IBRARY ANNEX (Rmutll 3KmvMit{ jf itatg THE GIFT OF ..jTlj\&., 4., . .*3l., AO..OJA^UOLfYL-- ^.2.Sl.1.Q.5..0 &a\'S~^..U... 6896-2 Cornell University Library NA2851.T96 Interiors and interior details / 3 1924 015 386 935 »..»«» a Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924015386935 INTERIORS AND INTERIOR DETAILS FIFTY-TWO LARGE QUARTO PLATES, COMPRISING A LARGE NUMBER OF ORIGINAL DESIGNS OF Halls, Staircases, Parlors, Libraries, Dining Rooms, &c. TOGETHER WITH SPECIAL DESIGNS FOR Low Cost, Medium and Elaborate Wood Mantels, Sideboards, Furniture, Wood Ceilings, Doors, Dooi and Window Trims, Wainscots, BANK, OFFICE AND STORE FITTINGS, IN PERSPECTIVE, ELEVATION AND DETAIL, MAKING A VALUABLE SERIES OF Suggestions for Architects, and Architectural Designers. AND A LARGE COLLECTION OF INTERIOR DETAILS SUITED TO THE REQUIREMENTS OF CARPENTERS, BUILDERS AND MECHANICS Reproduced from the Drawings of Prominent Architects of New York, Boston, Chicago, and other Cities. AN INTRODUCTION, DESCRIPTION OF PLATES, AND NOTES ON WOOD FINISH, WM. B. TUTHILL, A.M., Architect. Author of '* Practical Lessons in Architectural Drawing." 1882 NEW YORK: WILLIAM T. COMSTOCK, Architectural Published, astor place. Copyright. WILLIAM T. COMSTOCK. 1382. ARCHITECTS AND DESIGNERS Who have contributed to this work. Mr. W. A. BATES, Messrs. BURNHAM & ROOT, - Messrs. CABOT & CHANDLER, Mr. EDWARD DEWSON, Mr. C. A. GIFFORD, Messrs. GOULD & ANGELL, Mr. J. E. HUNTER, Mr. GEO. MARTIN HUSS, Mr. BRUCE PRICE, - Mr. W. S. PURDY, Mr. J. PICKERING PUTNAM, Messrs. ROSSITER & WRIGHT, Mr. WILLIAM B. TUTHILL, Mr. F. F. WARD, - Mr. L. B. WHEELER, - New York. Chicago. Boston. Boston. New York. Providence, R. I. New York. New York. New York. New York. Boston. New York. New York. New York. New York. INTRODUCTION. IT HAS become almost a rule, in the erection of our dwellings, for the interior treatment to claim a preponderating part of the attention and thought which is given to the work. An artistic taste, more or less developed, a very general desire to have those things about us which indicate a cultured refinement, together with a possibly laudable emulation, has given us multitudes of designs, beautiful, unique and original. Most of these have, in the first instance, been the production of cultivated artists. While their leading has been well followed by a numerous class of fairly-equipped designers, who have given to their work, in many cases, an unusual amount of study, the results have not been artistically what they might have been. Many of the designs are crude in conception and feeble in execution. Details are studied to the neglect of the design ; originality is sought for its own sake, and too often becomes extreme. The successful design of interiors has different conditions than those applicable to exterior work. There are no sharply defined shadows, no extreme high lights — the strong elements of a design which is to be seen in sunlight. There is but a diffused and indirect light, in which each and every member has its part of the general effect to bear. That which for exterior work might be accomplished by a bold, sharp line of shadow, must here be treated as a distinct member or group of members with its individual effect. The elabo- ration and enrichments therefore became factors of the design, to be placed where they enhance it. These points are frequently forgotten or neglected, the parts being designed for themselves and not as being necessary elements of a well-conceived whole. There are a few well-defined principles which should underlie all designs : 1. That the design have a dominating or central feature, or main idea or theme. 2. That the subordinate parts be treated as they are related to the main idea and so as to emphasize it. 3. That all parts of the work be kept clear, so "that the working out of the theme be readily and easily comprehensible. 4. That enrichment be used as emphasis in its proper place and not for' itself. 5. That the treatment and material harmonize, so that neither does violence to the other. With these principles well mastered, facility and originality of idea will not militate against perfectly satisfactory results. The plates in this work have been compiled so as to cover a large scope of interior design. They are given as suggestions as well as examples. From them may be gathered many ideas which may be used as motives for other compositions, as also for special articles of furnishing. In execution they may be varied by the use of different or contrasting woods, and in many other ways that will readily suggest themselves. Description of . Plates. Frontispiece.— Mr. Bruce Price. Perspective view of the hall in the residence of Ashbel Greene, Englewood, N.J. At the extreme end the hall opens into the drawing-room ; on the left is the sitting room, and the entrance to the garden. On the other side of garden entrance (not shown in the drawing) is the dining-room. The upper part of the walls of the garden entrance is filled with spindle-turned work, behind which, in each room, is a heavy hanging of tapestry, completely enclosing the rooms ; in summer they ma}' be thrown open for a free and delightful circulation of air. The hall is intended to be finished in black birch, which takes a beautiful finish ; the wood is rich in tone and lovely in grain, The mantel is in Caen stone. The walls above the wainscot are to be rough sand finish, treated with a mottled conventional stamping, and