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potted vines and flowers there, which was later done, giving a pleasant sense of greenery from
the street, and to place a few chairs there, which were reached via heavily barred French
casements.
On the ground floor of each house was placed a conservatory of flowers, facing each other, and
in the yard, which was jointly used, a pool of white marble eight feet in diameter, with a marble
Cupid upon which jets of water played. The yard which was enclosed by a high but pierced wall
of green-gray brick, especially burnt for the purpose the same color as the granite of the house,
and surmounted by a white marble coping which was sown to grass and had a lovely, smooth,
velvety appearance. The two houses, as originally planned, were connected by a low, green-
columned pergola which could be enclosed in glass in winter.
The rooms, which were now slowly being decorated and furnished in period styles were very
significant in that they enlarged and strengthened Frank Cowperwood's idea of the world of art
in general. It was an enlightening and agreeable experience--one which made for artistic and
intellectual growth--to hear Ellsworth explain at length the styles and types of architecture and
furniture, the nature of woods and ornaments employed, the qualities and peculiarities of
hangings, draperies, furniture panels, and door coverings. Ellsworth was a student of decoration
as well as of architecture, and interested in the artistic taste of the American people, which he
fancied would some day have a splendid outcome. He was wearied to death of the prevalent
Romanesque composite combinations of country and suburban villa. The time was ripe for
something new. He scarcely knew what it would be; but this that he had designed for
Cowperwood and his father was at least different, as he said, while at the same time being
reserved, simple, and pleasing. It was in marked contrast to the rest of the architecture of the
street. Cowperwood's dining-room, reception-room, conservatory, and butler's pantry he had put
on the first floor, together with the general entry-hall, staircase, and coat-room under the stairs.
For the second floor he had reserved the library, general living-room, parlor, and a small office
for Cowperwood, together with a boudoir for Lillian, connected with a dressing-room and bath.
On the third floor, neatly divided and accommodated with baths and dressing-rooms, were the
nursery, the servants' quarters, and several guest-chambers.
Ellsworth showed Cowperwood books of designs containing furniture, hangings, etageres,
cabinets, pedestals, and some exquisite piano forms. He discussed woods with him--rosewood,
mahogany, walnut, English oak, bird's-eye maple, and the manufactured effects such as
ormolu, marquetry, and Boule, or buhl. He explained the latter-- how difficult it was to produce,
how unsuitable it was in some respects for this climate, the brass and tortoise-shell inlay coming
to swell with the heat or damp, and so bulging or breaking. He told of the difficulties and
disadvantages of certain finishes, but finally recommended ormolu furniture for the reception
room, medallion tapestry for the parlor, French renaissance for the dining-room and library, and
bird's-eye maple (dyed blue in one instance, and left its natural color in another) and a rather
lightly constructed and daintily carved walnut for the other rooms. The hangings, wall-paper, and
floor coverings were to harmonize-- not match--and the piano and music-cabinet for the parlor,
as well as the etagere, cabinets, and pedestals for the reception-rooms, were to be of buhl or
marquetry, if Frank cared to stand the expense.
Ellsworth advised a triangular piano--the square shapes were so inexpressibly wearisome to the
initiated. Cowperwood listened fascinated. He foresaw a home which would be chaste,
soothing, and delightful to look upon. If he hung pictures, gilt frames were to be the setting,
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