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Clothing Website Template. Book Store Template. Accessories One Page Template. Company Page Design Template. Perfume Shop Web Template. Servie Web Layout Design. Lightning Website Homepage Template. Perfect Suit Website Theme. An action verb tells what someone or something does. The two types of action verbs are transitive and intransitive. A transitive verb is followed by a word or words—called the direct object—that answer the question what?

An intransitive verb is not followed by a word that answers what? Transitive: The tourists saw the ruins. The janitor washed the window. Intransitive: Owls hooted during the night. The children played noisily. An indirect object receives what the direct object names. Marcy sent her brother a present. A linking verb links, or joins, the subject of a sentence with an adjective or nominative. The trucks were red. A verb phrase consists of a main verb and all its auxiliary, or helping, verbs.

We had been told of his arrival. They are listening to a symphony. Verbs have four principle parts or forms: base, past, present participle, and past participle. Base: I talk. Present Participle: I am talking. Past: I talked. Past Participle: I have talked.

Irregular verbs form their past form and past participle without adding -ed to the base form. The principle parts are used to form six verb tenses. The tense of a verb expresses time.

Simple Tenses Present Tense: She speaks. Progressive forms of verbs are made up of a form of be and a present participle and express a continuing action. Emphatic forms are made up of a form of do and a base form and add emphasis or ask questions. Progressive: Marla is babysitting. The toddlers have been napping for an hour. Emphatic: They do prefer beef to pork. We did ask for a quiet table. The voice of a verb shows whether the subject performs the action or receives the action of the verb.

A sentence is in the active voice when the subject performs the action. A sentence is in the passive voice when the subject receives the action of the verb. The robin ate the worm. A pronoun takes the place of a noun, a group of words acting as a noun, or another pronoun.

A personal pronoun refers to a specific person or thing. First-person personal pronouns refer to the speaker, second-person pronouns refer to the one spoken to, and third-person pronouns refer to the one spoken about. Singular Plural First Person I, me, my, mine we, us, our, ours Second Person you, your, yours you, your, yours Third Person he, she, it, him, her, his, hers, its they, them, their, theirs 3.

A reflexive pronoun refers to the subject of the sentence. An intensive pronoun adds emphasis to a noun or another pronoun. A demonstrative pronoun points out specific persons, places, things, or ideas. Reflexive: Nikki prepares himself for the day-long hike. Intensive: Nikki himself prepares for the day-long hike.

Demonstrative: That was a good movie! These are the files you wanted. An interrogative pronoun is used to form questions. An indefinite pronoun refers to persons, places, or things in a more general way than a personal pronoun does. Interrogative: Whose are these?

Which did you prefer? Relative: The bread that we tasted was whole wheat. Indefinite: Someone has already told them. Everyone agrees on the answer. Use the subject form of a personal pronoun when it is used as a subject or when it follows a linking verb.

He writes stories. Are they ready? It is I. Use the object form of a personal pronoun when it is an object. Cleary called us. Use a possessive pronoun to replace a possessive noun. Never use an apostrophe in a possessive personal pronoun.

Their science experiment is just like ours. When a pronoun is followed by an appositive, use the subject pronoun if the appositive is the subject. Use the object pronoun if the appositive is an object. To test whether the pronoun is correct, read the sentence without the appositive. We eighth-graders would like to thank you. The success of us geometry students is due to Ms.

In incomplete comparisons, choose the pronoun that you would use if the missing words were fully expressed. Harris can play scales faster than I can. It is worth more to you than it is to me. In questions use who for subjects and whom for objects. Who wants another story? Whom will the class choose as treasurer? In subordinate clauses use who and whoever as subjects and after linking verbs, and use whom and whomever as objects.

These souvenirs are for whoever wants to pay the price. The manager will train whomever the president hires. An antecedent is the word or group of words to which a pronoun refers or that a pronoun replaces. All pronouns must agree with their antecedents in number, gender, and person.

The huge old trees held their own against the storm. Make sure that the antecedent of a pronoun is clearly stated. Cardonal baked cookies with her daughters, hoping to sell them at the bake sale. Cardonal baked cookies with her daughters, hoping to sell the cookies at the bake sale.

