The walls were broken into panels by the use of a narrow molding. In the
large panel above the mantel-shelf I had inset a painting by Nattier.
You will see the same painting used in the Fifty-fifth Street house
drawing-room, in another illustration.

The color scheme of rose and cream and dull yellow was worked out from
the rose and yellow Persian rug. Most of the furniture we found in
France, but it fitted perfectly into this aristocratic and dignified
room. Miss Marbury and I have a perfect right to French things in our
drawing-room, you see, for we are French residents for half the year.
And, besides, this gracious old house welcomed a fine old Louis XIV sofa
as serenely as you please. I have no idea of swallowing my words about
unsuitability!

Light, air and comfort--these three things I must always have in a room,
whether it be drawing-room or servant's room. This room had all three.
The chairs were all comfortable, the lights well placed, and there was
plenty of sunshine and air. The color of the room was so subdued that it
was restful to the eye--one color faded into another so subtly that one
did not realize there was a definite color-scheme. The hangings of the
room were of a deep rose color. I used the same colors in the coverings
of the chairs and sofas. The house was curtained throughout with fine
white muslin curtains. No matter what the inner curtains of a room may
be, I use this simple stuff against the window itself. There isn't any
nicer material. To me there is something unsuitable in an array of lace
against a window, like underclothes hung up to dry.

[Illustration: A WASHINGTON IRVING HOUSE BEDROOM]

The most delightful part of the drawing-room was the little