then flat colored. A perspective sketch of the stairs is also given. Plate 2. — Mr. L. B. Wheeler. Entrance hall (perspective). This plate shows entrance hall opening into a staircase hall beyond. The fireplace is in stone ; the frieze, shelf, panelling, &c, in mahogany or cherry. The stone used is Wyoming bluestone, pale buff sandstone, or a light limestone. The woodwork is finished in dead lustre. The panels at the head of chimney breast are filled with stained glass, and face on both halls. The soffit of the stairs is shown through the opening above fireplace partition. A library opens from staircase hall. A Caen stone fireplace, contrasted with woodwork in dark mahog- any, and a hearth of vitreous sea-blue tiles would be very effective. Plate 3. — Details of Plate 2. Plate 4. — Messrs. Gould & Angell. Side of a hall, with details. (Elevation.) This design may be finished in cherry or any of the lighter hard woods. The face of the chimney breast above the mantel is to be set with glazed tiles in a single color (deep ultramarine green or olive). The seat may be covered with dark olive leather. The walls are to be painted a dark flat tone of olive. The doors may be glazed with plain or embossed glass. Plates 5 and 6. — Messrs. Burnham & Root. Plans and de- tails of two staircase halls. They are designed to be erected in a light, hard wood, as oak or ash. The windows on the staircase (see plan) are to be filled with stained glass. Plate 5 also gives a design and detail for a ceiling in dark hard wood, cherry or mahogany. Plate 7. — Mr. Wm. A. Bates. Interior of hall showing fireplace, alcove and staircase. (Elevation.) The stairs are carried up over the alcove. The finish of the design is indicated on the plate. Plate 8. — Mr. L. B. Wheeler. Pen sketch of a staircase hall, with details. (Perspective). Plates 9 and 10. — Mr. J. E. Hunter. Hall suitable for a small country house in the Colonial style. (Elevation.) It may be effectively finished in any light hard wood. Plate 10 gives the details. Plate ii. — Messrs. Gould & Angell. Staircase and bay- window, and details. (Elevation.) This design is to be finished in oak with hard oil finish. The wall above the wainscot may be either papered or painted. The panels may be of Spanish white mahogany, which has a beautiful grain, and harmonizes well with the oak. They may be either polished or left the same as the oak. Plate 12. — Mr. C. A. Gifford. Staircase in a city house. Plate 13. — Details of Plate 12. This design would be well ren- dered in darkened oak. Plate 14— Mr. Edward Dewson. Suggestions for staircases showing newels and part of runs. The upper designs may be executed either in dark or light woods. The lower design on the left will look best in light wood, as oak; that on the right in cherry or mahogany. Plate 15. — Messrs. Rossiter & Wright. Design for a staircase hall, with details. (Colonial style.) A light wood will be found suitable to this design. Plate 16.— Mr. Edward Dewson. Design for finish ofparlorin cherry. Elevations of two sides of room and details are given. Plate 17. — Mr. L. B. Wheeler. Interior of library. (Perspective). Plate 18. — Mr. W. A. Bates. Interior of library (in Colonial style) showing mantel and bay window with plan and detail of frieze of mantel. (Elevation.) Oak, ash or butternut would be appropriate woods. The basket work above window is made by interlacing thin, flat strips of some pliable or elastic wood, as birch, ash, hazel, chestnut, which may be afterwards stained to match the other woodwork. Plate 19. — Messrs. Gould & Angell. Side of a library with de- tails. (Elevation.) This design may be finished in cherry or mahogany. The book-shelves are to be covered in front with hangings, sliding on brass rods. The closet doors above shelves are to be filled with stained glass. Plate 20. — Mr. W. B. Tuthill. End of dining-room and details. (Elevation.) This design is to be executed in dark mahogany with sligbt lustre. The fireplace is to be framed with brass and small vitreous tiles of a dark turquoise color. The hearth, which fills the entire recess (see plan), is laid with glazed tiles in Venetian red. The walls are to be painted a dark olive grey with stencilled ornaments in a darker tone. Panels above mantel are of embossed leather. Above the shelves are two lateral windows in stained and jewelled glass; the centre is filled with bevelled mirror. The head of recess is filled with spindle screen. Two designs for flooring are shown in the plan. Plate 21. — Messrs. Gould & Angell. Side of dining-room and details. (Elevation.) Wood — cherry. Spandrils of arch are filled in with small wooden tiles, each of which has a turned or carved ornament. The sideboard is also in cherry ; upper panel is of stamped leather, that under it a bevelled mirror. Plate 22. — Mr. Edward Dewson. A caf6 interior. (Perspect- ive.) This plate also gives an elevation of the mantel and a plan of the room. Plate 23. — Details, furniture and fittings of cafe\ (Plate 22.) Notes of finish are given on this plate. DESCRIPTION OF PLATES. m. Plate 24.— Mr. George Martin Huss. Office of estate of W C. Rhinelander, Esq., deceased. The plate includes plan, staircase, partitions, mantel, &c. The style of finish. is noted on the plate. Plate 25. — Mr. J. Pickering Putnam. Chimney piece in a city • house, with details. The face of chimney breast, as indicated, is to be filled with small glazed tiles of color to harmonize or contrast with surroundin'g woodwork. The panels on either side are openings to ventilators, and are of perforated metal. Plate 26. — Mr. Edward Dewson. Design for two wood mantels, with details. PLATE 27.