With the advent of machine-made furniture came cheap imitations of antiques and the rapid decadence of this art. Hand-made reproductions are quite another thing. Sir Richard Wallace (of the Wallace Collection, London) is said to have given $40,000 for a reproduction of the bureau du Louvre.
Fortunately, of late years a tide has set in which favours simple, well made furniture, designed with fine lines and having special reference to the purposes for which each piece is intended, and to-day our houses can be beautiful even if only very simple and inexpensive furniture is used.
In the Victorian prime, even the carved furniture, so much of which was made in England both for that country and the United States (see [Plate XXI]), was not of the finest workmanship, compared with carvings of the same time in Belgium, France, Germany and Austria.
To-day Victorian cross-stitch and bead work in chairs, screens, footstools and bell-pulls, artificial flowers of wax and linen, and stuffed birds, as well as Bristol glass in blue, green and violet, are brought out from their hiding places and serve as touches of colour to give some of the notes of variety which good interior decoration demands.
To be fascinating, a person must not be too rigidly one type. There must be moments of relaxation, of light and shade in mood, or one is not charmed even by great beauty. So your perfect room must not be kept too rigidly in one style. To have attraction it must have variety in both line and colour, and reflect the taste of generations of home lovers. The contents of dusty garrets may add piquancy to modern decorations, giving a touch of the unusual which is very charming.
CHAPTER XXV
PAINTED FURNITURE
Painted furniture is, at present, the vogue, so if you own a piece made by the Adam brothers of England, decorated by the hand of Angelica Kauffman, or Pergolesi, from Greek designs, now is the moment to "star" it.