79^ COTTAGE, FARM, AND VILLA ARCIIITECTUllK. seats of various forms ; a few arm-chairs ; chairs without arms ; long benches, supported hy twisted legs and frames, such as are met with in old galleries, and stools. Against the piers, between the windows and door to the terrace, might be slabs of dark-coloured marble, supported by carved rosewood fi-ames ; and, in the corners of the room, rose- wood tripods, slightly gilt, supporting china vases of flowers. I would also have two plain rosewood tables standing against the wall ; on one of which the flat chamber-candle- sticks might be placed at night, one of the candles being lighted ; the other table would be useful for the servants to place any thing upon ; such as the tea-tray, while the drawing- room door was opening, &c. The musical instruments and music-stands would com- plete the furniture of the saloon. The grand piano-forte should be placed not close to the wall, say between the library door and the window, so that the l)ack of the performer should be to the light. The harp would be at the opposite end of the room; the other instruments, in their cases, on a proper stand against the wall ; and the music stools ana stands so placed as to leave the centre of the saloon open, so as to have a free passage between the ckawing-room, library, and gallery. In arranging the contents of the room, a crowded effect of furniture is to be especially avoided, as being at vai'iance with an air of dignity and elegance which is proper to the saloon. 1684. The Drawing-room. We next proceed to the drawing-room, which, being the sitting-apartment of the ladies, should be distinguished by the elegance of its propor- tions, decorations, and furniture. Though two drawing-rooms are necessary in a London house, one will be found sufficient in an ordinary country residence, containing a saloon and library ; as the latter would be used as the family sitting-room on common occasions. Our villa would, therefore, contain only one drawing-room, which I shall proceed to describe. The drawing-room should be larger than the saloon. In the present case, we will suppose it to be 23 feet in width and 35 feet long, exclusive of a bay at the end, and at least 12 feet high. This would make the proportioiis nearly equal to those which, according to Palladio, are proper for a room of this description ; viz., the length twice the breadth, and the height two thirds, live sevenths, or three fourths of the breadth. En- tering our drawing-room from the saloon, at the end opposite would be a square or circular bay window, commanding a view of the park and the distant country beyond it. On the right side would be the fireplace, and on the opposite side two windows looking over the terrace and parterre. In this room I would have a splendid white marble chimney-piece, copied from one of the most magnificent designs common in old English houses. These are usually of stone or coloured marble : but white is the most elegant, and most in accordance with our present taste. I have one in my eye which reaches to the ceiling, and is divided into two compartments. In the lower com- partment is the fireplace, surrounded by a broad moulding, and on each side double Corinthian columns, supported by ornamented pedestals. Above this is a broad cornice which forms the mantel shelf, and the base of the upper division ; the middle of which has a panel surrounded by a rich moulding, the centre filled with projecting heads, and a large basket of fruit and flowers, in high relief. On each side are double Corinthian columns, similar to those below, but having a sort of niche between them. The whole is finished above by a handsome cornice, ornamented with shields and fruit. A chimney-piece, of this design, of white marble, with coloured shafts to the columns, say verd antique or scagliola, with a historical subject in alto relievo filling the panel over the firei)lace, would have an elegant effect. Gilding might be sparingly introduced in the capitals and cornices, and the shields might be painted with the family arms. All the wood- work of the room should be unpainted, say polished oak. The panels of the doors and shutters should be copied from handsome old wainscot, and the mouldings partially gilt. The ceiling should be a specimen of that gorgeous lacework, in stucco, common in old houses, with ornamental pendants to support the lamps, and varied with shields of arras, the whole tinted to suit the colour of the walls, and partially gilded. As I do not pretend to any taste in colours, indeed cannot correctly discriminate their various shades, I should be rather at a loss in selecting the prevailing colour of the drawing- room furniture. I think dark colours have most dignity of effect in furniture ; and perhaps light colours most elegance. Of dark colours, crimson is the richest, and is the prevailing colour in modern drawing-rooms in our inost sjilendid palaces, as it was in old houses. Orange and yellow were much chosen formerly for beds and furniture. The yellow contrasted well with the dark wainscot, and heavy style of cabinet-work common at that period ; but, where yellow is the prevailing colour of the walls and furniture, the effect is usually gaudy. Generally speaking, there should be always some contrast between the colour of the walls and curtains. The drawing-rooms at Earlstoke Park were furnished with apple-green satin ; the walls hung with watered rose-coloured silk ; the ground colour of the carpets dark mulberry, on which were groups of flowers. There was a profusion of gilding, and the effect was strikingly elegant. As I am reserving crimson for the colour of the dining-room furnituie, I really
