St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1890-05-07

IN CdrNlDG ana OecOTdtlOls Nol1ilis
rude or Symb0lical or of oppressive
dignity should disturb its pleasant
qualities. Perfection of handiWork.
daintineSs of design, harmony of color
ing are necessary requirements; mean
while everything must be modest and
unobtrusive, for the room is, above all
things, frame, so to speak, and 1t
must be studied so as to set off its IN
mates and not OvershadOw them by its
gorgeouSneSS.
Being an evening room essentially, us
coors should be such as light up we'll,
and cream and white and gold are more
allowable here than elsewhere. Curios
and bric-a-brac belong here, If any
where, but confusion and oVercrowdlng
are in the worst possible taste. The
furniture should be light and graceful;
the draperies should be of sutfI colOrS
and textures as to reflect instead Of aD-
sorb the light, and the light itself should
be soft aud bright.
The Woodwork and Floor.
The woodwork throughout may APP
proprlately be of old ivory colors, picked
out with gold if desired, OF with soft
yellowish brown which perhaps carries
out better than the gold the effect of the
old ivory. The panels of wall space
with this wood look we'll in pale yellow
velvet paper, the frieze above in white
with gold stenciling; the ceiling OF
white and gold, with cotferings OF old
ivory wood and gold. The floor of low
toned sienna mosaic. covered with a
large brown and yellow rug, into which
is introduced for the sake of accent
little peacock blue. The windows are
filled with amber glass and pale blue
BULBS eyes.
In the way of furniture there is a de-
cided tendency toward furniture of
wood, without upholstery, except loose,
removable cushions of plush or bro
cade. In all ideal cottage just furnished
for a family of wealth, refinement and
undoubted good taste, there is not one
single piece of upholstered furniture, it
all being wood, in the natural color or
painted. That in the drawing room is
of the plainest description. and is OF
wood painted in old ivory, picked out
with dull gold red, with dark gold plush
cushions. All of the hangings are in
shadow Silks" in which yellow pre-
dominates. The paper in this little par
lor is pale yellow cartridge paper, with
yellow gold ceiling, while an archWay
that forms
A Cozy Corner
is prepared with very dark blue cart
ridge paper on the walls and brilliant
yellow in arabesque patterns Oh the cell
ing, which is carried down the walls to
depth of three feet.
The dining room is in Pompeiian red
cartridge paper, with an indistinct
figure in different shade. The library
is in Pompeiian red cartridge paper,
without figures, and has very pale yell
low ceiling in Japanese paper. In
neither of these rooms is there any up
holstered furniture, although the library
abounds In cushions, and is luxurious
| in draperies.
So great is the variety in style, color
and price of wall papers that it would
seem every taste might be gratified,
| however meager the limits of the purse.
| Some Of the handSomeSt designs in
wall coverings are shown in the cheaper
papers. A lotos pattern, with the large
| lily-like flowers and rounded leaves in
two tones of soft blue. or of yellowish
olive, are remarkably successful. A
width of it makes an excellent
| freiZe for plain, blue gray
wall paper, and, with wood
work and hangings to correspond
with the prevailing tint, would make
| one of those simple yet charming eX-
teriors which Mr.. Whistler first intro
duced. Other patterns in the same style
| show large groups OF roses and other
| flowers in simple combinations of color.
| Eighteenth century arabesque designs
are also produced in this kind Of paper.
| Some rocco designs, with the scrolls in
| relief and touched with gold, and the
GIln1 tn in
contrasting de6lgn.are also TO be seen.
They are very appropriate for a draw
| ing room of medium size. Some of the
new satiny mica papers, which have a
sheen fairly comparable with the best
! Lyons wall textiles, are sometimes used
with felt surface in stripes, or in bold
| Greek or Gothic borders, with good eff
| feet. There is great danger in choosing
wall papers of getting too much pat
tern. A safe selection is the plain
cartridge or ingram paper with tiorl-
ated or figured freZe.
A New withdrawing.
Where strong yet sober effect in
wall-haugings is to be produced there
has been up to the present nothing to
compete with the stamped and illumi-
mated leather. and these are excessively
dear. To produce substitute which
should have the pliability and the
| pleasant simmer of leather has long
been puzzle to inventors, but the
problem seems to have been solved by a
firm of manufacturers with special
quality of paper that takes sharp i'm
preston in relief, which when overlaid
with white metal in leaves and again
toned with some warm-colored translus-
cid varnish has all the artistic qualities
desired. 1t is also permanent. and does
not tarnish as bronze does, and
has nothing Of that unpleasant, gritty
look that bronze powders always give.
The varnishes employed are dull Grim
son, reddish brown, indigo, old gold,
etc.; the patterns are large Renaissance
and rocco designs, admirably con.
trived to avoid glare any point of the
wall surface.
But all wall hangings of the finer
sorts have powerful competitor in the
new Tynecastle canvas. This is an
| embossed wall decoration, having the