Kansas City daily journal., 1897-02-07
GOod-By.

GOod-By.
we say It for an hour or for years;
We say il coldly, say il with a kiss,
And yet we have no other wcrd than this:
Good-by.
We have no dearer word for our hearts
For him who journeys to the worlds far
And scars our soul with going; thus we
And unto him who steps but o'er the way:
Good-by.
Allie TO those we love and those we hate,
We say no more in parting. At iife's gate,
TO him who passed out beyond earth's
We cry as to the wanderer for night:
Good-by.
The doors and doorways in modern hous-
es call for d great deal of consideration. In
creasiug love of artistic decoration has
awakened a dislike TO all blank, fiat Sur
faces with rigid and formal lines. 1t often
seems as if the great aim of the architect
were TO multiply doors indefinitely, and it is
no uncommon thing to find a room with
three or even four entrances, where one,
or at most two, would be amply sufficient.
Excepting at fashionable watering places,
where variety is the aim, and every house
holder wants to be original, We find the
stereotyped copy of some accepted style or
form. Whatever the form selected may
be, II is sufficiently monotonous before we
have seen the end CT 1t. And the tenant of
artistic taste who takes possession of a
country or town house will find much to
consider before II is converted into an ideal
residence.
Doors present many difficulties in their
treatment, and there is a growing tendency
10 get rid of them altogether, whenever il
is possible, and to substitute in their stead
portieres or hangings. Where this cannot
be done a great deal is still possible in
the decorative treatment of the door itself.
Etching, painting in oils or in water coIors,
gliding and steRciling have all been resort
ed to, not to mention the introduction of
mirrors instead of panels; that, however,
excepting in rare cases, is mistake bor-
dering upon vulgarity.
The door Is not intended to give back a
reflection of the interior, however charming
the interior may be, and only the hand
sc NEST rooms can afford such departure
from the laws of suitability. The main
point in the consideration of the decoration
of the door should be its harmonious re-
lation to the rest of the apartment. Many
things must be considered. The coloring of
the ceiling, the plan. shape and color of
the furniture, and, as is invariable in all
DECORATIVE matters, We find ourselves face
thing is no longer handsome when 1t is un-
suitable or inharmonious. The gay colors
ami ambitious designs which are adapteo
for large halls are wholly out of place in
a moderately-siZed room, and in all the sug-
gestions which we offer for the treatment
Of dGGrs te 1t 9 must g f6nS be SsiesTy oD
where everything else is in harmony with
them.
If the door is not an absolute necessity,
We should say remove II and. substitute
hangings; If it is impossible to follow this
course, then either convert it into thing
of beauty or hide it with a well-devised
Materials of all sorts are used for this
purpose. In summer nothing is prettier
or more striking than Madras muslin or
the striped materials in imitation of Indian
fabrics, which are sufficiently inexpensive.
and which are especially effective If hung
width and not the length of the doorway.
For bedrooms and in country houses,
chintz-old- fashioned as many consider it
is invaluable, for many reasons far pref
cradle to cretonne; first, in that the glazed
surface allows Of its being readily shaken
free from dust, and secondly because IT can
be lined with such pleasant shades of
cambric muslin, while cretonne. if lined at
all, demands heavier material.
The doors of the reception and living
rooms call for different treatment, and the
nrst thing to be considered is whether they
are necessary or not. Dividing doors be-
tween sitting rooms can often be well dis
or single curtain marking the division,
replacing them. Such portieres should
never be long nor very full, and it is a
mistake to overlap them with lambrequins
or valances- The truly artistic way is TO
depend them from pole furnished with
rings, and have them just of the necessary
length to touch the floor. They should
never be upon IL to any extent. Such
hangings are readily drawn aside and are
never cumbeI some or unwieldy. Heavy
fringes and thick cords are no longer in
fashion. We are beginning to realize that
true art and simplicity are intimately al
lied. and that a portiere is after all only
substitute and not a piece of furniture.
1t ought never to be so elaborate or so
Voluminous that it cannot readily be re-
moved, shaken free from dust and brushed.
Many modern houses have darkly grained
and vanished doors; others light, n white
wood for the door itself, and deep tones
Tor the panels. Black, deep brown, in
visible blue, dark green are all used,
and. of course present more difficulties for
further decoration that the light or the
natural color, or even the plain, unvaT-
nished white. There is, however, one mode
of overcoming the difficulties presented by
the use of heavy tones in the door panel
ing. and that is by means of stenciling.
Gliding thus applied is very elective. The
DreDaration of a stencil pattern is a very
easy matter; it is only necessary TO outline
a design on Il cardboard, cutting out the
portions which are TO be reproduced. Then
the stencil pattern is held in place, or
fixed with sharp pointed tacks, and a brush
dipped in liquid gilt is rapidly passed over
it Such designs can be carried out in
various ways TO suit individual taste.
Painting in oils is a favorite method of
panel decoration in modern homes. Art
lists of distinction are often engaged for
such work. but the amateur may also ac-
complish great things, bearing in mind
one great point, that the tones in such a
painting should be neutral. and in every
case the coloring of the background of the
panel should be lighter than the prevailing
tone of the framework.
OF course. much of the effect will depend
upon the quality of the wood. which should
be old and well seasoned, and If of the nat
ural color IL is always an advantage. For
painting design in oils, red sable brushes
are needed of both coarse and fine quality,
and oil color in tubes. For the back
grounds, softly toned blues. grays or greens
are best Sometimes water color decoration
is preferred, in which case the design
should first be outlined in pencil. The sur
face of the wood must be thoroughly
cleaned, and the colors mixed with Chinese
Write, when renders them opaque. 1t is al
ways well to paint in the darker shades
first and from them work up to the higher
lights a fine luSter can be given to the
panel by applying A washing of patent
white glaze to the entire surface, and re-
Deating the operation again as soon as the
first coating is dry. afterward washing the
whole over with white spirit varnish. Such
DOiiShed panels. with a SiuaDIp DESIGN for