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The House in Good Taste

Chapter 8 THE PROBLEM OF ARTIFICIAL LIGHT

Word Count: 2136    |    Released on: 30/11/2017

ted so that the rooms may be suffused with just the proper glow, but never a glare; so that the base outlets for reading-lamps shall be at convenient angle

t by. If properly considered, there is no reason why one's lighting fixtures should not be beautiful as well as

r lighting fixtures. Usually, side openings are placed much too near the trim of a door or window, so that no self-respecting bracket can be placed in the space without encroaching on the molding. Another favorite mistake is to place the two

t in planning the lighting fixtures for that wall as is the width of the fireplace important in the placing of the lights on the chimney-breast. I advise putting a liberal number of base openings in a room, for it costs little when the room is in embryo. Later on, when you find

or water-works! Miraculously, also, the smaller the town the cheaper is the cost of electricity. This is not a cut-and-dried statement, but an observation from personal experience. The little town's electricity is usually a byproduct of s

there are hundreds of simple and excellent wall fixtures, drop lights and reading lamps to be bought already equipped for electricity. The electric wire is such an unobtrusive thing that it can be carried through a small hole in any good va

a light-colored room, and you should select and place your lighting-fixtures accordingly. Bead covers, fringes and

rican needs. There are Louis XVI lanterns simple enough to fit well into many an American hallway, that offer excellent lessons in the simplicity of the master decorators of old times. Contrast one of these fine old lanterns with the mass of colored glass and beads and crude lines and curves of many modern hall lanterns. I

admit ugly fixtures into their homes. There are always good and bad fixtures offered at the lowest and highest prices. You have no defense if you build your own hous

D FRENCH FIXTURE OF

d and executed by young women who are self supporting by day and can give only a few evening hours, or an occasional day, to the pursuit of their avocation. One hanging lantern of terra cotta was very fine

son copy such an object that has use and beauty, instead of encouraging the daubing of china or the piercing of brass that leads to nothing? And if you haven't a daughter or son, encourage the

t gilt, which flank the mantel mirror, hold wax candles. The two easy chairs have little tables beside them holding three-pronged silver candlesticks. There is also a small table holding an electric reading-lamp, made of a Chinese jar, with a shade of shirred

n and soft colored silk; so one is not conscious of the many lights. If all the lights were screened in the same way the effect would be different. I use this picture for this very reason-to show how many lights may be assembl

nlight,-if it is really successful. The soft glow of night light may make commonplace things beautiful, b

RES INSPIRED B

spaces flanking the chimney wall. This photograph is a lesson in the placing of objects of art. The large painting is beautifully spaced between the line of the mantel shelf and the lower line of the cornice. The wall fixtures are correctly placed,

This lamp, like the one in the drawing-room, is made from a porcelain vase, with a shirred silk shade on a wire frame. An electric light cord is run through

nstrosities. A blue and white ginger jar, a copper loving-cup, or even a homely brown earthenware bean-pot, will make a good bowl for an oil or electric lamp, but of the dreadful bowls sold in

The manufacturer makes just the objects that people demand. So long as you accept these things, just so long will he make them. If all the women who complain

nstrous things are called "domes"-no one knows why. For the price of one of them you could buy a three pronged candlestick, equipped for electricity, for your dining-room table. It is

where a clear light is not required, wax candles are perfect. There are still a few houses left where candlesticks are things of use and are not banished to the shelves as curiosities. Certainly the clear, whi

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The House in Good Taste
The House in Good Taste
“"Good taste can be developed in anyone, just as surely as good manners are possible to anyone. And good taste is as necessary as good manners," declared Elsie de Wolfe, the "first lady" of American interior design. Although de Wolfe decorated the homes of wealthy, socially prominent clients, she always maintained that her vision of elegant but comfortable living is attainable to all. This timeless 1913 book, written in a friendly, conversational tone, explains how to design, furnish, and decorate a house in order to make it a beautiful, useful, and livable home.De Wolfe pioneered the concept of the home as a representation of the owner's identity, and this book defines her decorating methods, philosophy, and approach to creating spaces for gracious entertaining. Part step-by-step manual and part aesthetic treatise, this volume advocates for simpler yet more refined decor. In contrast to the Victorian penchant for dark furniture, bric-a-brac, and heavy draperies, de Wolfe advised her readers to let in natural light, to replace gaudy colors with beige and ivory, and to abandon clutter. Her practical suggestions, illustrated by period photographs, illuminate the attitudes of a century ago while retaining their resonance for modern-day interior designers.”
1 Chapter 1 THE DEVELOPMENT OF THE MODERN HOUSE2 Chapter 2 SUITABILITY, SIMPLICITY AND PROPORTION3 Chapter 3 THE OLD WASHINGTON IRVING HOUSE4 Chapter 4 THE LITTLE HOUSE OF MANY MIRRORS5 Chapter 5 THE TREATMENT OF WALLS6 Chapter 6 THE EFFECTIVE USE OF COLOR7 Chapter 7 OF DOORS, AND WINDOWS, AND CHINTZ8 Chapter 8 THE PROBLEM OF ARTIFICIAL LIGHT9 Chapter 9 HALLS AND STAIRCASES10 Chapter 10 THE DRAWING-ROOM11 Chapter 11 THE LIVING-ROOM12 Chapter 12 SITTING-ROOM AND BOUDOIR13 Chapter 13 A LIGHT, GAY DINING-ROOM14 Chapter 14 THE BEDROOM15 Chapter 15 THE DRESSING-ROOM AND THE BATH16 Chapter 16 THE SMALL APARTMENT17 Chapter 17 REPRODUCTIONS OF ANTIQUE FURNITURE AND OBJECTS OF ART18 Chapter 18 THE ART OF TRELLIAGE19 Chapter 19 VILLA TRIANON20 Chapter 20 NOTES ON MANY THINGS