Evening star. [volume] (Washington, D.C.) 1854-1972, 1889-03-23
tCOpyrignt. 1881

housewife was for long time the genius Of our
decoration and prescribed dark gilt and brown
walls and grained woods because they did not
show dirt Bat the new era of wealth has de-
posed the American housewife, bought more
pals and brooms and engaged men servants.
Prom the style bourgeois it was not surpris-
Ing that we so rapidly swung into the style
bric-a-brac. This directly due to the incur
sion of Queen Anne architecture, as we fondly
believed it, and in which novelty and unex-
pectedness were held to be the most desirable
qualities. The doors at last seemed to swing
open TO something altogether independent and
original. and the most sanguine received as
suTances that We were on the eve of an Ameri-
can style or school of decoration that would be
indigenous and as estlmable as to the potato.
Tins assurance has not been met The ex-
travagances and eccentricities that were merely
personal. not national. were soon spent Re-
stralnt and repose have succeeded to restless
Ness and are well-marked characteristics of the
test that Is now doing in decorative interiors.
Architects and decorators base their work on
Well-kuOwn and accepted STYLES In these they
work more or less freely and with more or less
appreciation vi how they can be adapted to our
needs.
FRENCH STYLES.
Fashion has for the moment dictated the d.
reeilon IN which they work. The preference
for the French styles of the eighteenth century
Is too marked 10 require anything beyond the
statement that Louis Seize Louis Quinze and
GrSt empire are household words. 1t Is not the
hrst time that fashion has had an opportunity
10 Justify her commands some thing more
RATIONAL than caprice. There is in French
styles certain Gallo pIquancy to which We are
related. for the American of to-day is not the
same man who came over in the Mayfower or
sailed up the James. Moreover. in the most
popular of these styles-LOuis XVI-there Is
81
mands our respect They suit our climate. and
measurably our later manner of building. They
adapt easily To our needs. They may be treated
simply, well as with great elegance, and can
be used with economy as well as be made the
vehicle Of the greatest luxury. Preceding this
the only example of Louis XIII decoration is
the dinIng-rOOm Of Mrs. Bradley Martin.
or LOUIS XIV DECORATION
there are but two or three examples in this
country. What has been hastily called the
Louis NV room in the house of Mrs Wm H.
Vanderbilt Is not that in fact the decoration
being distinctly modern and an entirely origi-
nal application of ornament. herteresque. so to
speak The expense OF carrying out the luxu-
nance OF rOccOcO ornament Is necessarily very
great, as 1t must be done almost entirely BY
hand. Mrs. Robert l.. Stuart has a drawing
room in which the details are taken from the
ornament of that period. but no effort was
made TO provide Tor q characteristic Louis XIV
room.
The only conspicuous example Of Louis XIV
styles of which | have any knowledge is the
drawing-rOOm of Mrs Potter Palmer, of Chi
cagO. The room Is walnscoted and the walls
divided by the pilasters, doors, and windows
into appropriate panels. These are filed with
plnklsh-hued brOcade, with borders of embroid-
cred green velvet The pilasters, all the
wood OF the room, are deliberately carved in the
accumulated rich forms peculiar to Louis NV
decoration. and these are enameled in white
and gold. The ceiling is divided into medal
hons. which make in turn part of the frame for
the central panel. This is filed with a mytho-
logical subject. painted for Mrs. Palmer in
Paris, and the medallions also contain paint
Ings. The lighting of the room makes unique
feature of the ceiling. 1t Is accomplished bv
electric lights concealed in cOlOred cups sunk
IN the wood and In flowers of cOlOred glass sus-
pended by threads from the ceiling and max
ing part of It's design. A beautiful detail of the
room Is the mantel of ONYX. richly carved and
above II "A mirror deliberately framed. The fur
mture Is constructed after the models of the
period. and Is covered with pink brocade and
green embroidered velvet. A parauet floor and
rich rugs complete the room.
THE vANDERBILr ROOM.
The drawing-room Of Mrs. " h. Vanderbilt
was the first of long procession of beautiful
rooms inspired by it. The woodwork was i'm
ported from an old dismantled French chateau.
l. il of oak and has its rich ornament cut in the
solid panels. The quality OF the wood itself
gives II dignity. for almost all our modern work
III kind Is III pine. the ornament being modelled
III composition and applied. The joinery of the
work has been admirably done. but warps and
cracks still testify to Its long and honorable
descent.
The ornament marks the transition between
Louis Mn and Louis XIV STYLES: the heavy.
flowing. continuous forms are interrupted bv
the straight lines that form the panels The
woodwork Il disposed in the form Of a dado.
and the windows. doors and pilasters divide the
wall space into eight panels. Seven of these
Llicd with old gObelin tapestry. after
boucher. IN tiHts OF pale rose, blue and green.
that chime in with the lively cream and gold
" the wood. In the eighth panel is a full
lcng.u portrait OF Mrs. Vanderbilt. by Madrazo.
which Keys IN happily with the rest of the room.
although under more strict ruling. the portrait.
IS piece Of decoration in u Louis XE room.
would have been Outlawed.
CoSTRONTING THIS PORTRAIT
y marble mantel. OVERLAND with figures in Gilt
bronze. modelled from the STYLES of the period.
and above it. framed in the same manner. is a
mirror. The ceiling Is divided in the usual
mauner into circles and ellipses. connected with
outer squares and forming deep panels. These
'untiHe 70 form framework for the great
litudry painting. The Apotheosis Of Fame IS
Nh.,u hiis an elhptIcal frame almost the length
81 tn room Tins panel Is ON canvas and ma
been placed on a stTrtcher with such ingenious
iHecl'ni,I contriyances that in case of fire il
++--F - t't+' -4f ifAioNtu. Inc QOOF5 all
uuJoir the long. straight panels being without
ornament and simply finished III cream and
gold Inc handles have been specially de
signed. and attached to them are bolts of steel
That run up and down. and when the door is
shut catch IN the frame and floor. The floor Of
Inls.Id woods comes from Paris. and the furni-
turr. made Of p.Ee IN the forms of the period
are finished IN cream and gold and covered
With old tapestries and brUcades The win
dpws. which complete the room. for the furni-
turr and decoration require no other accesso-
I.cs. swing IN the French fashion on steel
france. and are filled IN with geometricaI
forms defined by the leads.
TWO NOTABLE ROOMS.
The drawing rooms of Mrs. Ogden Goelet
and Mrs. Cornelius Vanderbilt were originally
decorated in the more personal manner alluded
~. but Welded 10 the dignity and propriety Of
. declared STYLE.
Mr.. Cornelius Vanderbilts drawing room j.
made from the sPOils Of an old chateau. 1t i,
paneled IN old oak, the ground being painted
water green tint. and the graceful ornament
picked out in white. The mOldng il in dead
gold and makes a most effective frame for the
panels. Above each panel is a medallion will
carving in relief. The ceiling panel Is paint
ing. il Is said. by Huet. The subject is. Of
course. ailegOrlcal-a beautiful woman in
tIiumphal car drawn by Cupids wreathed IL
roses The man:el Is of marble overland viii
metal and surrounded by a mirror. The room
Il IN fact brilliant with mirrors rejecting il,
beauty at every turn The furniture is gilt
covered with salmon tinted byocade embroid
al Ill