A man without a home has cast away an anchor; an atmosphere of uncertainty clings about him; he advertises his tendency to 295 break loose from wholesome restraints. So strongly is the force of this home influence now perceived that the wisest of our merchants refuse to employ boys and women without homes, while the universal preference is in favor of men who have assumed the head of the house, and thus given hostage to society for their good behavior.
But a house is not a home till it is swept and garnished, and contains not only the wherewithal to refresh the body, but also something for the comfort of the heart, the elevation of the mind, and the delight of the eye.
If we would fairly estimate the moral power of furniture, let us consider how attached it is possible for us to become to it. There are chairs that are sacred objects to us: the large, easy one, in which some saint sat patiently waiting for the angels; the little high chair which was some darling baby’s throne till he “went away one morning;” the low rocker, in which mother nursed the whole family of stalwart sons and lovely daughters.
Ask any practised student or writer how 296 much he loves his old desk, with its tidy pigeon-holes and familiar conveniences. Have they not many a secret between them that they only understand? Are they not familiar? Could they be parted without great sorrow and regrets? Nothing is more certain than that we do stamp ourselves upon dead matter, and impart to it a kind of life. Is there a more pathetic picture than that of Dickens’s study after his death? Yet no human figure is present; there is nothing but furniture, the desk on which he wrote those wonderful stories, and the empty chair before it.
Nothing but the empty chair and the confidential desk to speak for the dead master; but how eloquently they do it!
Our furniture ought, therefore, to be easy and familiar. We cannot give our hearts to what is uncomfortable, no matter how quaint or rich it may be. And though it is always pleasant to have colors and forms assorted with perfect taste, it is not desirable to have the effect so perfect that we are afraid to make use of it, lest we destroy it. No furniture ought to be so fine that we dare not light a 297 fire for fear of smoking it, or let the sunshine in for fear of fading it. In such rooms we do not lounge and laugh and eat and rest and live,—we only exist.
The proper character of drawing-rooms is that of gayety and cheerfulness. This is attained by light tints, and brilliant colors and gilding; but the brightest colors and the strongest contrasts must be on the furniture, not on the walls and ceilings. These must be subordinate in coloring, or the effect will be theatrical and vulgar.
The dining-room ought to be one of the pleasantest in the house; but it is generally in the basement. It ought to be a room in which there is nothing to remind us of labor or exertion, for we have gone there to eat and to be refreshed. A few flowers, a dish of fruits, snowy linen and china, glittering glass and silver, a pleasant blending of warm and neutral tints are essentials. For ornaments, rare china, Indian vases, Eastern jars suggestive of fine pickles or rare sweetmeats, and a few pictures on the walls, representing only pleasant subjects, and large enough to be examined without exertion, are the best.
Advantages of locality, a refined diner will always perceive and appropriate. Thus I used to dine frequently with a lady and gentleman who in the spring always altered the position of the table, so that while eating they could look through the large open windows, and see the waving apple-blossoms and breathe the perfumed air, and listen to the evening songs of the birds. Bedrooms should be light, cleanly, and cheerful; greater contrasts are admissible between the room and the furniture, as the bed and window-curtains form a sufficient mass to balance a tint of equal intensity upon the walls. For the same reason gay and bright carpets are often pleasant and ornamental.