An adjective modifies, or describes, a noun or pronoun by providing more information or giving a specific detail. The smooth surface of the lake gleamed. Frosty trees glistened in the sun. The handmade one seems very colorful. Articles are the adjectives a, an, and the.

Articles do not meet the preceding test for adjectives. A proper adjective is formed from a proper noun and begins with a capital letter. Tricia admired the Scottish sweaters.

Our Mexican vacation was memorable. The comparative form of an adjective compares two things or people. The superlative form compares more than two things or people. Form the comparative by adding -er or combining with more or less. Form the superlative by adding -est or combining with most or least.

Some adjectives have irregular comparative forms. An adverb modifies a verb, an adjective, or another adverb. Adverbs tell how, where, when, or to what extent. The cat walked quietly. She thinks quickly. She thinks unusually fast. She seldom thinks fast. The comparative form of an adverb compares two actions. The superlative form compares more than two actions.

For shorter adverbs, add -er or -est to form the comparative or superlative. For most adverbs, add more or most or less or least to form the comparative or superlative. We walked faster than before. They listened most carefully to the final speaker. Avoid double negatives, which are two negative words in the same clause. Prepositions, Conjunctions, and Interjections 1. A preposition shows the relationship of a noun or a pronoun to some other word.

A compound preposition is made up of more than one word. The trees near our house provide plenty of shade. The schools were closed because of snow.

Common prepositions include these: about, above, according to, across, after, against, along, among, around, as, at, because of, before, behind, below, beneath, beside, besides, between, beyond, but, by, concerning, down, during, except, for, from, in, inside, in spite of, into, like, near, of, off, on, out, outside, over, past, round, since, through, till, to, toward, under, underneath, until, up, upon, with, within, without.

A conjunction is a word that joins single words or groups of words. A coordinating conjunction joins words or groups of words that have equal grammatical weight. Correlative conjunctions work in pairs to join words and groups of words of equal weight.

A subordinating conjunction joins two clauses in such a way as to make one grammatically dependent on the other. I want to visit the art gallery and the museum. A conjunctive adverb clarifies a relationship. Frank loved the old maple tree; nevertheless, he disliked raking its leaves. An interjection is an unrelated word or phrase that expresses emotion or strong feeling.

Look, there are two cardinals at the feeder. Good Grief! Are you kidding? A clause is a group of words that has a subject and a predicate and is used as a sentence or a part of a sentence. There are two types of clauses: main and subordinate. A subordinate clause has a subject and a predicate, but it cannot stand alone as a sentence. She became a veterinarian because she loves animals. There are three types of subordinate clauses: adjective, adverb, and noun.

An adjective clause is a subordinate clause that modifies a noun or pronoun. The wrens that built a nest in the backyard are now raising their young. An adverb clause is a subordinate clause that often modifies the verb in the main clause of the sentence. It tells when, where, how, why, or under what conditions. Before they got out, the goats broke the fence in several places. A noun clause is a subordinate clause used as a noun. Whatever we do will have to please everyone. Main and subordinate clauses can form several types of sentences.

A simple sentence has only one main clause and no subordinate clauses. A compound sentence has two or more main clauses. A complex sentence has one main clause and one or more subordinate clauses. A sentence that makes a statement is classified as a declarative sentence. An imperative sentence gives a command or makes a request.

Please close the door on your way out. An interrogative sentence asks a question. When will the mail carrier arrive? An exclamatory sentence expresses strong emotion. Watch out! What a view that is! Phrases 1. A phrase is a group of words that acts in a sentence as a single part of speech. A prepositional phrase is a group of words that begins with a preposition and ends with a noun or pronoun, which is called the object of the preposition.

A prepositional phrase can act as an adjective or an adverb. The house on the hill is white. An appositive is a noun or pronoun that is placed next to another noun or pronoun to identify it or give more information about it.

An appositive phrase is an appositive plus its modifiers. Our sister Myra is home from college. Her college, Purdue University, is in Indiana.

A verbal is a verb form that functions in a sentence as a noun, an adjective, or an adverb. A verbal phrase is a verbal and other words that complete its meaning. A participle is a verbal that functions as an adjective. Present participles end in -ing. Past participles usually end in -ed. The squeaking floor board gave me away. The twisted tree was ancient. A participial phrase contains a participle and other words that complete its meaning.

