The Telegraph-courier. [volume] (Kenosha, Wis.) 1888-1946, 1901-05-16
LIGHT AND SHADE.
why the Pretty Paper Does Not Look
Well When ON the Wall.

Why the Pretty Paper Does Not Look
Well When ON the Wall.
A very essential feature, and sub
ject worthy Of more study than is usu-
ally accorded it, is the treatment Of
light and shade in decorative art. In
the selection of wall hangings the
goods are placed generally where
strong light prevails. This may be very
well in some cases, but how often is it
we hear that the paper looks better IN
the piece than on the wall!
What is the reason2 Is it the pat
tern? No. The mistake is caused by
the fact that the customer has not con-
sidered the light in the room. The same
defect may occur once in awhile to the
decorator. For example, room may
appear to be very light when devoid Of
curtains, shades, furniture, ETC., and In
this condition the work may indeed
look very satisfactory when completed.
But when the room is furnished it lacks
one thing-decision. What appeared to
be delicate ceiling is now so delicate
that it would take a pair of opera
glasses to find the design.
A few other practical notes in refer
ence to the treatment of colors III diff
ferent lights which may be of service
to many decorators are given by
writer in The Art Interchange, as fol-
lows:
Let me give q scheme of color for
room with south or southwestern eX-
posture, having at least two good sized
Il No Tod
with a groundwork Of light cinnamon,
frescoed in outline with a medium
shade of old gold color, the high lights
to be tipped with gold leaf. Let the
side walls be grounded in sage color
as high as picture holding. For frieze,
make a slightly darker shade and in
troduce ornament in cOlors of old gold,
deep crimson and dull pink. The cor
nice should be treated with special
care, and l suggest that the cove
should have main portion tinted In the
body color of ceiling and blended down
into gold at the completion Of the arc.
The members Of the cornice above the
cove should be in the lighter shades,
so that the whole may blend together
toward the ceiling. Woodwork should
be ivory white, rubbed to a dead finish.
In furnishing this room should sug-
gest white and gold furniture, with
upholstery Of light amber tint, or other
wise old rose. Carpet should be Of
light f8wn color, with just sufficient
color in relief to show design. This
would make a very desirable reception
room or parlOr.
We will take, as another example,
music room with a western outlook
shady retreat, as it were. Let the
ceiling be of a medium shade of old
rose color, with stile about Is inches
around it in peacock blue. Let orna-
mentation be in the main body of the
ceiling and consist of corners, breaks
and lines of geometrical figures, to be
in darker shade of body color, with
strong lines Of deep brown between
center and stile. Let the side walls be
in dull and distinct shade Of terra
Gotta, leaving space for frieze about IA
inches. Let 219 inches on top and bot
tom Of frieze be tinted in freestone col
or, the remaining nine inches in purple
brown. Now take a double stencil Of
Grecian key border with eight inch fig
ure and use light frees lone color for
same Is a relief, make panel, or
break, each three feet around room, the
same height in full as frieZe.