— Mr. Edward Dewson. Sketches of four small mantels, with details. These designs may be well executed in a variety of woods, and be varied by the omission or interchange of parts. Plate 28.— Messrs. Rossiter & Wright. Designs for mantels of low cost, with details. These may be finished in hard woods, or in pine oiled or painted. Plate 29.— Messrs. Cabot & Chandler. Designs for two mantels; also designs for wainscoting. Plate 30. — Mr. Edward Dewson. Interior and exterior doors; seven designs. Plate 31.— Messrs. Gould & Angell. Examples of window and door finish. Plate 32.— Messrs. Rossiter & Wright. Designs for doors, with details. Plate 33. — Mr. W. S. Purdy. Designs for trims of doors and other openings, with details and sections. Plate 34. — Messrs. Rossiter & Wright. Wood and plaster cor- nices (one-half full size). Plate 35. — Messrs. Gould & Angell. Wood ceiling ; four designs with details. Plate 36. — Messrs. Rossiter & Wright. "" Designs for wainscots, with details. Plate 37. — Messrs. Gould & Angell. Examples of panelling for wainscots, ceilings, &c. Plate 38. — Messrs. Rossiter & Wright. Hall furniture and de- tails, including designs for hat-rack, hall table, chair, &c. Plate 39. — Messrs. Rossiter & Wright. Designs for bookcases. The first design has an open, the second a closed front. The third design is intended to be built in between the chimney breast and wall, a similar one (reversed) being placed on the other side of breast. Plate 40. — Messrs. Rossiter & Wright. Dining-room furniture, containing design for two sideboards, one of which is planned to be placed in a corner. Plate 41. — Mr. W. S. Purdy. Dining-room furniture, including sideboard (built in), with details. A plan of a ceiling in wood and plaster is also given. Plate 42. — Mr. Edward Dewson. Suggestions for bank or counting-room finish in hard wood, with details. PLATE 43. — Mr. Wm. B. Tuthill. Details for drug store, includ- ing wall-cases, cashier's and prescription desks, and two de- signs for letter boxes. Wood — cherry. The open work at head of wall-cases forms the doors of closets. The lattice of cashier's desk is of turned cherry spindles and strips of birch stained to match. Plate 44. — Mr. Wm. B. Tuthill. Details for drug store, giving four designs for counters, and a design for show case. The upper part of case is open, and the central part closed on all sides with glass doors. The space below is partly filled in with a spindle lattice, making a receptacle for sponges. Plate 45.— Messrs. Rossiter & Wright. Screens for stores, offices, &c. Plate 46. — Messrs. Gould & Angell. Drug store fixtures, show- ing wall-cases, counters, &c. A dark wood would suit this design. Plate 47. — Messrs. Rossiter & Wright. Fittings for a drug store, comprising open shelf-cases, cashier's desk, table- counters, chairs, &c, with details. Plate 48. — Mr. W. S. Purdy. Store fittings, including designs for shelving, panelled and table-counters, cashier's desk, with details. Plate 49. — Messrs. Gould & Angell. Bar-room and details. (Elevation.) Plate 50. — Mr. F. F. Ward. Finish of an apartment house. This plate includes a plan of the apartment, and designs and de- tails for main stairs and doors. Plate 51.— Mr. F. F. Ward. Finish of an apartment house, giv- ing designs and details for parlor and dining-room rrlantels. Plate 52.— Mr. F. F. Ward. Finish of an apartment house, giv- ing hall wainscot, designs and details of doors, kitchen dresser, &c. Notes on Wood Finish. A great part of the effect of any piece of decorative wood- work depends upon the description and method of its ultimate finish. Variety and differences of tone, contrasts between the natural color and that which can be legitimately given, enrichment of plainer and emphasis to the more naturally beautiful woods, effects which can be almost endlessly varied, may be obtained by simple mechanical treatment. From the following memoranda, collected from various sources, many suggestions may be taken. The woods in general use for the construction and finish (including furniture) of houses may be classed as follows : For General Construction, — Pine, oak, whitewood, chestnut, ash, spruce, sycamore. For Ordinary Finish. — -Beech, birch, cedar, cherry, pine, white- wood. For Best Finish. — Cherry, mahogany, maple, oak, rosewood, satin- wood, sandal wood, chestnut, cedar, tulip wood, walnut, ebony, butternut, white mahogany. The better known woods are classified according to the properties for which they are most valued, as follows : Elasticity. — Ash, hazel, hickory, lancewood, chestnut, snakewood, yew. Elasticity and Toughness. — Beech, elm, lignumvitae, oak, walnut, hornbeam. Even Grain (for carving and engraving). — Pear, pine, box, lime tree. Durability. (In dry work). — Cedar, oak, poplar, yellow pine. (Exposed to weather) — chestnut, larch, and locust. Coloring Matters. Red. — Brazil wood, camwood, logwood, red sanders, sapan wood. Yellow. — Fustic, Zante. Scent. — Camphor wood, cedar, rosewood, sandal wood, satinwood, sassa- fras. There are several imported woods which are used only decoratively, such as amaranth, amboyna, zebra wood. The woods best adapted for ebonizing are given variously by different authorities ; among them may be