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The House in Good Taste

Chapter 9 HALLS AND STAIRCASES

Word Count: 2546    |    Released on: 30/11/2017

for dining, living, and for whatever entertainment the house afforded. The stairs were not a part of it: they found a place as best they could. From the times of the primitive ladder of

rcases in all the world are in the Genoese palaces. The grand staircase of the Renaissance may still be seen in many fine Italian palaces, notably in the Bargello in Florence. This staircase has been splendidly reproduced by Mrs. Gardner in Fenway Court, her Italian palace in Boston. This house is, by the way, the finest thing of its kind in Ameri

cases. Possibly in those troublous times the French architects planned for an aristocracy living under the influence of an inherited tradition of treachery and violence, they felt more secure in the isolation and ready

houses there was a screen of very beautiful carved wood, behind which was the staircase. Inigo Jones introduced the Palladian style into England, and so brought in the many-storied central salon which served as means of access to all the house. The old English halls a

is supreme. If you are ever in France you should see it. It has been copied often by American architects. Infinite thought and skill were brought to bear on all the iron work door-handles, lanterns, and so forth. The artistic excellence of this work has not been equaled since this period of the Eighteenth Century. The greatest artists of that day did not think it in the least b

dered apart from its beginnings. All our halls and stairs, pretentious or not, have come to us from these superb efforts of masterly workmen, and perhaps that is why we

halls and stairs. There are fine old houses scattered all through the o

the hall is suggestive of an old English manor house. The walls are beautifully paneled from an old English plan. The turned balusters are representative of the late Seventeenth or early Eighteenth Century. The fine old Jacobean chairs and tables have

our architecture that we use it as a standard. It is to be found, somewhat narrower and lower of ceiling, in New England farmhouses and in Eastern city houses. The Southern house of ante-bellum days varied the s

. Mahogany furniture was characteristic of all these halls-a grandfather's-clock, a turn-top table, a number of dignified chairs, and a quaint old mirror. Sometimes there was a fireplace, but oftener there were doors ope

IN THE BAYAR

of course, white, the paneled spaces being broken by quaint old Colonial mirrors and appropriate lighting-fixtures. There is a great fireplace at one end of the hall, with a deep, chintz-covered davenport before it. There are also roomy chairs covered with the same delightful chintz, a green and white glazed English chintz t

e entrance hall will be secured. In my own house in New York, you enter the square hall directly, and the staircase is in a second hall. This entrance hall is a real breathing-space, affording the visitor a few moments of rest and calm after the crowded streets of the city. The hall is quite large, with a color-plan of

th precision of balance. The stove is flanked by two pedestals. The niche that holds the stove and the corresponding niche on the other wall, which holds a statue, are flanked by narrow panels holding lighting-fixtures. The street wall is broken by doors and its two flanking windows. The opposite wall has a large central panel flanked by two glass doors, one leading to the stairway and the other to a closet, beneath it. Everything is

aircase problem has no doubt brought about our modern luxury of elevators. In another fine private house recently built the grand staircase only goes so far as the formal rooms of the second floor, and a small iron staircase enclosed in the wall

est part is worthy of the whole. This hall is representative of the finer private houses that are being built in America to-day. I had the pleasure of working with t

raverse it, so must anyone-the guest or tradesman-admitted to the house. The furniture should be severe and architectural in design. A column or pedestal surmounted with a statue, a fountain, an old chest to hold carriage-rugs, a carved bench, a good table, a standing desk, may be used in a large house. Nothing more is admissible. In a small

creen of wooden panels is better than a folding screen, for the folding screen is rarely well-built, and will be blown down by the draft of the open door. A standing screen may be m

to heat the house properly in winter. I have seen so many bewildered people whose spacious doorless downstairs rooms were a joy in summe

g "cold." It is a good idea to have one small space in your house where you can go and sit down and be calm and cool! You can't keep the rest of the house severe and cool looking, but here it is eminently a

a window and window-seat, if there is a real view, but the landing-seat that is built for no especial purpose is worse than useless. It is not at all necessary to have the stai

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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