Moving quickly across the room, the baby crawled toward her mother. A gerund is a verbal that ends in -ing. It is used in the same way a noun is used. Sailing is a traditional vacation activity for the Andersons. A gerund phrase is a gerund plus any complements or modifiers. Walking to school is common for many school children.

An infinitive is a verbal formed from the word to and the base form of a verb. It is often used as a noun. Because an infinitive acts as a noun, it may be the subject of a sentence or the direct object of an action verb. To sing can be uplifting. An infinitive phrase contains an infinitive plus any complements or modifiers.

The flight attendants prepared to feed the hungry passengers. A verb must agree with its subject in person and number. The kangaroo jumps. In inverted sentences the subject follows the verb. The sentence may begin with a prepositional phrase, the words there or here, or a form of do. Into the pond dove the children. Does a bird have a sense of smell?

There is a squeak in that third stair. Do not mistake a word in a prepositional phrase for the subject. The glass in the window is streaked. The singular verb is agrees with the subject, glass. A title is always singular, even if nouns in the title are plural.

Instant World Facts is a helpful reference book. Subjects combined with and or both need a plural verb unless the parts are of a whole unit. When compound subjects are joined with or or nor, the verb agrees with the subject listed last. Canterbury and Coventry have famous cathedrals.

A bagel and cream cheese is a filling snack. Either two short stories or a novel is acceptable for your book report. A verb must agree in number with an indefinite pronoun subject. Indefinite pronouns that are always singular: anybody, anyone, anything, each, either, everybody, everyone, everything, neither, nobody, no one, nothing, one, somebody, someone, and something. Always plural: both, few, many, others, and several Either singular or plural: all, any, most, none, and some Most of the snow has melted.

All of the children have eaten. The neighbors pitched in, and the job went a lot faster. We ate everything except the crust.

They were altogether prepared for a heated discussion. Besides the kitchen, the den is my favorite room. Use among to show a relationship in a group. The joke was between Hilary and Megan. The conversation among the teacher, the principal, and the janitor was friendly. Use take to show movement from a nearby place to a more distant one. You may bring your model here. Please take a brochure with you when you go. Constance can walk to school. She may ride the bus if she wishes.

Celia chose the purple folder. Use less with nouns that cannot be counted. There were fewer sunny days this year. I see less fog today than I expected. Lydia formerly lived in Spain, but now she lives in New York City. The birds nest in the trees. A bird flew into our window yesterday. Possessive pronouns never have apostrophes. The dog lives in its own house.

We lay the uniforms on the shelves each day. The players lie on the floor to do their sit-ups. Minton will teach French to us next year. Dad will let me go swimming today. I did not want to lose my balance. Use much with nouns that cannot be counted. Many ants were crawling near the anthill. Marly can proceed with her travel plans. The other kittens were quite playful. Please raise your hand if you would like to help. I left the bread in a warm spot to rise.

Set can also be used to describe the sun going down. Please sit in your assigned seats. Set those dishes down. The sun set at First get comfortable, then look the pitcher right in the eye. The Westons returned to their favorite vacation spot. Theirs is one of the latest models.

You may go to the library. It is too cold for skating. There are only two days of vacation left. Where were you yesterday afternoon? Whose is the possessive form of who. Do you know whose books these are? Capitalize the first word of every sentence, including direct quotations and sentences in parentheses unless they are contained within another sentence. Capitalize the first word in the salutation and closing of a letter.

Capitalize the title and name of the person addressed. Always capitalize the pronoun I no matter where it appears in the sentence. Since I knew you were coming, I baked a cake. Capitalize the following proper nouns: a. They seldom furniture, Settlers in the South, many of them this country changed slowly. Paneling re- escaped from the conventional round of blue, English aristocrats, maintained a higher stan- lieved the larger flat areas such as cupboard red, gold, and natural gray. The only excep- dard of comfort than those in the North; they doors and drawer fronts, The latter were tions were imported fabrics and the occa- imported most of their furniture and fabrics further decorated by quite elaborate fretted.

Fireplace designs Eight typical paneled doors Drapery treatments for various window types. More carefully embellished than the ear- liestAmerican furniture were the pieces imported by the colonists from their various homelands. These pieces, and the memories of others left behind, later served as models for American craftsmen. He and his queen, Mary, gave their names to a style ofwhich elaborate stretchers particularly on Fig.