mentioned, pear, holly, beech, chestnut, cherry, sycamore, plane. The woods most commonly used for inlaying are, ebony, box, palm, bird's eye maple, beech, satinwood, sandalwood, holly. Veneers are cut from most hard woods, especially the more costly. The bur^ or gnarls of hardwood trees give beautiful veneers on account of the irregularity of the grain. The junc- tion of large roots and large branches with the trunk of the tree also gives good veneers. Of this class is the French walnut, Hungarian ash, &c. VARNISHES. Varnishing to be thoroughly successful should not be done in a cold room, the proper temperature being jo° or 8o° F. It is seldom, if ever, necessary to specify the composition of the varnishes used in ordinary work, most of them being used as prepared by the manufacturer. A few formulae, however, may prove serviceable. Body copal varnish for parts requiring to be polished: 8 parts copal, 3! oil of turpentine, 2 linseed oil. Cabinet varnish : 7 parts copal, 3 oil of turpentine, \ linseed oil. White varnish for furniture : white wax, dissolved by heat in oil of turpentine, 1 pint; or 6 parts of white wax dis- solved in 48 parts of petroleum. It should be applied while warm, and allowed to cool. It may then be polished with a coarse flannel cloth. Mahogany varnish. This varnish brings out the grain strongly, and imparts a rich red tone to the wood. Gum sandarach, 2 oz.; shellac, 1 oz.; gum benjamin, \ oz.; Venice turpentine, 1 oz.; spirits of wine, 1 pint. This may be toned red with Dragon's blood, or yellow with saffron. The gum should be slowly dissolved and strained. Varnished work may be finished with a lustre (not a glassy surface) by applying three or more coats of hard varnish, each coat being allowed to dry thoroughly, and then rubbing the work down carefully with pulverized pumice stone and water, applied with a soft rag. Ordinary varnishes may be toned to match the wood by the addition of various coloring matters. This will frequently improve the appearance of the finish. There are several patented preparations, called " wood- filleis," which are used in preparing the surface of woodwork previous to the final oiling or varnishing. They are known under the names of their patentees, as Hojer, Wheeler, &c. Their purpose is to fill up the poras of the wood level with the solid parts, forming a hard, smooth, durable surface, leaving the wood its natural color, clean and brilliant. The particles which fill and harden in the pores are not visible. Ordinary oil or varnish finish may follow its application. The "fillers" are manufactured in different colors, so that they may be used on any of the hard woods, namely, for oak or other light woods, light and dark walnut, light and dark mahogany, rosewood and ebony. There is also a " transparent " filler, which may be used on any wood, irrespective of color. The "filler" is to be thinned with turpentine to the con- sistency of varnish, and applied with a brush or sponge, and when it becomes flat, rub it across the grain with Excelsior shav- ings or grass fibre. The corners and hollows, in mouldings and carving should then be cleaned out with a stiff bristle brush or stick. The work must be thoroughly wiped off with a cotton cloth. 'No oil should be used with the filler. It will require at least twelve hours for the filler to dry perfectly hard. Raw oil only should be used with natural woods. It is more volatile than boiled oil, and penetrates readily into the grain, forming a hard resinous filling. Mixed with a small quantity of turpentine, and well rubbed in, it improves most woods. A little color ground in the oil will also be of advantage. POLISHING. Soft woods may be turned so smooth as to require no other polish than that which can be given by holding fine shavings of the same wood against them in the lathe. For polishing mahogany, walnut and some other woods, the following formula is given : dissolve beeswax by heat in spirits NOTES ON WOOD FINISH. of turpentine, until the mixture becomes viscid. Apply by a clean cloth, and rub thoroughly with another flannel or cloth. Beeswax is sometimes alone used. For work in position, it must be melted and applied and rubbed as above. For work in the lathe, it can be applied by friction, the slight amount of wax melted being sufficient for the polish. The work should be thoroughly rubbed. Mahogany may be polished by rubbing first with linseed oil, and then by cloth dipped in very fine brick dust. (Nearly all mahogany furniture in England is polished in this way.) Some hard woods have a natural polish, and do not require a polishing medium. A fine gloss can be produced by rubbing with linseed oil, and then holding turnings or shavings of the same material against the work in the lathe. A very perfect surface can be obtained with glass-paper, which, if followed by hard rubbing, will give a beautiful lustre. Lustre can also be given to carefully finished surfaces, by applying a small quantity of thinned varnish, shellac or "fillers," by a cloth, and carefully and thoroughly rubbing. By contrasting the several methods of natural finish, very beautiful effects can be obtained. The natural color of woods may be darkened and improved, and the figure of the grain emphasized, by several means. The darkeners in general use are, logwood, lime, brown soft-soap, dyed oil, aqua fortis, sulphate of iron, nitrate of silver exposed to the sun's rays, carbonate of soda, bichromate and permanganate of potash, and other