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
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
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
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.