pewter, silver, prints, the things that will come his way.

You can't begin collecting one thing without developing an enthusiasm for the contemporary things. Let him study the museum collections, visit the private collections, consult recognized experts. If he is serious, he will gradually acquire the intuition of knowing the genuine from the false, the worth-while from the worthless, and once he has that knowledge, instinct, call it what you will, he can never be satisfied with imitations.

The collection and a.s.sociation of antiques and reproductions should be determined by the collector's sense of fitness, it seems to me. Every man should depend on whatever instinct for rightness, for suitability, he may possess. If he finds that he dare not risk his individual opinion, then let him be content with the things he _knows_ to be both beautiful and useful, and leave the subtler decisions for someone else.

For instance, there are certain objects that are obviously the better for age, the objects that are softened and refined by a bloom that comes from usage.

An old rug has a softness that a new one cannot imitate. An old copper kettle has an uneven quality that has come from years of use. A new kettle may be quite as useful, but age has given the old one a certain quality that hanging and pounding cannot reproduce. A pewter platter that has been used for generations is dulled and softened to a glow that a new platter cannot rival.

What charm is to a woman, the vague thing called quality is to an object of art. We feel it, though we may not be able to explain it. An old Etruscan jar may be reproduced in form, but it would be silly to attempt the reproduction of the crudenesses that gave the old jar its real beauty. In short, objects that depend on form and fine workmanship for their beauty may be successfully reproduced, but objects that depend on imperfections of workmanship, on the crudeness of primitive fabrics, on the fading of vegetable dyes, on the bloom that age alone can give, should not be imitated. We may introduce a reproduction of a fine bust into our rooms, but an imitation of a Persian tile or a Venetian vase is absurd on the face of it.

The antiques the average American householder is interested in are the old mahogany, oak and walnut things that stand for the oldest period of our own particular history. It is only the wealthy collector who goes abroad and buys ma.s.ses of old European furniture, real or sham, who is concerned with the merits and demerits of French and Italian furniture.

The native problem is the so-called Colonial mahogany that is always alleged to be Chippendale or Heppelwhite, or Sheraton, regardless! There must be thousands of these alleged antiques in New York shops alone!

It goes without saying that only a very small part of it can be really old. As for it having been made by the men whose names it bears, that is something no reputable dealer would affirm. The Chippendales, father, son and grandson, published books of designs which were used by all the furniture-makers of their day.

No one can swear to a piece of furniture having been made in the workshops of the Chippendales. Even the pieces in the Metropolitan Museum are marked "Chippendale Style" or "In the Sheraton manner," or some such way. If the furniture is in the style of these makers, and if it is really old, you will pay a small fortune for it. But even then you cannot hope to get more than you pay for, and you would be very silly to pay for a name! After all, Chippendale is a sort of G.o.d among amateur collectors of American furniture, but among more seasoned collectors he is not by any means placed first. He adapted and borrowed and produced some wonderful things, but he also produced some monstrosities, as you will see if you visit the English museums.

Why then lend yourself to possible deception? Why pay for names when museums are unable to buy them? If your object is to furnish your home suitably, what need have you of antiques?

The serious amateur will fight shy of miracles. If he admires the beauty of line of a fine old Heppelwhite bed or Sheraton sideboard, he will have reproductions made by an expert cabinet-maker. The new piece will not have the soft darkness of the old, but the owner will be planning that soft darkness for his grandchildren, and in the meantime he will have a beautiful thing to live with. The age of a piece of furniture is of great value to a museum, but for domestic purposes, use and beauty will do. How fine your home will be if all the things within it have those qualities!

Look through the photographs shown on these pages: there are many old chairs and tables, but there are more new ones. I am not one of these decorators who insist on originals. I believe good reproductions are more valuable than feeble originals, unless you are buying your furniture as a speculation. You can buy a reproduction of a Chippendale ladder back chair for about twenty-five dollars, but an original chair would cost at least a hundred and fifty, and then it would be "in the style and period of Chippendale." It might amuse you to ask the curator of one of the British museums the price of one of the Chippendales _by_ Chippendale. It would buy you a tidy little acreage. Stuart and Cromwellian chairs are being more and more reproduced. These chairs are made of oak, the Stuart ones with seats and backs of cane, the Cromwellian ones with seats and backs of tapestry, needlework, corded velvet, or some such handsome fabric. These reproductions may be had at from twenty-five to seventy-five dollars each. Of course, the cost of the Cromwellian chairs might be greatly increased by expensive coverings.

There is a graceful Louis XV sofa in the Pet.i.t Trianon that I have copied many times. The copy is as beautiful as the original, because this sort of furniture depends upon exquisite design and perfect workmanship for its beauty. It is possible that a modern craftsman might not have achieved so graceful a design, but the perfection of his workmanship cannot be gainsaid. The frame of the sofa must be carved and then painted and guilded many times before it is ready for the brocade covering, and the cost of three hundred dollars for the finished sofa is not too much. The original could not be purchased at any price.