preparations of an acidulous or alkaline nature. The last three are preferable, and are pre- pared as follows : One ounce of one of the alkalies is powdered and dissolved in two gills of boiling water. Dilute with water to the required tone. Apply with sponge or flannel, saturating the surface, and immediately dry with soft rags. The solution of the carbonate is used for the dark woods, as rosewood ; that of the bichromate, for all intermediate and white woods, as mahogany, oak, beech. The grain of hard woods, especially mahogany and rose- wood, is well brought out by rubbing with spirits of hartshorn, and then with oil, which may or may not be colored. A red oil, which is specially adapted' to discolored mahogany or rosewood, maybe prepared as follows: Soak alkanet root in linseed oil for ten or twelve hours, and then press the oil through a cloth bag. This may be used as a coloring matter for other oil, and will give a beautiful red tone. The lightest hard woods, e. g., birch, may be improved in color by oil tinged with rose madder or Venetian red. Maple and some few other woods can be bleached by a strong solution of oxalic acid in hot water, to which a few drops of nitre has been added. The grain of yellow pine can be well brought out by two. or three coats of japan, much diluted with turpentine',' and after- wards oiled and rubbed. The effect of age may be given to mahogany or walnut by lime-water, applied before oiling or varnishing. STAINING. The best, clearest, and most satisfactory work is obtained by repeated light coats of the stain, in the same manner as " washes " with water colors. Before the first coat is applied, the work should be carefully prepared with glass paper, all small holes and cracks being filled, and the surface brushed free from all dust. Before each subse- quent application of the stain, the surface of the work should be carefully cleaned. In staining soft woods it will be found advantageous to use a priming coat, either of an ordinary varnish or japan, strongly diluted with turpentine. A coat of wood fillers would perhaps be better. The pores of the wood are thus filled and a good solid sur- face is given on which to work. Much less subsequent labor will be needed for producing the required result. Preparations are sometimes used to improve and enhance the stains. Some of them are as follows : Mix one ounce of nitric acid, one-half teaspoonful hydrochloric acid, one-quarter ounce of grain tin, and two ounces of distilled water. It is to stand two days before being used. For satinwood stain, spirits of nitre ; for oak stain, a strong solution of oxalic acid ; for mahogany stain, dilute nitrous acid. MAHOGANY STAINS. i. Two ounces of dragon's blood dissolved in one quart of rectified spirits of wine. Shake frequently while dissolving. 2. Give the woodwork a priming coat of japan, thinned with turpentine, then two or more coats of burnt sienna, toned with French ochre, in turpentine, with a small quantity of oil. 3. Raw sienna in beer. Add burnt sienna to obtain required tone. 4. For light mahogany stain, dissolve two ounces of dragon's blood in one quart of oil of turpentine ; warm and shake. For Dark Mahogany Stain. 5. Boil one-half pound of madder and two ounces of log- wood chips in one gallon of water. Brush the decoction, while hot, well over the work. When dry, paint with a solution of two drams of pearlash in one quart of water. 6. Boil one pound of Brazil wood in one gallon of water for three hours ; add one ounce of pearlash, and apply while hot. Brush over with a solution of two ounces of alum in one quart of water. Maple is readily stained to imitate mahogany. RED STAINS. A good red stain, for common work, such as chairs, can be obtained by using archil. If, however, after one or two coats, it is brushed over with a hot solution of pearlash in water, the color will be improved. Camwood dust in rectified naphtha gives a good red stain. Violin Crimson. .Boil one pound of Brazil-wood dust in three quarts of water for one hour. Strain and add one-half ounce of cochineal. Boil again gently for a short time. If a more scarlet tint is required, boil one-half an ounce of saffron in a quart of water for one hour, and pass it over the previous stain. (For red stains, see also mahogany stains.) * Rosewood Stain. In three pints of water boil one-half pound of logwood until decoction is of a dark red color; then add one-half ounce of salts of tartar. Three or four coats are required, each of which must be boiling hot, and be allowed to dry thoroughly before another is applied- NOTES ON WOOD FINISH. BROWN STAINS. A hot decoction of logwood or Brazil wood, or both com- bined, give brown stains. The second gives a mahogany brown, the first a dark brown. A solution of permanganate of potash forms a rapid and excellent stain. When spread on pear or cherry wood for a few minutes, it forms a permanent dark brown, which, after careful washing, drying, oiling and polishing, shows a beautiful reddish tone. The dull color becomes very rich by oiling and rubbing. This stain is known as the " Swedish stain." A brown stain can be obtained by boiling one part of catechu, cutch or gambier with thirty parts of water and a little soda. It should be allowed to thoroughly dry in the air, and be painted over with a solution of one part of bichromate of potash in thirty parts of water. By varying the strength of the solution, various shades may be given to these materials, which