Residential Spaces. The architectural details shown in the five panels at right are char- acteristic of the background for 18th Century Colonial decoration. Typical of this period are the brick walls and chimneys, the stone or white painted brick trim.

The furniture, fabrics and ac- cessories shown in these panels are all suitable to the living room, and they are all typical of the 18th Cen- tury Colonial style.

The walls are Naples yellow, the columns and fireplace white. Red and green are tlominark in the Oriental rmr. So the sofa is upholstered in Htriped satin, the armchair in yellow Venetian brocade, Fabrics for curtains and upholstery the wing chair in a printed linen. The urns are of Chinese porcelain. Another color scheme might be: pearly gray walls, oyster white col- umns and fireplace. Red would be dominant in the Oriental carpet, dark Sk hlti greens and red in tlu: portrait.

There would be red damask on the sofa, green rep on the wing chair, and gold damask for the armchair. Whereas furniture of the Early Colonial from Europe. The Pennsylvania fireplace'' " Batty Langley, and Wiiiiam Pain, who in turn period was often so primitive as to be or "Franklin stove" was invented by Ben- were in debt to the Italian masters Palladio. Among the cabinet- succeeding era dignity and luxury prevail in came popular up and down the Atlantic makers were Moses Dodge, Stephen the centers of taste.

The furnishings reflect seaboard. New England farms or Virginian and Carolina following. Brown, Bemsley Wells, Thomas and Ben- plantations, followed these styles. This gave A number of artists and craftsmen of this jamin Laskey Jonathan Goodhue, and Job rise to a number of notable architects, crafts- period bear mentioning. Among the archi- Trask.

Among the upholsterers were Ste- men, and workers in metal and wood. The furniture and fabrics shown in the five panels at right would look well in any dining room; but for your guidance in the selection of materials and colors we illustrate at right a fine Colo-. Blue, rust and beige predom- inate in the Oriental rug, dark green, blue and black in the por- Fabric for curtains and upholstery trait over the fireplace.

Table and chairs are of walnut, the sideboard of mahogany. An alternative color scheme would be light blue-gray walls with cream niches. The pan- eled walls are in two tones of gray- green, the ceiling ocher. Curtains are antique gray-green satin, Furniture is walnut, except lor the mahogany bed, which has a yellow talleta spread, Fireside chairs are covered in crimson dam- ask side chairs in turkey work.

An alternative color scheme would be: warm gray walls with oyster white moldings. The ceiling would be cream, the carpet solid taupe, and the curtains of blue damask. The bed would have a white moire spread and blue val- ance, The side chairs would lie. Ramage, James Peale, and Charles Wilson cotton and linen, cashmere, calico, dimity, ple, pine, and cherry PeaJe,Important manufacturers were, of durance, stout worsted cloth, turkey work The Chippendale style merges at one end wallpaper, Jackson of Battersea England tufted "pilelike" , paduasoy strong silk , soy with Queen Anne, at the other with Hep- and, window and bottle glass, Baron of shalloon, watchet, linsey-woolsey, fustian, plewhite, Sheraton, and Duncan Phyfe.

The Stiegel and Caspar Wistar, silkmuslin, chintz, Indian calico, tabby, sar- Rococo mounts to its zenith and starts to Fabrics most commonly used during the canet, taffeta, horsehair, camak.

Walnut has a new Colonial period were damask, camblet, In- and brocade, mahogany And American craftsmen rival in dian gimp and binding, moreen woolen Woods most commonly used were oak, produced pieces of a quality which compares drapery cloth , harrateen cloth, block-printed ash, elm, red cedar, mahogany, walnut, ma- favorably with English work.

Sideboards, lowboys, chests Dining room accessories Armchairs, side chairs. Marble was imported until after the Revo- was found only in imported work prior to the lution when domestic marbles began to be Revolution.

Fireplace openings with neither used. Marble chimney pieces, window sash, cornice nor mantel shelf were long common. It was started in the closing years of the in Trenton. The curtains are of beige damask, the sofa upholstered in red and gold damask. Gold damask is used for the armchairs, yellow damask for the. The Oriental rug is wine red in tone, the furniture, mahogany.

