nglish
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, large and deep; and if he wished a picture-gallery, the library
could be converted into that, and the general living-room, which lay
between the library and the parlor on the second-floor, could be turned
into a combination library and living-room. This was eventually done;
but not until his taste for pictures had considerably advanced.

It was now that he began to take a keen interest in objects of art,
pictures, bronzes, little carvings and figurines, for his cabinets,
pedestals, tables, and etageres. Philadelphia did not offer much that
was distinguished in this realm--certainly not in the open market.
There were many private houses which were enriched by travel; but his
connection with the best families was as yet small. There were then
two famous American sculptors, Powers and Hosmer, of whose work he had
examples; but Ellsworth told him that they were not the last word in
sculpture and that he should look into the merits of the ancients. He
finally secured a head of David, by Thorwaldsen, which delighted him,
and some landscapes by Hunt, Sully, and Hart, which seemed somewhat in
the spirit of his new world.

The effect of a house of this character on its owner is unmistakable.
We t