“Boscobel “ an American Federal Treasure

Recently I had the opportunity to visit “Boscobel”, widely regarded as one of the finest examples of Federal interiors in the country. Boscobel was originally located in Montrose, New York, about fifteen miles south of the present site, with views overlooking the Hudson River at Haverstraw Bay. It was built by States Morris Dyckman (1755-1806), a descendant of one of the early Dutch families of New Amsterdam. As a Loyalist during the American Revolution, States became a clerk for the British Army's Quartermaster Department in New York. He and his family returned to England to wait out the War and after receiving a pardon from the new American Govt. they arrived back in New York in 1804. He immediately started the work on his mansion and sadly he died before the foundation was finished. His widow carried on and “Boscobel” was finished in 1809. Although no architect has been identified for the building, it has long been considered to be an outstanding example of Federal domestic architecture in America. One can assume that States was influenced by what he had seen in England, particularly the designs of Robert Adam (1728-1792) and his contemporaries. It is possible that he had the architectural plans for his new house drawn in England since construction was started within six months of his return to the Hudson Valley in the summer of 1804. Boscobel is distinguished by its delicate neoclassical detailing on the exterior, as well as for a unique architectural feature on the front facade--the carved wooden swags of drapery with bowknots and tassels installed between the columns supporting the pediment above the second floor balcony. Several other architectural refinements are used to help convey a feeling of lightness and airiness that make the house seem more elegant and graceful than many of its contemporaries. About one-third of the front facade is glass. The three part windows used on the first and second stories are slightly recessed to accent the central pavilion. Recent technological advances in the manufacture of stronger crown glass enabled the builders to use larger panes of glass and much thinner glazing bars. Another architectural feature worth noting is the closely fitted matched boards on the front facade, in contrast to the overlapping clapboards used on the side and rear elevations. This provided for a smoother surface probably meant to simulate masonry rather than wood on the dress front of the house.

The house was almost lost in the 1950s when it was declared "excess" by the federal government and sold at auction to a demolition contractor for the sum of $35. In a dramatic, last-ditch effort led by Benjamin West Frazier, funds were raised to acquire the remaining portions of the structure, dismantle it, and move it piece-by-piece to its new home in Garrison, New York. It was stored in barns and other vacant buildings until a twenty-six acre tract of land with sweeping views of the Hudson River, West Point and Constitution Island came on the market in Garrison in 1956. An anonymous donation of $50,000 received in June 1956 allowed the newly incorporated Boscobel Restoration, Inc. to acquire the property and begin the restoration. The original anonymous donation of $50,000 received in 1956 for the purchase of the land came from Lila Acheson Wallace, who, with her husband DeWitt Wallace, had co-founded The Reader's Digest. The Wallaces became Boscobel's most prominent and generous patrons. But in addition to her financial backing, Mrs. Wallace served on the board of directors and took a strong personal interest in the restoration. She was particularly influential in the landscaping of the grounds and the furnishing and decorating of the interiors. In 1959, she brought in the Roslyn, Long Island, landscape architectural firm of Innocenti and Webel to provide an appropriate historic setting for the restored house. She also brought in William Kennedy and Benjamin Garber, the interior designers who decorated the offices for The Reader's Digest, to furnish the house. Since both concerns worked for The Reader's Digest Corporation and for Mrs. Wallace personally, they reported to her and her advisors as they proceeded with their plans. The intent of William Kennedy and Benjamin Garber was not to accurately furnish the interiors of Boscobel based upon historical research. Instead, they tried to create elegantly decorated rooms that complimented the beauty of the architecture. The items they selected represented the very best of the late-eighteenth and early-nineteenth centuries to conform to the taste and standards of States Dyckman as established by his own purchases in London. Because States lived in England for such a long time, they also felt it would be appropriate to The intent of William Kennedy and Benjamin Garber was not to accurately furnish the interiors of Boscobel based upon historical research. Instead, they tried to create elegantly decorated rooms that complimented the beauty of the architecture. The items they selected represented the very best of the late-eighteenth and early-nineteenth centuries to conform to the taste and standards of States Dyckman as established by his own purchases in London. Because States lived in England for such a long time, they also felt it would be appropriate to furnish the house mainly in eighteenth-century English and European antiques, which they acquired over several years both in America and abroad selecting and assembling appropriate personal and household effects for each room. By the mid-1970s, new information came to light about States Dyckman's original furnishings that led to the decision to totally redo the interiors of the house so they were more historically accurate. Information found in the Dyckman family papers, States Dyckman's recently discovered household inventory of 1806, and from examples of surviving furniture owned by the Dyckman family revealed that contrary to the Kennedy and Garber assemblage of mostly English furnishings, Boscobel was originally furnished with pieces made by New York cabinetmakers of the early nineteenth century. Berry B. Tracy, Curator-in-Charge of the American Wing at the Metropolitan Museum of Art, was hired as a consultant to research the new interiors and oversee the installation. Mr. Tracy worked closely with Frederick W. Stanyer, executive director of Boscobel. The English pieces were replaced by an outstanding collection of Federal period furniture made mostly in New York City. The reproduction carpets, paint colors, wallpaper, fabrics and window treatments used were all based upon documented period examples. The objective of the reinterpretation was to restore the house to the way it would have looked while Elizabeth Dyckman lived in the house from 1808 until her death in 1823. When the house reopened to the public in June 1977, after six months of intense restoration work, Boscobel was featured in a cover article by Rita Reif in the Home Section of The New York Times on July 21, 1977. The headline read, "The Tour de Force Of Redecorating Boscobel."

