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April, i £9 5 


their color, and are therefore the most dependable. Here is a 
list of the usual shade colors: White, cream, linen, buff, ecru, 
drab, sage, brown, marigold, green, blue, olive, cardinal, rang- 
ing from 28 inches to 72 inches in width. 


Fashions in these things? Oh, yes. New and fresh every 
spring, though good and approved old styles are reproduced. 

The stair rod has always been a bother, but we cannot well 
do without it, though we have tried to do so, and do yet, in 
many homes, replace it with grips or buttons. One thing we 
have done away with: brass rods that need eternal scouring to 
look decent. When metal is used, it is nickel or bronze. 
Sometimes the nickel is merely nickeline, and the bronze brom- 
ine. Be sure to buy 
solid metal plated with 
nickel and wheel pol- 
ished, or solid metal 
bronzed heavily. Grips 
should be filled with 
wood,so as not to injure 
the carpet. They should 
also be made to fit the 
angle in the stair, to 
hold the carpet firmly 
to place, so that it can- 
not move and thus in- 
vite holes in the carpet. 
The rod should not be 
too bulky, to catch the 
toe of the boot every 
time. Grips alone ob- 
viate this feature, and 
they hold the carpet se- 
curely in place and look 

One fine style of grip 
has a bronze center and 
nickel ends, the design 
being quite artistic. The 
same design is shown 
reversed, the nickel be- 
ing in the center, and 
bronze on the ends. In 
fact, there are several 
designs, plain and fancy, 
treated this way. The 
most handsome grips 
shown come in brass, 
bronze, nickel and oxi- 
dized bronze. Grips are 
also made of wood, in 
walnut, cherry, oak and 

Stair buttons come 
round, diamond-shaped, 
crescent- shaped (this 
used at ends, with round 
center button ), etc. 
They come in the usual 

Keepers for wooden 
stair rods come in wal- 
nut, cherry and oak. 
Keepers for brass and 
nickel stair rods give . An Italian Chest of ******** 

an artistic finish to the rods which go with them. The best 
rod made is of solid steel, highly polished and nickel plated. 
It is, of course, costly. Wooden rods come in a variety of 
styles and woods. A very nice one has ornamental ends, to su- 
persede the usual cheap plain round-end rods. 

There is a grip made to hold the carpet in the corner of the 
step, against the riser and string. It answers a two-fold pur- 
pose, holding the carpet to the step or tread, and against the 
riser, and also it prevents dust from getting in the corner and 
renders sweeping easier. Housewives will appreciate this little 
bit of thoughtfulness solidified in metal. Another grip, half 
round in shape, stands perpendicular on the step, against the 
riser,and holds the selvage ofthe carpet securely against the riser: 

Thus it will be seen that ever such comparatively small mat- 

ters as the fastening of the stairs carpet receives thoughtful 
attention from the mechanical genius, and the manufacture of 
stair rods, grips and buttons forms a large and distinct indus- 
try of itself. 

In the selection and use of such articles, the exercise of taste 
and judgment is just as essential as in the decorating and furn- 
ishing of the rooms. As a single small word improperly spoken 
betrays imperfect education, so does the slighting of the smallest 
detail of house furnishing betoken want of taste and judgment. 


THE greatest marvel (in the fairy palace of the late King of 
Bavaria at Herrenchi'emsee) is the royal bed chamber, 
which is a lofty room of moderate dimensions, with three 
windows above and be- 
low, the upper being 
1 draped with crimson 
j silk, that throws a magic 
I light upon the masses of 
j gold distributed over 
I the regal apartment. It 
j is divided into two parts 
by means of a golden 
balustrade, the back 
part being rounded. 
j Here the king's bed 
j stands on a raised dais, 
up to which lead five 
broad steps, covered 
with ruby velvet, on 
which are embroidered 
I large golden suns. The 
j bed is of gilt bronze, a 
work of art as we meet 
it once in a lifetime. 
It is covered with a 
I counterpane of gold 
I cloth, embroidered in 
colors, the. center rep- 
I resenting King Louis 
I XVI. without his wig, a 
large emerald on his 
breast, and a sapphire 
in his hair. The bed is 
surrounded by a canopy 
of gold, with a high 
i crown of gold in the 
center and four enor- 
mous bunches of white 
plumes at the four cor- 
ners; from the canopy 
descend the curtains, to 
examine which a lover 
of art will devote sev- 
eral weeks. The outside 
is ruby velvet embroi- 
dered in gold, so that 
I of the ground color 
I scarcely anything is 
I seen; the inside is cpv- 
! ered from top to bottom 
j by pictures from the 
j Bible, at first sight the 
! product of the minia- 
ture painter's brush; 

and Mirror. (Late i6th Century.) 

but, on close inspection, the triumph of the needle-woman's 
skill. The center of the background is occupied by a sun 
embroidered in diamonds and pearls, and when I heard that 
the king never once used this bedroom, I was led to believe 
that he expected a visit from the Roi Soleil himself, and hoped 
to astonish even his magnificent majesty. The walls of this 
room are entirely hung with red velvet embroidered in gold, the 
children holding garlands of flowers, being so solid that a real 
baby held to the wall cannot stand out from it more boldly 
than do these works of the needle. On one side of the bed, 
within the space confined by the golden balustrade, is the wash- 
ing stand, a tall mirror in gold arabesques, the table of marble 
supported by gilt bronzed figures — the basin, ewer, and ten 
vases in gilt bronze of a size that would astonish even a giant, 