The clock is of ox-blood marble. An alternate scheme would have light gray-blue walls and woodwork. The draperies would be yellow damask, the chairs up- holstered in green damask. The furniture and fabrics shown in panels at right would also be suitable for the Federal living room. The Federal style is at its most suave and elegant in the furniture of Duncan Phyfe, a Scotch cabinetmaker who arrived in New York about He did not originate a style; he translated prevailing fashions into fine craftsmanship.

Thomas Sheraton, then the current English favorite, and the French Di- rectoire cabinetmakers set the styie. Aii these designers were profoundly influenced by a rediscovery of the classic splendors of Greece and Italy Reeding of table, chair, and sofa legs and other framing members gives elegance to Federal furniture.

Contrasting color veneer Is used to outline the edges of tables and desks and to lend interest to large plain surfaces,. The furniture is mahogany. An alternate scheme would include: soft gray-green. The sconces, clock and picture frames would be gilt. The rug would then be olive green with a design in yellow and pink. The upholstery would be blue, except for red satin on the seat of the desk chair, Other furniture and fabrics suitable for this room are shown at right.

Another characteristic subtlety is the raised Federal pieces. They have brass feet and transparencies in windows, painted on fans, hairline of wood, known as a cock beading, casters, ring handles, and other types of inlaid in mirrors, desks, knife boxes, and which is used to finish off the edges of applied ornament. Toward the end of the brass work. The "Spread Eagle" became a drawers. Phyfe used white wood linings for period, about , china and glass knobs favorite tavern sign, All kinds of historic the drawers in his furniture, instead of the began to supplant brass rings as drawer scenes and patriotic emblems appear as pine linings universally employed by other pulls, decoration on clocks.

American cabinetmakers of this period. The new United States was in its first And yet, the Classic influence was even Brass ornaments probably for the most throes of nationalism; consequently its em- stronger than the patriotic. Armchairs, side chairs Sideboards, chests of drawers Dining room accessories. Dressing tobies, wardrobe, chests Chairs, stools, tables, desks Bedroom accessories. Silver and Sheffield plate satinwood used in European models.

After Federal furniture motifs. Ireland sent Waterford glass. Fireplace designs Drapery treatments for five different types of window. Secretaries, bookcases, cabinet, chest Desks, tables, piano, music desk Living room accessories. It is simplified into a series of rounded grooves and ridges with a raised tapering ridge up the center.

The tyre was used to fill in the backs of chairs, to decorate the arms of sofas, and split apart to support mirrors on dressing. Two crossed lyres are used as support for a pedestal table. The silk curtains are richly embroidered in many colors on a yellow ground which echoes the gilt frames used for pictures and mirrors.

An alternative color scheme would be to have the walls painted dark gray-green with carving picked out in gold. The wall-to-wall carpet would be taupe, the upholstery of the wing chairs yellow Italian damask. Chippendale was a dominating factor in the history of Georgian furniture design and his name serves as a convenient tag for the period centering in the reign of the second of the three Georges who provide the period title.

Yet this English cabinetmaker achieved. To fill this book Chippendale commandeered all the ideas he could lay his hands on and then embroidered them with his own fancy, adapted them to his From the craftsmen of the early eighteenth charm of which the earlier furniture makers own forms. He plundered the design man- century Chippendale borrowed such tested had never been capable.

But to each of them he added a grace and ished during the mid-eighteenth century He. H But ere the walls are pine-paneletl, the wood being natural honey color. Alternatively, the walls might be painted light blue as a background for yellow brocade curtains.

The mahogany table and chairs stand on an Oriental rug which repeals colors found in the needlepoint upholstery. The dominant tone is. Alternatively the walls could be pale green, the carpet brown, the upholstery blue-green and yeliow, the ceiling pale apricot. In the panels at right are other pieces suitable for a room of this type. This was due less to the potter, and of Edmund Burke, the orator. His earlier work to his own publicist. He was the first cabinetmaker to Garrick, Gibbon, and Goldsmith, all added designs, his love of gilt and gaudy color, his publish a book of furniture designs.