Today, Boscobel is considered to be one of the nation's leading historic house museums. It features an important collection of decorative arts from the Federal period with high-style furniture by Duncan Phyfe and other recognized New York cabinetmakers of the day. Many of States Dyckman's original purchases of English china, silver, glass and part of his library have also survived and are on exhibit in the mansion.

I was so fortunate to be given a tour by the acting curator Judith Pavelock, she was generous with her time and I was enthralled with the amazing history of this beautiful house.

Bosobel is, as all historic house museums, a challenge to fund and operate, from what I experienced, the Dyckeman’s would be so pleased with the stewardship of the staff. I urge you to visit and support this American treasure, it is so worth the effort and if you are a student American Decorative Arts it is a must.

much of the above text was taken from a history written by Charles T. Lyle.

www.boscobel.org

A kitchen full of memories

“A the symbolic center of the home, the kitchen gives meaning to family life. It is a place where parents nurture their children, families gather at breakfast and dinner, share chores, and discuss the world outside. Women especially see it as the space that connects them to past generations.”

“America’s Kitchen”, Nancy Carlisle and Melinda Talbot Nasrdinov

I visit many historic homes and museums and most of them have restored kitchens set up as they would have been, depicting whatever period and station in life of the family represented. As I look over the exhibit I often think about who the family was that lived in this house, what were they concerned with, how old and how many were their children, did they even have any children? What stories would they tell to us if we had the ability to hear the conversations around that kitchen table.

I think I feel this so personally because of my own history of growing up in two historic houses with great kitchens that were the center of life for our large family.

So many of our memories are centered in the kitchen---coming together to celebrate or simply being together around a convivial meal is the stuff that gets us through tough times. All families have their own styles, but the kitchen is where most family traditions begin. Whether it is a favorite requested meal your mom made for you on your birthday or when you get home after a really bad day the crockpot is there on the counter holding something ready for dinner---you hold on to the traditions that worked personally for you, and discard the rest.

I am from a family that does EVERYTHING around food. We use it to celebrate and comfort. Coming from a large family of seven, I think that because our mother had to come up with inexpensive, hearty meals that fed five children with leftovers my mother (we called her “Moo”) would cook with an eye toward something that we would eat with the least amount of fuss. It also would have to be reincarnated into something that could stretch to another meal or lunch for us. We lived in a very old (1780) house that had a huge hearth, and though it could probably still be used for a fire, had an electric range placed inside.

