of color and skill in arrangement. If any of our friends should ever carry it out, they will find that the buff paper, with its dark, narrow border; the green chintz repeated in the lounge, the ottomans, and lambrequins; the flowing, white curtains; the broad, generous centre-table, draped with its ample green cloth, will, when arranged together, produce an effect of grace and beauty far beyond what any one piece or even half a dozen pieces of expensive cabinet furniture could. The great, simple principle of beauty illustrated in this room is harmony of color.
You can, in the same way, make a red room by using Turkey red for your draperies; or a blue room by using blue chintz. Let your chintz be of a small pattern, and one that is decided in color.
We have given the plan of a room with matting on the floor because that is absolutely the cheapest cover. The price of thirty yards plain, good ingrain carpet, at $1.50 per yard, would be forty-five dollars; the difference between forty-five and fifteen dollars would furnish a room with pictures such as we have instanced. However, the same programme can be even better carried out with a green ingrain carpet as the foundation of the color of the room.
Our friends, who lived seven years upon matting, contrived to give their parlor in winter an effect of warmth and color by laying down, in front of the fire, a large square of carpeting, say three breadths, four yards long. This covered the gathering-place around the fire where the winter circle generally sits, and gave an appearance of warmth to the room.
If we add this piece of carpeting to the estimates for our room, we still leave a margin for a picture, and make the programme equally adapted to summer and winter.
Besides the chromos, which, when well selected and of the best class, give the charm of color which belongs to expensive paintings, there are engravings which finely reproduce much of the real spirit and beauty of the celebrated pictures of the world. And even this does not exhaust the resources of economical art; for there are few of the renowned statues, whether of antiquity or of modern times, that have not been accurately copied in plaster casts; and a few statuettes, costing perhaps five or six dollars each, will give a really elegant finish to your rooms-providing always that they are selected with discrimination and taste.
The educating influence of these works of art can hardly be over- estimated. Surrounded by such suggestions of the beautiful, and such reminders of history and art, children are constantly trained to correctness of tote and refinement of thought, and stimulated—sometimes to efforts at artistic imitation, always to the eager and intelligent inquiry about the scenes, the places, the incidents represented. Just here, perhaps, we are met by some who grant all that we say on the subject of decoration by works of art, and who yet impatiently exclaim, "But I have no money to spare for any thing of this sort. I am condemned to an absolute bareness, and beauty in my case is not to be thought of."
Are you sure, my friend? If you live in the country, or can get into the country, and have your eyes opened and your wits about you, your house need not be condemned to an absolute bareness. Not so long as the woods are full of beautiful ferns and mosses, while every swamp shakes and nods with tremulous grasses, need you feel yourself an utterly disinherited child of nature, and deprived of its artistic use.
For example: Take an old tin pan condemned to the retired list by reason of holes in the bottom, get twenty-five cents' worth of green paint for this and other purposes, and paint it. The holes in the bottom are a recommendation for its new service. If there are no holes, you must drill two or three, as drainage is essential. Now put a layer one inch deep of broken charcoal and potsherds over the bottom, and then soil, in the following proportions:
Two fourths wood-soil, such as you find in forests, under trees.
One fourth clean sand.
One fourth meadow-soil, taken from under fresh turf. Mix with this some charcoal dust.
In this soil plant all sorts of ferns, together with some few swamp-grasses; and around the edge put a border of money-plant or periwinkle to hang over. This will need to be watered once or twice a week, and it will grow and thrive all summer long in a corner of your room. Should you prefer, you can suspend it by wires and make a hanging-basket.—Ferns and wood-grasses need not have sunshine—they grow well in shadowy places.
On this same principle you can convert a salt-box or an old drum of figs into a hanging-basket. Tack bark and pine-cones and moss upon the outside of it, drill holes and pass wires through it, and you have a woodland hanging-basket, which will hang and grow in any corner of your house.
We have been into rooms which, by the simple disposition of articles of this kind, have been made to have an air so poetical and attractive that they seemed more like a nymph's cave than any thing in the real world.
[Illustration: Fig. 44.]
Another mode of disposing of ferns is this: Take a flat piece of board sawed out something like a shield, with a hole at the top for hanging it up. Upon the board nail a wire pocket made of an ox-muzzle flattened on one side; or make something of the kind with stiff wire. Line this with a sheet of close moss, which appears green behind the wire net-work. Then you fill it with loose, spongy moss, such as you find in swamps, and plant therein great plumes of fern and various swamp-grasses; they will continue to grow there, and hang gracefully over. When watering, set a pail under for it to drip into. It needs only to keep this moss always damp, and to sprinkle these ferns occasionally with a whisk-broom, to have a most lovely ornament for your room or hall.
The use of ivy in decorating a room is beginning to be generally acknowledged. It needs to be planted in the kind of soil we have described, in a well-drained pot or box, and to have its leaves thoroughly washed once or twice a year in strong suds made with soft-soap, to free it from dust and scale-bug; and an ivy will live and thrive and wind about in a room, year in and year out, will grow around pictures, and do almost any thing to oblige you that you can suggest to it. For instance, in a March number of Hearth and Home, [Footnote: A beautifully illustrated agricultural and family weekly paper, edited by Donald G. Mitchell(Ik Marvel) and Mrs. H. B. Stowe,] there is a picture of the most delightful library-window imaginable, whose chief charm consists in the running vines that start from a longitudinal box at the bottom of the window, and thence clamber up and about the casing and across the rustic frame-work erected for its convenience. On the opposite page we present another plain kind of window, ornamented with a variety of these rural economical adornings.
[Illustration: Fig. 45.] In the centre is a Ward's case. On one side is a pot of Fuchsia. On the other side is a Calla Lily. In the hanging-baskets and on the brackets are the ferns and flowers that flourish in the deep woods, and around the window is the ivy, running from two boxes; and, in case the window has some sun, a Nasturtium may spread its bright blossoms among the leaves. Then, in the winter, when there is less sun, the Striped Spider-wort, the Smilax and the Saxifraga. Samantosa (or Wandering Jew) may be substituted. Pretty brackets can be made of common pine, ornamented with odd-growing twigs or mosses or roots, scraped and varnished, or in their native state.
A beautiful ornament for a room with pictures is German ivy. Slips of this will start without roots in bottles of water. Slide the bottle behind the picture, and the ivy will seem to come from fairyland, and hang its verdure in all manner of pretty curves around the picture. It may then be trained to travel toward other ivy, and thus aid in forming green cornice along the ceiling. We have seen some rooms that had an ivy cornice around the whole, giving the air of a leafy bower.
There are some other odd devices to ornament a room. For example, a sponge, kept wet by daily immersion, can be filled with flax-seed and suspended by a cord, when it will ere long be covered with verdure and afterward with flowers.
A sweet potato, laid in a bowl of water on a bracket, or still better, suspended by a knitting-needle, run through or laid across the bowl half in the water, will, in due time, make a beautiful verdant ornament. A large carrot, with the smallest half cut off, scooped out to hold water and then suspended with cords, will send out graceful shoots in rich profusion.
Half a cocoa-nut shell, suspended, will hold earth or water for plants and make a pretty hanging-garden.
It