Opposite the fireplace is a position for the sideboard and there is wall space enough for a china-cupboard although I should prefer to omit this cumbersome piece of furniture, which everybody shuns with the admonition of childhood still ringing in his ears, "mustn't touch." Near the door to the serving-room is the proper place for the serving-table, and there remains plenty of wall space for chairs. By referring to the plan the position of these pieces of furniture will be made more clear.
A possible variation for the seven-foot wainscot suggested, is the room entirely paneled with cypress finished to show the grain. The French doors in this room are desirable in a dining-room, as they allow plenty of light to enter
The decoration of this room is a simple problem. On the floor there should be a rich-colored rug with deep reds in it, strong enough to afford a foundation for the dark sturdy Flemish furniture and the dark finish of the wainscot. Above the wainscot, the sand-finished ceiling and side walls should be sized and painted with three coats of oil paint of a dull golden shade which reflects a warm glow over the room when lighted. The rough texture of the sand-finish is well adapted for such use as this. Of course a frieze of foliated tapestry paper, or real tapestry, could be used with good effect, or even an oil-painted frieze representing a scene from medieval history is permissible. It is safe to say that all of these schemes would be good, though, of course, there would be a great difference in their cost. The radiator under the east window should be painted to match the color of the wainscot. To obtain the correct shade for this wainscot, the wood should go through several processes of staining. The first coat is a deep penetrating stain of burnt Sienna hue to form a mellowing base, similar to the warm colors the old masters used in their paintings. This makes a warm color to reflect through the succeeding coats of darker stain, each coat of which should be rubbed into the wood and any superfluous stain rubbed off, exposing each time the high lights of the wood's grain. The final coat should be a thin coat of wax or a flat-drying oil paint to give the wood a dull luster.
The woodwork treatment here is much the same as that suggested in the text, but of a Colonial or English style and finished white. A good stenciled frieze is used above it. The chairs are of Chippendale design
The furniture should be of the Flemish type, preferably a shade lighter or a shade darker than that of the finish of the woodwork, in order to give contrast. The dining-room table should be a modern extension table with heavy, turned legs, which would of course be repeated in the sideboard, serving-table and chairs. This type of furniture depends entirely for its beauty upon its plain sturdy lines and simple turnings. The chairs should have leather seats and backs, studded with copper nails. The brasses of the fireplace should be of odd design, and the electric lights and fixtures should be of old brass to add a touch of color to the dark wood finish.
It seems hardly necessary to mention that the lights of this room should be governed by an electric switch, and an electric bell on the table should ring a buzzer in the serving-room.
In the serving-room there is a counter shelf two feet eight inches high on each side wall, over which there are glazed cases with sliding doors to contain the china. Under the window there is a sink for the washing of fine china, glass, and silver, which should not go into the kitchen with the heavier dishes. Under the counter are cupboards and drawers and at one end a plate-warmer and a small refrigerator, in order that one may obtain a bite to eat late at night without having to go through the kitchen to the kitchen pantry—which is sometimes awkward if there is no servant's dining-room and the maid is entertaining.