We already have the light grey wall, the dark grey polished floor and the blue hanging. The panelling of the living-room wall may stand alone and the dining-room be given a somewhat different, though cognate, effect, as the two rooms communicate by a doorway only and that is placed towards the corner.

The wall-treatment may therefore be a band of black at the ceiling and another around the room at the height of the rose tint in the living-room. The baseboard should then also be painted black to balance the lines above. For a reason that will presently appear, the upper bands should be flat strips of wood, perhaps two inches wide, painted black, and nailed to the wall. In the dining-room designed by Mr. Shirley Wainwright, Plate 8, he has used back of the sideboard a specially designed quilting, but in his article to the householder in "The Studio Year Book" for 1920 he has given like treatments for sideboards and overmantels, where, in either, cretonne or wall-paper are employed. Another suitable material would be the second French stripe appearing in Plate 46. This has a background of linen-colour with stripes of emerald green, black, and orange, which would here appear as subsidiary hues. The material would be stretched flat against the wall and so fastened with small tacks; then over its edges at the sides would be nailed the black strips, they joining the lower of the horizontal wall-bands and extending down to and uniting with the black baseboard. The striped material should fill this panel, its edge at the top naturally going under the lower horizontal band.

Such furniture as that shown in Plate 45 might here be used, and it has the advantage of being on sale both in natural walnut and painted in a number of colourings with decorations. Walnut will first be considered. The handsome striped print with ground of mulberry-rose in Plate 55, or the inexpensive block below it, would be most effective for chair-seats. The central rug might be grey, plain or with mulberry border, and the curtains white or pongee with blue over-curtains if desired.

It will be noted that the sideboard has a plate rail, thus affording an opportunity for the use of a few pieces of decorative china. Cauldron ware would be attractive here, it being banded with orange-yellow containing small sprigs of flowers with green leaves. The candlesticks might be of either dull blue or cream-white pottery or porcelain with white or cream coloured candles. The shades of the lights would be champagne. If the shades to the side-lights are parchment, mulberry and blue may be prominent in the hues of the decoration. A fine use of accessories is seen in Mr. Pieter Myer's own dining-room with its ivory and red furniture in Greenwich Village, New York City (Plate 75). This very modern interior deserves study because of its many attractive features.

Although we are here considering small premises, occasionally a dining-room is rather large, so that when the chairs are grouped about the table the wall-space appears empty. In such a case a few side chairs of different but cognate character, or a couch, or an arm-chair will give a more comfortable and homelike aspect, even though they seldom be used.

PLATE 45. DINING-ROOM OR BREAKFAST-ROOM SUITE IN WALNUT, IN ENAMELS, OR DECORATED.

Made for and Sold exclusively by John Wanamaker.

PLATE 46. FRENCH STRIPED HEAVY COTTONS IN GAY COLOURINGS.

Sold by A. L. Diament & Co., Philadelphia and New York.

50 inches wide. Half breadth shown.

An alternative to the use of the striped material as a backing to the sideboard would be the beautiful French printed linen shown in Plate 37A. In this case the plates might contain the rose red appearing in the linen. The same material would then be employed for the chair-seats, the medallion appearing in their centre.

It is worth while giving here another possible scheme for this room. The furniture already referred to, as illustrated in Plate 45, there appears in one of its other finishes - soft grey with white and brown stripes. It could be used in this room with beautiful effect. The chair-seats are there covered with tapestry of very quiet tones and no particular character, and the blue might advantageously be substituted. The rug could still be grey with rose border. A good deal of rose and some tan would need to be introduced elsewhere in the room as there would then be much blue. Rose could equally well be used for the chair-seats.

With this light-toned furniture the backing would be abandoned. In the illustration (Plate 45) a reproduction of one of the old flower-pieces appears above the sideboard, but, as these are expensive, one of Mr. Thorpe's modern flower prints would be effective and agree even better with this scheme of furnishing. The plates and candlesticks should then be chosen to accord with the hues of the print.