will be permanent and tend to preserve the wood. WALNUT STAIN. Boil one and one-half ounces of washing soda, one-quarter of an ounce of bichromate of potash, in one quart of water, and add two and one-half ounces of Vandyke brown. This solution may be used either hot or cold. Boxwood and some of the lighter very hard woods may be stained brown by heating gently and treating with aqua fortis. The heat must be maintained until staining is completed. The work must then be oiled and polished. OAK STAIN. Dissolve two ounces of American potash and two ounces of pearlash in one quart of water. Dilute with water to required tone. A solution of asphaltum in spirits of turpentine gives a good brown stain for coarse oaken work. Yellow stains can be produced by the application of a solu- tion of gamboge or tumeric in alcohol, or barberry root boiled in water. These may be diluted or strengthened as required. Dilute nitric acid will also give a yellow stain to wood. EBONIZING AND BLACK STAINS. All work that is to be ebonized must be thoroughly smoothed and cleansed from all dust and irregularities. Pass over the surface to be ebonized two or more coats of a hot decoction of logwood or Brazil wood, each coat being allowed to become thoroughly dry. Then paint over with one or more coats of a solution of sulphate of iron. Rub and polish. Or, boil one-half pound of logwood chips and one ounce of pearlash in three quarts of water. Apply hot. Then boil one-half pound of logwood in three quarts of water, and add one-half ounce each of verdigris and copperas. Strain, and add one-half pound of rusty steel filings and pow- dered nutgalls. This stain is available for immediate use. Or, to six quarts of water add one pound of logwood and two or three handfuls of fresh walnut peelings. Boil till reduced to one-half the quantity and strain ; add one pint of the best vinegar, boil again, and apply hot. Dissolve one ounce of copperas in one quart of water, and apply this hot over the previous stain. Each coat must be allowed to dry thoroughly. Strong nitric acid will also give a black stain. Note. — Among the works consulted for the above notes are Encyclop. Brit., 9th Ed. ; Am. Encyclop .; Spon's " Workshop Receipts ; " Stokes' " Cabinet-maker ; " the " Manufacturer and Builder," &c, &c. INTERIORS AND INTERIOR DETAILS. PLATE 2. - nl&viov ol uudl *ksn [ nefl h y _ - ° [j°\^h^hr^-7 j fTchitu^ ° \Lp i* 'w^ y» ^ ^ INTERIORS AND INTERIOR DETAILS PLATE 3. : -Qerf/L- of -jJ^c/jtyy ■ //S-//ff/7^f- INTERIORS AND INTERIOR DETAILS. PLATE 4. INTERIORS AND INTERIOR DETAILS. PLATE 5. INTERIORS AND INTERIOR DETAILS. PLATE 6. INTERIORS AND INTERIOR DETAILS PLATE 7. INTERIORS AND INTERIOR DETAILS PLATE 8 .-titm looking Rw^i-d/ TirtLUtt. _ru e . ceJ< Xi"= /'-«' '-Ivdy /or H*JI I'n a. /mi II (ovnl-ry (jdv/r. /t*.!t ,«f Zl£v*|-ions j/if.'!-* jf& lltvs.'tion lo'elynl -W»fd/ (+».ir- ca.it- INTERIORS AND INTERIOR DETAILS PLATE 10. INTERIORS AND INTERIOR DETAILS PLATE II INTERIORS AND INTERIOR D E TA I Ls PLATE 12. i 6 h a" i o X -1 hi Q l- o o ( U- u. H " -x -J i ^ ^ INTERIORS AND INTERIOR DETAILS PLATE 13. INTERIORS AND INTERIOR DETAILS PLATE INTERIORS AND INTERIOR DETAILS. PLATE 15. INTERIORS AND INTERIOR DETAILS PLATE 16. ■ «Sc/\lc fo«, Dctau-3 •:Pi\p^ii o p\ pushed in Chb^ryshqw,^TwoSirb8opt» e J^oom:- With Details^-^" INTERIORS AND INTERIOR DETAILS PLATE 17. iwj^xy , " 3 '"W f 4 e-^ 1 -^ - ' M ^ a * 1 INTERIORS AND INTERIOR DETAILS PLATE 18, INTERIORS AND INTERIOR DETAILS. PLATE 19. INTERIORS AND INTERIOR DETAILS, PLATE 20. sasaasssr:- INTERIORS AND INTERIOR DETAILS PLATE 2i INTERIORS AND INTERIOR DETAILS PLATE 22. i nn, ii, m i m 'miim^w^JHUumiiB Baj* INTERIORS AND INTERIOR DETAILS. PLATE 23. INTERIORS AND INTERIOR DETAILS. PLATE 24. 1 1 * J* «5 * I %* ^ w V "5 ^ J* * V§ V Kt V 5T ^Sn ll §> ^i '- V ^ ^jS si ^^ ^ *« .5 j^ § v^ ^ <3 'J •X ,. -*- ^4 w JS GJ INTERIORS AND INTERIOR DETAILS PLATE25 QETAIL OF QGF^NICEL ^j.jO.-pi/T/Jfl/^ '• /f^o^irecf. ~rCflLJT Of eLe-yZ/iT/O/S ■ • ^-//VC// TO X /TOOT j o-o o o □<□ a as a □ oam-a ens'E c □ □ □ ■& a o-3'O o s-a d □<□ □ d dqidq aiasDD □ at-i o-no-o on □ o a □ a a dodo cud jddq die c ,iiO on flfi'Din fi n □ □ o-Diooa □<□ o □ n-n nia o< aooiPi-niOiaio d urn a a Qiaoa om o a b a am a< boo ofiiaiOiDC'O o-Dio niD^-r,",oocio Q.DIS QICtibieiiCUllQlDIQlAiQOEL 'SaaiD'oacasiQ-i S r"f^oHT q_e:Atio(s1 INTERIORS AND INTERIOR DETAILS PLATE 26. J3 n n NTERIORS AND INTERIOR DETAILS PLATE 21. INTERIORS AND INTERIOR DETAILS PLATE 28. tJ-uW Motto / fat tfnf~~' 6rea.cS -*-irfr jcru, , I Qnd armkj $u~~'ryme. ^.; /%~ a merry /rea>~t~. Sec. /x, y. Panc/"D» ■she/fr fme ^fahtcl- piece ihc fca/c // = T?0-3Jlte)-' aucl Wt-tOh^T^ h fo/on en era. , One /neb fo~onc fool^' fr* y, and fro Tfc/rc/j J- u // j/j C J or J) C tail ' . Yaw irtqj y hpfon icp.iiQ\Mantei - 7?Ol9/99\ piece ^W Mould around Mo tto panel. oft' Vhc/f. groove* J ' . 7Hotfz>-e-J engraved, in ffie v^dod clucC picked octi^ in Co/of, INTERIORS AND INTERIOR DETAILS PLATE 29. NTERIORS AND INTERIOR DETAILS. PLATE 30. ■:Interiop{ ^nd ExTE-niop{T3ooTiS:- INTERIORS AND INTERIOR DETAILS PLATE 31. E X A M PLtS O F WINDOW AND DOOR FINISH SCftLE. OF ELEVATIONS -j- IN = I FT. S C fl L£ OF DETAILS I IN. « I FT. INTERIORS AND INTERIOR DETAILS PLATE 32. /V°2, 2 Ja '* 7''<>" Z " Tttek A///, A/o 9 '/MW//////////S Wo. 7 '////. p.; ^Picture m 5 . No 2 \ o c No. ^f **mH^ No 9 No. lo. No.n tfoji /vo./J JPJ CTURET Mouldings A/o./¥ No.5~ 3%" on ce t'hno Nad. Hh." ,. . A/0.7. 