The their wit and intelligence to the creation of a fascination with the exotic - all typical of the influence of his Director was particularly sturdy culture. In his Chippendale is the first personality in the ant ornament to suit their clients' taste and. Dining tables, side tables, console Pedestals, wine coolers Dining-room accessories. Chests of drawers, secretary, desk Dressing tables, night stands, stools Bedroom accessories. For it must be design. Rosewood was another material in an infinite variety of fretted ornament, as well remembered that many of the published favor.

Pine was used for paneling and also for as the more obviously Oriental pagoda designs were too complex for reproduction intricate carving as, for example, on mirror forms. From the France of Louis XV come the in the solid, even by the most highly skilled frames. In the latter case it was usually gilt. Such designs were intended Amboyna was occasionally used, mostly for scrolls so typical of the rococo style of for inspiration oniy. Wall paneling and painted decoration.

The Classic detail was in carved stone or molded stucco. At right are details of the architectural background at this period. All these colors are repeated in the rug. The dark brown red of polished mahogany appears in the doors and furniture. Some of the smaller pieces are inlaid with satinwood.

Alternatively the walls might be pale pink with white mold- ings. Upholstery would he blue green exeept for the chairs by the fire in lemon yellow brocade and the sofa in gold satin.

Chippendale went for inspiration to Chi- nese and Gothic decoration. Characteristic of this period is the perfect birth, architects by profession. They did not unimportant to deserve their attention. The coordination between architects, painters, consider their job at an end when they had best craftsmen would then be employed to and furniture designers.

The four Adam designed the shell of a house. Every detail of carry out their designs. Chippendale and brothers - John, Robert, James, and furnishing, decoration, and lighting was es- Hepplewhite, perhaps Sheraton also, made William, who trademarked themselves the designed by the pecially Adams to give a furniture for the Adams. Adelphi Greek for brothers - were Scots by rounded effect. Green and heige enliven the carpet and painted ceiling design. Alternatively the wall paintings might he brighter and more varied in color, including Naples yellow, mauve and green.

Curtains and chair seats would be cherry, the ceiling painting cinnamon brown and white. The mahogany bed is covered in white taffeta trimmed with apple green, and the armchair upholstery is cinnamon and gold-striped damask. Curtains are white silk, gold-trimined. Alternatively the color scheme might be based on gold and white with blue green silk on the bed and yellow satin upholstery on the armchair for contrast. In the panels to the right are a number of authentic pieces which might be used in a Georgian bedroom such as this.

This was couches that folded up to become tables. Here probably because Hepplewhite was more These were designed for use in those bed- is seen the changing fashion: lowboys are strongly influenced than Sheraton by con- rooms which were now doubling as parlors being supplanted by dressing tables, high- temporary French work, which was during the day boys by wardrobes.

Color and inlay become enlivened by a profusion of delicate curves. This later Georgian period has often been more popular than carving, with Sheraton as Of particular interest in Sheraton's work are labeled the Age of Satinwood, All the design- the champion of inlay against painting. Armchairs, side chairs Commodes, sideboards, cupboard Diningroom accessories. Italian painters were brought in - tempted in his own words "to unite ele- wood and amboyna, ebony sycamore, holly Pergolesi, Zucchi, and Cipriani to provide - gance with utility and to blend the useful kingwood, and lime, Ivory and brass inlay the background of decoration, Angelica Kauf- with the agreeable.

Hepplewhite at-. The center panel of this fagade is of stone, the remainder in two shades of painted. A characteristically pale range of colors keeps this room in period. The walls are a pinkish gray, the doors gray and gold. The curtains are oyster white bound in gray and the rug predomi- nantly white except for green and gold in the center.

Green recurs in the upholstery of the armchair, side chairs and sofa, and gold satin in the sofa and meridienne by the fireplace. For added color the fireside pieces might be upholstered in red satin, the other furniture in gold and blue striped satin. The Directoire was France's recovery pe- riod after theshock of a six-year revolution. Friezes- mid i metiers. The Directoire, established in , lasted only a brief four years; but this was long mingyim enough for the designers to sketch in the outlines of a new style.

With the rise of Napoleon to absolute power, the delicate style of the Directoire Fig. The symmetrical shapes of They were not, as decorated by a rule,. Most typically it took the form of gilded. The walls are painted oyster white picked out with yellow moldings. Above the doors are white Classic figure paintings with a blue background which is.

