The Cross House
As I have previously written, my worry was that, if I did not get the parlor right, then I would get every other room in the house wrong.
The parlor was also a steep learning curve: WHAT would work in an 1894 house and what would not? I thought I knew with Parlor 1.0 but with each passing month it was evident that my learning curve was not finished.
My goal, from the beginning, was to have the finished room convey a youthful appearance while still being respectful to the 1894 character of the room. When the room was new, it had a patterned carpet, a patterned wallpaper, a patterned frieze paper, and a patterned ceiling paper. All this would have been designed to complement the stained-glass, and the mantel and trim. Rather than any one item standing out, an ensemble was desired. And recreating an ensemble effect was my goal in bringing the room back to life.
Doing a period-correct decor was never a goal. I wanted to show how old houses could be colorful and hip without painting all the trim white, the walls taupe, knocking down walls to create an open plan, and punching 528,958 can lights into the ceilings.
After Parlor 4.0 was finished, Travis and I were talking about the radiators. Travis is a big, burly guy. A guy kinda guy. Then, in mid-sentence, he suddenly stopped talking. I watched him as his eyes scanned the parlor. WHAT is he looking at, I wondered? Then he said, in a hushed voice: “This room is incredibly beautiful. Are all the rooms going to be like this?”
My heart soared. For, I knew: 4.0 was good.