6'/Z ■< 5"' on wall No.$. S'/i „ H 2" ,. „ No. Cj: J" .. - ,,///////////////,, Mo. /57, Wood Cornice in 3 pieces No. 17 Picttirc Moulding Jimple fycimpfe. V Mo. IS Tfo&tter' arte/ !4?rtj/>/^~ fu/f y/fc No. 21 vtn- tih. \ fit Ho. INTERIORS AND INTERIOR DETAILS PLATE 35 SCALE OF DESIGNS i- IN.= 1ft. SCALE OF DETAILS 1in.«1tt. CO LOR DECORATION MM ' P ET A I LS OF I S I CN A • WOOD CEILINGS, WITH DETAILS. 8 ? n n-n n n n .n n n n n n f PETAILS OF PESICN C . ~^0Z-U& ' £ &&yi&& niJAILS OF DESIGN D INTERIORS AND INTERIOR DETAILS. PLATE 36 A \ Ca/>$ /v? HDD 7A" /*>"(■ /%" jy^ <**>? vW^ 1 c^^'" /'/?" ' batting *V>* B M or Catpet Tafiestry i% K \ / V \ /'/%" sb'la. //oof Jot- b&Lcouei t L. or 1 r~~ ~ fta/scd pane// C. 17? f~ " roje^Cf 7r>ay Jn crmltf-ed -from aff -eiccc^/-^ 1 Tok 7VW el frane/j i*/m~ Qood iff**? ~G ^ Jco/c. fin fi^one footr >\f ■2'A \ / ... W / \ A a, \ / i- i Jt_ NTERIORS AND INTERIOR DETAILS PLATE 37. — _ , ,, , , Va. IN — 1 Ft FOR ELEVATIONS O FVAMPL£S OF PANElLlNGi OOP bCALES 1 in - \ ft ,. details O O &**££ r^gg^g INTERIORS AND INTERIOR DETAILS. PLATE 38. INTERIORS AND INTERIOR DETAILS. PLATE 39. c£«k-Onc in. /o one coo t JD.qto/. one ncrtf~ jull / /~ l Jfw'tfcrfcmJ Wrijhtr" -p ~Rnnls y-rr/^ttui/t-iA. between chimney breajHand *a//. . ^JyUUn Cw/L / duplicate on °fierJ tide. «/ ifeat/^ , rKZu -fi'llmy aft rrhote j/cie «/ libra! " — — ' -^-^— — — — — — _ — _ » — . — , _ — j/ • INTERIORS AND INTERIOR DETAILS PLATE +0. *J)lNINGrJl00lt Hi" TING J One inch Xgfrfs/ fzfi/an EF" fcphn **«? A Rrc fr/ace t^ INTERIORS AND INTERIOR DETAILS PLATE 41 Of UJ Q. w z & NTERIORS AND INTERIOR DETAILS. PLATE42. i ~ »>!i,i.i,iiiliiinii!*., Jftjin.iiiniuini -•> X \_ 3» ^ / -H^ ■ ■ ' ■ ill 1 , ' ■'■ '■ /• %n < -i <0 id ' 1- < W^n X ^ -=4. ^ p^ ei- / INTERIORS AND INTERIOR DETAILS. PLATE 43. nnnn DDDD an yfc. " ^i«r>j ^)C p;- ■ -pr.,t.' INTERIORS AND INTERIOR DETAILS PLATE 44. NTERIORS AND INTERIOR DETAILS PLATE4-5. INTERIORS AND INTERIOR DETAILS PLATE 46 INTERIORS AND INTERIOR DETAILS. PLATE 47 Corn/ cc •s. ^ T* &*&& /Dane/ ■ Mould . as | ■J) % j)oor sUj- /fa" Jh/c Witk clratfert arid jhe/aes niftC doorj in front" 'FUtfnof r or a ^RUGr~ JTOREj 1/ /'/y Bcue Rouiter and uno/if (a/frier's 8 \ Jftan Trittjfuhs. ig ta» OHM n n W Q (J U n Q p J ^ ; * r "i" r sr 4 /'/£ jA'/e. rr Fronr^ X J/c/c s n °Av, /%" ,5. C0L(Ot c ?««» V 1 1^' W jLeaffTer Jea ^ ftot,iricC , Front:' Tfnc inch ~tfca-/c jj_ J)c/a//%-^ u // ' j^c h .AVA/R INTERIORS AND INTERIOR DETAILS PLATE 48 INTERIORS AND INTERIOR DETAILS PLATE 49. 1 SHELF [ -\ ^\ J or a; a \i, o Z -^ NTERIORS AND INTERIOR DETAILS. PLATE 50. INTERIORS AND INTERIOR DETAILS PLATE 51. -p^r "^ISPSSSS* £ t^«.W\ k £ 3 ooac =*<^£) :■; ^ixoocioiii^coac: III . Ill ,lislliitliis, FOUNTAINS, VASES, if 41 I kM , 1111, SOB, AND OTHER LAWN ADORNMENTS.' W^0HGfl¥ flflD C^T I^0N R7iIIiIJ&G, For Parks and Private Grounds, PLAIN AND FANCY IRON AND BRASS BEDSTEADS, PR I VAT E USE WIRE RAILINGS of all hinds, for BANKS, &c, A SPECIALTY. Wrought, Oast Iron and WIRE WINDOW ■ j , JMk — AND— DOOR GUARDS Made to Order. "f. fl. f ike;;J», 7 Iron Roof Cresting, • Finials, Bannerets, Etc. 1AHF POSTS, BS4CSEN JkHP IrJkMPS, FOR PUBLIC AND PRIVATE GROUNDS, THEATRES, OPERA HOUSES, &c, &e. Estimates Gi7«a if all kinds of Wrought aid Cast Iron Work. ALSO ANYTHING IN THE ARCHITECTURAL LINE MADE TO ORDER. Illustrated Catalogue of each line of Goods t*F ^ *>F ^ ^ . # ^ 4& FURNISHED TO ARCHITECTS', BUILDERS, III US TRADE!, J ADVERTISEMENTS. . \ igaggg=p W\ / V '/ . V < . N m lit G> 0»? O g 2 -"© 6^ E_EE B ®WR)I1 ^ 3lcQ * T3&W£P+&g±G& I Bo mid 8i ASTO>K NEW YORK CITY. » &T3& r/ f) a|e<- CTuLSt I D -uLlolislieci. MODERN HOUSE PAlITffl By E. K. EOSSITEE and F. A. WEIGHT, Architects. One oblong quarto vol,, handsomely bound in cloth. J. Price, $3.00. Containing twenty colored lithographic plates, exhibiting the use of color in Exterior and Interior House Painting, and embracing examples of simple and elaborate work in plain, graded, and parti-colors. Also the treatment of old styles of houses, together with full descriptive letter-press, covering the preparation, use and application of colors, with special directions applicable to each example. The whole work offering valuable hints and suggestions on harmonious color treatment, suitable to every variety of building. THE Builders and Manufacturers' OF AMERICA. Incorported under the Laws of the State of New York, February 8th, 1882. WILLIAM T. COMSTOCK, Publisher, 6 Astor Place, New York. ' Full and descriptive Catalogue of my Publications sent on receipt of three ycent stamps. P. O. Box 560. OFFICE, 194 :oiR_o_^:D-\A^J3r 7 A. J. BIC KNELL, Secretary. This Association Offers Protection of One to Six Thousand Dollars, at the lowest possible cost. All Insurable Persons between the ages of Twenty and Sixty-five are eligible to membership. CIRCULAR SHOWING ADVANTAGES AND RATES FURNISHED ON APPLICATION. ADVERTISEMENTS; BUTLER & CONSTANT, nr iridic SU _«'*.. NEW YORK AGENTS FOR P. & F. CORBIN, MANUFACTURERS OF *™™£ MAI S&D Ai ■j£. LATEST DESIGN OF KNOB AND ES0UT0HE0N, HRHI |HMHN9MH|i iMlBiiiii''' IIhIIIII^^ ywiiifHwiBiiiy?p™ iHi l lp^'"^">^-^"/llllH '■ LATEST DESIGN OF BUTT. te* 1=1 In Plain and Ornamental Designs, Highly Polished Brass, Nickel and Gold Plated, &e., in the various styles of finishes, to harmonize with the present styles of decorations. ALSO MANUFACTURERS OF THE CELEBRATED CANNON'S PATENT DUMB WAITER AND IMPROVED HAND ELEVATOR. BUTLER S— Soft (B and