Alternatively the walls might be painted green with the cornice picked out in white and gold. The chairs would then be upholstered in red. Other pieces suitable for a room of this type are shown in the panels at right. J iNK walls decorated in white ami gold provide a good background fur this mahogany and rosewood furniture relieved with brass mounts. An alternative color scheme would have dark beige walls, green taffeta for the curtainsand bed canopy.

Most of the furniture would be painted white and gold. At right are other pieces and fabrics suitable for this type of room. Painted decoration was more com- Round tables were popular. They usually cian delicacy of form, and much of the monly used on walls and ceilings than for stood on a pedestal or tripod vase. The top furniture was painted and gilt.

Later, under furniture. Beds Napoleon's fist, fabrics were usually in deep The general scheme is rich, dark, and color developed into Classic ceremonial couches primary colors, the motifs of Imperial Roman somewhat heavy Rich deep mahogany, with scrolled ends. The popular craze for all heaviness, the furniture of dark red polished French polished and often stained red, was things Roman extended to include women's mahogany the favorite material. Rosewood and ebony dresses and Lucullan banquets.

From each of his campaigns he brought were also in favor. Where other woods were the early Directoire part of the period In home some new decorative motif which he used, their nature was concealed by staining fabrics were quite delicately colored, the would turn over to his craftsmen for use in 26 to imitate the more popular species.

Pedestals Wall tables, sideboards, consoles Dining tables Dining-room accessories. Dressing tables, stools, night tables, mirrors. The Egyptian campaign yielded an im- The early Empire pieces Directoire are pressive collection of sphinxes, pyramids, simplified versions of the styles current un- obelisks, and lotus leaf capitals.

These pieces have grace, came all the paraphernalia of Imperial Roman simplicity, and charm. The hampering re- decoration, acanthus leaves, laurel wreaths, strictions on foreign trade led to the use of torches, winged victories, cornucopias, and native fruitwoods instead of mahogany.

Armchairs, stools Secretaries, bookcases, occasional tables Living-room accessories. Met Ple white -. ILp i. China Cupboard. Caro Table. Contents Are. No DtTAtt. Numerous Accessories. Floor, In This Case. Back Legs Wtw. The PmcEU. Louis XV Chaise Longue. In This Jttle-. Formed 5y ComBi nino 7hr. Pieces af Furn iture. Early American Late Georgian Smooth plaster, light trim Dark hardwood flooring Hooked, braided, Oriental, unippenaaie Wail paper, scenic and v'inyis in piain or jaspe or domestic rugs Queen Anne Chinese designs patterns Carpet, plain, two-toned Duncan Phyfe Paneling patterned French Provincial ueiiing piaster.

Sectional sofa Apartment-size sofa Full-size sofa. Chaise lounge Right corner Lett comer Armless Ottoman. Tables 1 and 2, however, suggest that within the bedding Mattress type Min Max Min Max and mattress industries there exists a wide Bassinet 17 23 36 40 range of sizes from which to select.

Youth bed 33 36 66 76 Ultimately, the designer, in consultation with Bunk bed 30 33 75 76 the client, must verify exact measurements. Dorm bed 32 36 75 80 Be sure to take your clients to see and test Hospital bed 36 36 75 80 the bed or mattress selected. After all, they Narrow twin 36 36 74 75 are the ones who will have to sleep on it.

Twin bed 39 39 75 80, 84 Fuii'Size or double bed 54 54 74 75 Queen-size bed 60 60 80 84 King-size bed 76 78 80 84 Extra-long double 54 54 80 80 Super twin 45 45 75 Width in Length in. Pillow type Min Max Min Max Standard 18 20 26 27 Queen 19 21 29 30 King 20 22 35 36 Note: Many manufacturers also make and sell undersized pillows for cribs and youth beds as well as oversized pillows for the larger beds.

