Evening star. [volume] (Washington, D.C.) 1854-1972, 1928-07-22
BY Aida vREELAND.

Daily the momentum Of the modern
movement increases. On every side 1t
Is discussed, written about and pictured
until most of us are beginning to feel
that only the ultra conservative will be
able to cling with conviction to the art
and furnishings Of his childhood days.
We are told the modern things are
expressive of our times, that they sug-
gest space, repose, height, poise--al the
attributes which our daily existence
lacks. And we are therefore expected
to give in to the modern urge, grateful
that a long-felt want has at last been
supplied.
Yet when the dining room needs
doing over and we are all set for the
latest, even to sugar tongs, some one
invites us to look at a period dining
room such as the one illustrating this
article and our resolutions wabble.
Here is a perfect conception of a din
ing salon according to the most classic
of French standards. Elegant In detail,
yet simple in composition, 1t embodies
at the same time the essential qualities
of modern things-poise, space. repose
and so ON. 1t also has that quiet dig
nifty which people who entertain on an
elaborate scale want to preserve in
room for dining purposes.
Two New York decorators who have
worked out this room, chose French
gray, French blue and gold for its color
scheme.
The walls, divided into panels, are in
gray and the inside curtains are of
shinmering corn-colored taicta, the
draping manipulated according to
French taste, with the utmost grace.
Against the glass hang ecru silk
gauze curtains which may be drawn
back--a similar treatment being ap-
piled to the French doors on the left
side Of the room.
An eighteenth century French mirror
combined with small painting Is fur
Their indicative of the admirable sense
of proportion and delicacy which the
best OF these classic things possesses.
This hangs above Louis XVI console
decorated In gray and gold with marble
top. Placed at either end are two
pieces of Sevres porcelain. French gilt
fixtures are on either side of the mirror.
Graceful sweeping lines characterize
the oval Louis XIV table whose top Is
of highly polished light brown tulip
wood. The designs of the delicately
curved legs and apron are picked out
in gray and gold as are these on the
chairs of the Regency period. Their
gently sloping backs and softly cush-
Toned seats upholstered in old gold and
blue brocade are subtle means of bring
ing about comfort and conversation
while guests are dining.
Between the French windows Is an
eighteenth century gray marble fire.
place with spacious mirror built in
above it. On the same side Of the room
handsome screen depicting in roman
tic style the fountain of Versailles
shields the pantry door, Solid French
blue carpet blends these details into one
harmonious ensemble.
Turning the same room over to mod
ern development, the room would never
recognize itself. Walls, windowpaneS,
| floors, all are interpreted in the new
tongue, in shape and in color.
The gray walls of the French are
covered in silver paper glazed over with
Van Dyke brown. The result is q warm
metallic finish that sets the color note
for the other accessories.
Beginning with the graceful one-Sided
swing of the draperies one realizes that
every detail Is approached from an en-
tirely different point of view from what
it has been before. A fabric of red and
cream linen with bold pattern of Gala
lilies is held to one side of the window
frame with a heavy red cord
The three French windows are cut up
into large diamond panes, in front of
which tan celanese gauze is hung, re-
peating the dull gold effect of the walls.
Unusual shields of finely designed
amber glass are suspended on fixtures