No. 1) S M— Soft-Medium. (H B and No. 2) M B— Medium black (F) M— Medium (H and No. 3) M H— Medium hard (H H) H— Hard (H H H and No. 4) V H— Very hard (H H H H and No. 5) 219 V V H— Very, very hard (H H H H H H) Ofice of the American Bank Note Co. — Art Department, New York, July 5, 1876. I was induced to try your Dixon pencils (though very much wedded to the Faber), and from a careful trial now of several months, I am perfectly satisfied they far exceed anything I have ever used. William Main Smii.lie. Trade No. 210 VVS 211 VS 212 213 214 215 216 217 218 ASK YOUR DEALER FOR DIXON'S 1ES2SS 1 PENCILS, but if they are not sold by any dealer in your vicinity, write to us for samples, sending 9 JOS. DIXON CRUCIBLE COMPANY, JERSEY CITY, N. J. cents, in stamps. ADVERTISEMENTS, Boynton's Warm Air Heating and Ventilating Furnaces, The most Popular and Successful Furnaces Sold. Perfectly free from Gas and Dust, Extraordinarily Durable, Have Great Heating Capacity and are Universally Successful. FURNACES SUITABLE FOR ALL KINDS OF FUEL. m* P ton'f laigii f§i lam Economical in Fuel, and Quick Operators. RICHARDSON, BOYNTON & CO., Manufacturers and Inventors, SEND FOR CATALOGUES AND PRICES. 232 & 234 Water St., N. Y. ; 84 Lake St., Chicago ADVERTISEMENTS. t \m ,J iWw LW FOR « * p I CJKIWE& Public Buildings, Imported Art Tiles FROM MINTON'S, MAW'S, AND BOOTE'S. Suitable for Churches. Public Build- ings, Halls, Vestibules, etc., etc. Mantel Facings, Hearths, Flower Boxes, Furniture, and External Dec- orations. Special Designs and Estimates sup- plied "without charge. EDWARD BOOTE, No. 11 East Nineteenth St., N. T. Opposite Arnold, Constable & Co. Conservatories, &c. IN ENCAUSTIC AND MOSAICS. M4ITTU FACIUC In great variety from Mintons, Maws and Bootes, also Limoges, in hand painting of exquisite finish and design. 4* M In Encaustic of elaborate designs and beautifully blended colors. Also a great variety of designs in neutral colors, suitable for any style of decoration. IN ANY COLOR. ^ PLAIN, WHITE AND TINTED TILES, FOR LINING- KITCHENS, WATER CLOSETS, DAIRIES, &c. Bath Room Decorations a Specialty. DESIGNS AND ESTIMATES SUPPLIED WITHOUT CHARGE. EDWARD BOOTE. No. 1 1 EAST NINETEENTH STREET, Opposite Arnold, Constable & Co. Hew TmU City. ADVERTISEMENTS. g.Vf C0) U/Vg PRIZE MEDALLISTS. tfQS co/ t//t& **0tt6** ^i/TTE?- 9 £ EXHIBITIONS of 1862; 1865; 1867; 1872; 1873; and ONLY AWARD and MEDAL § for NOISELESS, SELF-COILING STEEL SHUTTERS at PHILADELPHIA, 1876; PARIS, 1878; and MELBOURNE, 1881. CLARK, BUNNETT & CO. (Limited), Late CLARK & COMPANY Original Inventors et:n.ca_ Sole IlPsttentees; of NOISLESS SELF-COILING, REVOLTING FIRE AND BURGLAR-PROOF ■^STEEL SHUTTERS,^ MADE FROM IMPORTED SHEFFIELD STEEL. Also IMPROVED ROLLING WOOD SHUTTERS, Hi CLARK'S PATENT METALLIC VENETIAN BLINDS The HANDSOMEST, CHEAPEST, and the MOST DURABLE in the MARKET. INDORSED BY THE LEADING ARCHITECTS OE THE WORLD, B3P" Send for Catalogues, etc., and list of buildings, where Clark's Shutters are in operation, to 162 and 164 WEST 27th STREET, NEW YORK. III1 DBII1 Hoy L No. 1, Single Gear, hollow handle, nickel-plated, per doz. , . . . . $15.00 No. 1 B, Double Gear, same ' chuck, per doz., . $18.00 Six drill points with each of the above drill stocks. These drill stocks are made of malleable iron, with steel spindle, and rosewood head and handle. '1 he jaws are of forged steel. They are the only drill chucks in use which will hold Morse Twist Drills from 1-32 to 1-8 inch. LOOK AT 1 HE JAWS. So many Braces are now made to imitate the outside appearance of our Barber Improved Patent Bit Brack, that people are liable to buy what they do not want if they are not careful to look at the Jaws. Our latest improvements have made this Brace absolutely perfect, and all who use such tools ought to know about it. Hereafter, every Bit Brace found in any market, with jaws as shown in the above cut, and bearing our name, will be made of rolled steel, highly polished, and heavily Nickel-plated. The Head is of Lignumvitae, and the Revolving Handle of Rosewood. The Jaws are of forged and tempered steel, and will adapt themselves to any shape tool shank— round, square, or flat — and hold it without any fitting. When made with a Ratchet Attachment it will bore in places where there is not room to revolve the Sweep, a slight back and forth motion driving the bit in or out. We formerly used Iron Jaws, which wore out. All such we will now replace with Steel, sending them by mail, prepaid, on receipt of 25 cents. They are all one size, and will fit any Brace which we ever made. Our Braces are for sale by nearly all Hardware Dealers. Those who do not have them in stock will furnish them if re- quested. Price, from $1.75 to $3.23 each. Many Braces arc sold for less money, but this is the only Steel Brace in the market, and oneof them is worth six of any other kind. We fully guarantee every Brace to be as herein stated. Save this notice, as it may not appear again. MILLERS FALLS CO., 74 Chambers St., New York. neos york. 114 FIFTH ^ENUE BHIiTIffiORG COR EUTAW&WEST STREETS BHLTIffiORG 20•^*2oe'WEs^BAHIHaRES , ' iiiiifliale h ffiJffillFJICTUipS OF «D.UPM(IT,M1R€ FOR OYGR FORTY YGffRS B€CFOR€[ TE€C PUBMG, mesa irstrujmrts Rm^.BYTRemexesLLeitce:, ftTTfnneD fm urpurcrhsed PRe-GmmeRce:. WHICH GSTflBMSHeS TR«JR TE€C URGQUffiiMD IR roORKfltfntSRIPX DIIMMTY .ADVERTISEMENTS #* m m y y 0^ ii R > o a. a i— i H en w H < fa fa M H fa H u g hi Pi no CO fa fa EL_1 fe=\