Ashtabula weekly telegraph. (Ashtabula, Ohio) 1880-1886, 1880-11-05

and wraps. A door opens in the vestibule
staircase, disclosing a mirror ut the foot
and side of the stairs, which, like all the
woodwork In the house, are Of ash. The
stairs are rectangular, with landings fn-
ished TO present the appearance Of ar
caded galleries. The drawing-room is
in the Queen Anne style. The ceiling is
paneled in ash, with mahogany mold
ings The floor is of black walnut, with
a border Of cherry wood. Turkish rugs
cover, but do not hide, the beautiful eff
feet Of the dark flooring. Opposite the
door is a dainty cabinet of exquisitely
carved oak, finished with plate-glass
doors and a mirrored back, rejecting
the bric-a-brac on its shelves. The
mantelpiece is a marvel of light and airy
oak carving. The fireplace is finished
with tile enameled in turquoise colors.
A triangular projection finishes the
other end of the drawinp-room. In the
niche at one side is statue of Daphne,
in the other is door opening into the
staircase.
The library contains on one side of
the door q shelved recess filed with old
china and rare knick-knacks. A low
mantelpiece, in contradistinction to the
high one in the drawing-room, is also of
carved wood and inclosed with tiled
hearth. Bookcases of finely carved
French walnut, with sofas and chairs of
the same'wood, covered with rich clar-
ct colored upholstery, and Turkish
rug, gorgeous in Oriental tints, light up
the room, which has stained glass
window opening into the hall, while an
other Of plate glass, in the triangular
projection which ends the library, opens
into the dining-room. The doors of
this house all fit back in their sockets
a great economy of space and a practi-
cal exemplifcation of the eternal fitness
of things.
The walls and ceilings of the dining
room, charming octagonal apartment,
are entirely of ash, with the exception
of the small space usually occupied by
cornices. The room is large-twenty-
eight feet by sixteen-another triangu-
lar bay window is at one end the middle
compartment contains radiator, with
an ornamental screen of tiles and brass.
The panels on two sides of the room are
large enough to contain family por-
traits. Curtains of pongee silk have
finely embroidered bands and are at
tached to a rod fitting in the window
socket. Above this, as above all the
windows and openings on that floor, are
arcaded transom lights. On the side of
the room is a high, exquisitely carved
buffet of French wood, such as was
fashionable during the early Renais-
sance. The high-back chairs of the
same style, covered with imitation tap
estry, and a massive sideboard, over
which the sun streams in through a
stained glass window, are in excellent
keeping. The mantelpiece is low, with
a mirror reaching to the ceiling. Tiles
of English enamel, with ventilator on
one side and register on the other,
finish hearth whose brass andirons are
matched by the brass clock and orna-
ments above it,
1t would be impossible to describe all
the salient points of one of the most
unique and artistic houses in New York.
1t is a dwelling where one would not be
surprised TO see little Penelope Boothby
sitting in her quaint, demure style. In
this Queen Anne house, so Gothic in its
finish that the very chandeliers and side
lights are ecclesiastical, one expects the
door might open into private chapel.
The Hour.