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The craftsman
Vol. VII, No. 3 (December 1904)

Stickley, Gustav
From ugliness to beauty,   pp. 310-320 PDF (4.0 MB)

Page 320

deep blue in the small lower motif, runs above a rail placed on a line
with the window tops. The furniture is of mahogany; the rug shows
a gray-green ground with a border repeating the colors of the frieze;
while the curtains of the bay are of pale green Shanghai silk, with
yellow reflections in the weave, and a woven band of rich old gold at
the bottom. Clear greens and yellows appear in the leaded glass, and
warm shades of tan in the window seat; the entire bay being intended
to contrast in brightness with the remainder of the room, which is
purposely left subdued. The ugly chandelier of the first state is
replaced by low-hanging copper lanterns, and this metal is repeated
in a lamp and a plaque; another decorative detail being added in
vases of light yellow and deep blue.
    Sketch C shows a Colonial scheme, suggesting the calm and quiet,
which we associate with the idea of the home of that period. It is
almost needless to say that the woodwork is white, and the fireplace
lined with ordinary brick; or again, that the pieces of cabinet-making
represented are easily obtainable. The colors here employed are
blue, gray and white, all of which appear in the wall paper; blue and
white being repeated in the "rag" rug, and again blue in the poplin
the "Sleepy Hollow chair" covering, and in the portieres. Other
details, such as a mirror framed in gilt, brass andirons, fire-set, lamp
and candlestick, not forgetting white muslin curtains embroidered in
cross-stitch, are added to give a last touch of local color to the simple
and pleasing scheme.
    The fourth interior, Sketch D, is an example of the new art, avoid-
 ing those vagaries which a witty writer has recently characterized as
 the choice of newly married couples, callow professors, and budding
 aesthetes. It is a study in spacing, as is shown by the treatment of the
 woodwork, the structure and decoration of the chimney, and the dispo-
 sition of the movables. The color scheme, based upon the green-
 brown of the woodwork, runs through the rich russet-yellow of the
 plastered walls, the russet leather of the settle, the greens (gray to
 golden), ivory, and pumpkin-yellow of the rug, and, finally, the green
 of the portiere, with its rich old gold tracery. The decorative scheme
 concludes in the landscape panels in oils set above the mantel, and the
 beautiful tiling of soft Grueby green, showing glints of violet. This
 scheme, simple to the point of crudeness in its basis of structure, be-
 comes satisfying and varied through the agency of color, which itself
 changes with every mood and caprice of the weather.

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