The shape of the viewing area is approx- imately as shown in Fig. Its size is always based on the size of the image to be viewed. The human eye comprehends detail oniy within a limited cone angle about 2Vi min- utes of arc , and the length of chord subtend- ing this arc, i. Thus an object 20 feet away and 6 feet long appears the same as a similar object 1 0 feet away and 3 feet long. The size of the viewing area is determined by three dimensions: the minimum distance 1 , which is the distance from the nearest part of the image to the eye of the closest viewer the maximum distance 2 , which is the distance from the furthermost part of the image to the most distant viewer the maximum viewingangle 3 , which is the angle between the projection axis and the line of sight of a person located as far from this axis as can be and still see all image detail in proper brilliance Practical minimum and maximum dis- tances are both expressed as multiples of the image width W , They vary both with the medium being used and with the type and quality of material being projected, and may be affected also, in some degree, by personal preferences, They have not yet been pre- cisely determined by scientific methods, and it's doubtful that such data would have much.

The generally ac- cepted values, resulting from numerous studies, are these:. Film, slides, and projected TV TV receivers. Table for eight Table for ten.

Desk Chair Fig. Herman Miller. Sideboard Buffet. Dresser Cupboards. Windsor chairs Dining room chairs. Wing chair Barrel chair Arm chairs. Rocking chair Club chair Tavern chair Side chair. Office chairs Special chairs. Library table Iba and coffee tables Serving table. Night table Dressing table Occasional table. Card tables Drop leaf and butterfly tables. Tilt table Draw top tables Candle stand.

Console table Stands. The size of living rooms and the furniture arrangements contained within such spaces vary dramatically, depending on the size of the dwelling, the economic status and life- style of the user, and the relationship of the room to other areas of the dwelling.

With n E n regard to the luxury end of the scale, there are few limitations and no attempt has been made to identify the endless planning op- tions possible. There are, however, minimum requirements and basic planning considera- tions that are applicable whatever the size of the space. Typical furniture arrangement for Minimum Requirements a one- or two-bedroom apartment Luxury units will neces-. In any case, the minimum living room with no dining facilities should be approximately ft 2 but preferably around ft 2 Figures 1 and 2 show two living.

D c rooms- with typical furniture groupings no dining. Figure 3 shows a living for dining. Dwelling n 1 1. This is extremely tight, however, Fig. Planning considerations should include ade- quate floor and waii space for furniture groupings, separation of trafficways from centers of activity, and ease of access to furniture and windows.

Circulation within the living room should be as direct as possible and yet not interfere with furniture placement. Ideally, there should be no through traffic.

If such traffic is necessary, it should be at one end, with the remaining portion of the room a "dead-end" space. During social activities, people tend to gather or congregate in relatively small groups, Desirable conversation distance is Fig.

When the living room is combined with the dining area, the dining area should be offset into an alcove or be clearly identified as an entity in itself. Figures 5 to 10 show various groupings and related clearances. Figure 5 shows that a space 12'6" x 15'6" should be provided in order to accommodate seating for five around a in-diameter cocktail table.

The piano, sofa, and cocktail table arrangement shown in Fig. When planning furniture arrangements, allowances for clearances should take into account the human dimension as well, as illustrated in Figs.

It should be noted that these diagrams are. They are intended only as guidelines to illustrate minimum clearances for preliminary planning purposes.

B ["I. The design of the cabinet should take into account the actual electronicand other equipment to be housed and the clearances Involved for operation. Power outlets should be coordinated and located so as to conceal unsightly wires and cables.

Figure 13 shows a plan and elevations of review of the shop drawings by both contrac- modifications to an existing fireplace. Based tor and designerare essential, it is important,. Traditional: roll arms, loose-cushion Traditional; roll arms, one-piece back, kidney shape, solid base back, solid base. Contemporary: shaped sofa, shaped Traditional: roll arms, fixed-cushion Traditional: roll arms, loose-pillow base back, tailored skirt back, shirred base. Traditional; roii arms, fixed-cushion Contemporary: curved arms, fixed- Contemporary: curved arms, fixed- back, solid base cushion back, solid base cushion back, solid base.

Contemporary: dome arms, solid Contemporary: square arms, loose- back, solid base cushion back, solid base. Traditional: roll arms Traditional: roll arms, fixed-cushion Contemporary: miscellaneous back, tailored skirt slanted arms. Traditional: roll arms, tufted back, tailored skin Traditional: roll arms, fixed-cushion back, shirred skirt. Traditional: roll arms, one-piece Traditional: roll arms back, skirted base.