April, 1895 

and of a beauty that it is impossible to describe. The other 
side of the bed is taken up by a prayer stool in ruby gold- 
embroidered velvet, the background filled by a St. Michael in 
colors of such splendid workmanship that the original by the 
miniature painter, upon which the stitches were worked, must 
be less beautiful. Above the prayer stool there is a tiny altar 
with a copy of Raphael's Annunziata, which, with the prayer 
book it adorned, was sold by the Perugian family, that had 
owned it since Raphael's time, to the Empress of Russia, who 
in turn lent it to King Louis, one of her great favorites, in the 
years that preceded her illness. On the right and on the left 
side there are arm chairs of gilt, carved wood, the arms sup- 
ported by erect children, seat and back covered with gold cloth, 
on which a frame of gold embroidery surrounds a group of 

Indian Screen in Carved Blackwood. 

children embroidered in colors, works of art that should be 
kept in a museum. The room contains besides six stools of 
similar workmanship, two white marble chimneys, with Sevres 
vases of red porcelain, and quaint old clocks, two mirrors fill- 
ing the space between the three windows, where tables of dark 
red marble support Sevres candlesticks formed of a hundred 
flowers and fruits, placed at either side of alabaster groups of 
graceful girls. The velvet hangings on the walls are parted in 
several places to admit paintings fiamed by rich arabesques, 
which form a frieze surrounding the painting on the ceiling, a 
splendid mass of beautiful colors — Helios driving the sun, and 
the hours dancing round him. The king's attendant told me 
that Helios some time ago was a splendid likeness of the young 

king himself, but that one day he gave orders to have his feat- 
ures erased, and now Helios is none else than the perpetual 
Louis XIV. himself. 

My description is so very imperfect that I must add some 
remarks for the use of those who, like myself, have seen the 
Chateau de Versailles, the Winter Palace in St. Petersburg, 
Peterhof and Zarskoje Selo — and who will attempt to compare 
these Herrenchi'emsee? It should be remembered that in all 
these palaces the mirrors, the gildings, the hangings and the 
pictures are old ; that in Herrenchi'emsee all has been completed 
but yesterday, so that the bright splendor is quite incompar- 
able. In many instances the intentions of Louis XIV. were 
incompletely carried out or left out altogether, because the cost 
was too high and the means of transport were imperfect. 
Bavarian Louis had studied all the plans, had read all the avail- 
able literature on the subject, had traveled to Versailles and 
back a hundred times, and carried out the magnificent king's 
very dreams of splendor. Thus the fountains in front of the 
castle do not exist at Versailles, because, having been made of 
plaster, a storm destroyed them soon after their completion, 
and they' were never restored according to the old designs. 
When the king viewed what his mind had created, and his eyes 
glanced over the hundred rooms that exist merely in brick and 
mortar, across the empty space where the second wing was to 
stand, what wonder if his mind went astray as he perceived the 
total impossibility of ever completing what would in history 
have given him a place with the most magnificent princes of 
times of old? His valet told me that he paced the mirrored 
hall and all other apartments in the light of 6,000 candles, his 
steps resounding in the solitude, his ever-r.ilent lips for once 
apostrophizing the images of the dead around him until night 
changed to morning. Then he" would step out upon the bal- 
cony, and while the sun rose over the hills, by one slight move- 
ment of his hand, set the waters working in the fantastical 
forms his mind had created for them, and in the glow of early 
morning, amid the rushing waters, with beauty around, his eyes 
would be raised heavenward and he perhaps deemed himself 
one of the gods. 


THE United States produces exceedingly handsome silver 
ware, but labor, owing to its high rates, cannot be freely 
applied to this manufacture. . The Indian silverware has 
as perfect a polish and finish as any made in the United States, 
and is much more artistic by reason of the infinite labor, 
dominated by ages of native skill and culture, that is bestowed 
on the various pieces. 

IN Europe tapestry painting in oils is not recognized, but this 
method has attained considerable vogue in this country, 
and the decorations of walls and ceilings with such work 
is one of the finest methods that can be adopted, yielding 
magnificent effects. Didactic or religious designs are out of 
place on tapestry. Tapestry, as distinguished from embroid- 
ery, has the designs woven into it as a part of its texture. In 
embroidery they are worked upon the material. Tapestry has 
its distinct uses and requires a distinct artistic skill. 

IN a college room the pictures may be many or few, 
but good taste suggests that in subjects they should 
harmonize with the uses of the room. Portraits and 
pictures of historical scenes are especially appropriate. So, 
too, are copies from the great masters. A crowd of small 
articles of bric-a-brac is out of place. Better a few pieces of 
distinct merit, a Waukeen jar or a Dutton jug, some Flemish 
or German stoneware, or some Bohemian crystal plaster casts 
from the antique are always satisfactory. Wrought iron candle- 
sticks and sconces are delightful in a room where there is 
much red or green. 

One may spend any amount of money in a college room, but 
charming rooms are sometimes achieved at slight expense. A 
packing box lounge with Turkey red cushions, a Japanese cot- 
ton rug, fine furniture painted black, walls covered with 
sketchy woodcuts, framed in passepartouts, and windows full 
of blossoming plants, may witness better work, and afford more 
real satisfaction than elaborate upholstery and expensive bric- 
a-brac. At eighteen one is easily pleased. It is only as we 
grow older that we measure art by the yards, and taste by