PLATE IX.
To attain this result, it is best to use the same color and, if possible, the same material, for curtains and chair-coverings. This produces an impression of unity and gives an air of spaciousness to the room. When the walls are simply panelled in oak or walnut, or are painted in some neutral tones, such as gray and white, the carpet may contrast in color with the curtains and chair-coverings. For instance, in an oak-panelled room crimson curtains and chair-coverings may be used with a dull green carpet, or with one of dark blue patterned in subdued tints; or the color-scheme may be reversed, and green hangings and chair-coverings combined with a plain crimson carpet.
Where the walls are covered with tapestry, or hung with a large number of pictures, or, in short, are so treated that they present a variety of colors, it is best that curtains, chair-coverings and carpet should all be of one color and without pattern. Graduated shades of the same color should almost always be avoided; theoretically they seem harmonious, but in reality the light shades look faded in proximity with the darker ones. Though it is well, as a rule, that carpet and hangings should match, exception must always be made in favor of a really fine old Eastern rug. The tints of such rugs are too subdued, too subtly harmonized by time, to clash with any colors the room may contain; but those who cannot cover their floors in this way will do well to use carpets of uniform tint, rather than the gaudy rugs now made in the East. The modern red and green Smyrna or Turkey carpet is an exception. Where the furniture is dark and substantial, and the predominating color is a strong green or crimson, such a carpet is always suitable. These Smyrna carpets are usually well designed; and if their colors be restricted to red and green, with small admixture of dark blue, they harmonize with almost any style of decoration. It is well, as a rule, to shun the decorative schemes concocted by the writers who supply our newspapers with hints for "artistic interiors." The use of such poetic adjectives as jonquil-yellow, willow-green, shell-pink, or ashes-of-roses, gives to these descriptions of the "unique boudoir" or "ideal summer room" a charm which the reality would probably not possess. The arrangements suggested are usually cheap devices based upon the mistaken idea that defects in structure or design may be remedied by an overlaying of color or ornament. This theory often leads to the spending of much more money than would have been required to make one or two changes in the plan of the room, and the result is never satisfactory to the fastidious.
There are but two ways of dealing with a room which is fundamentally ugly: one is to accept it, and the other is courageously to correct its ugliness. Half-way remedies are a waste of money and serve rather to call attention to the defects of the room than to conceal them.
FRENCH MARQUETRY TABLE, LOUIS XVI PERIOD.
PLATE X.