My earliest memories are seeing my mother stir something on the stove with another baby on her hip and no doubt one underfoot. Even at the age of 38 she had very gray hair, which she wore in a bun at the nape of her neck. Being a poor professor’s wife gave her nothing to spend on glamour, yet I don’t remember that she looked anything but beautiful as she bustled about our small house cleaning, doing the wash in the FREEZING root cellar with a wringer washer, or hanging the sheets out on the line. To this day, sheets that are devoid of the scents of added softeners ---that just have the scent of the clean air are sooo sweet, and I much prefer them even though they are “scratchy.”

We had simple celebrations and our birthdays were centered on my parents putting penny candy in a brown bag and hanging it from the branches of our apple tree. We screeched and yelled in excitement as the birthday boy or girl got the first crack at the swinging bag with a cutoff broom stick.

Even when my father was lost in a car accident in the early ‘70s, the atmosphere about the large house (we moved to a very large house in Shepherdstown eight years earlier) was still much like a party instead of a wake. My dad had a great sense of humor and was very witty and the house murmured that day with his friends and students retelling many stories about him. The dining room had many beautiful stained glass windows, and I remember the look of the sun shining through them onto the large dining table gleaming with all the dishes the neighbors brought---all given in love and kindness in the tradition I grew up with.

Many more stories could be told of all the celebrations that my family has had over the years and the meals now are even more important to us as we gather without our beloved parents. Right before Moo died we were blessed to have her live with us and one evening her nurse wheeled her into the kitchen to sit and watch me make dinner. She loved to watch me cook, a pastime she missed very much, and she did not hesitate to let me know that I should “turn down the fire under the chicken” or add more seasonings to whatever I was cooking. This particular evening I remember (in retrospect it turned out it was right before she died ), she sat watching me move around the stove and suddenly she loudly called to me raising her glass with her nightly drink, and said, “Louise, do you know what the great thing about being terminal is?” Puzzled and a little horrified I responded “No, Moo what is it?” She threw back her head and laughed heartily saying, “The great thing about being terminal is that your green vegetable for the day can be the olive in your martini!” Her nurse slid out of her chair laughing and through my watering eyes Moo never looked more gorgeous.

She soon quietly died in her small little room filled with windows and sun and we still call our family room “Moo’s room,” but the kitchen is where I remember her the most and on a regular basis I wish that I could “channel” her grace and kindness that she showed to everyone she met, and her ability to make any leftover into a meal fit for kings or more importantly her beloved children.

As I have often mentioned, your historic house has had many memories formed within its walls. You really need to be aware that you have the opportunity to make memories with your children, friends and family. To this day, I cannot get myself to paint over the Doxology a friend painted for me in the kitchen after Moo died. My friend had performed a really profound act of kindness and comfort for my 45^th birthday by painting this around the ceiling of the eating space in my kitchen. She was inspired by hearing me say that I was reluctant to attend church because I could not seem to get through the offering without crying as I had such a vivid memory of my mother in church, and for some reason the opening bars of the Doxology always made her seem so close. So one day I came home to find this beautiful hymn painted around the perimeter of the kitchen eating area, and now everyday Moo is there at my table.

Make your own families memories in your kitchen. Now more than ever, our families need to connect in a space that binds them with memories and traditions that are part of their family’s customs and history.

The Victorian Society in America

I wanted to bring your attention to a great resource for those among you who are Victorian Period enthusiasts. The Victorian Society of America is an organization that promotes the understanding of the American Victorian Historical context through preservation, education, promotion and generally the enjoyment of the Victorian period.

This organization was founded as a sister organization to the British Victorian Society in 1966. Since then the society has grown to be THE word in all things Victorian in America.

On the organization’s website you will find a very large resource list, important books about the period, summer schools for the study of the Victorian Period, a list of all the chapters around the U.S., and actually more information than I can relate on this limited space.

I love this site, you should visit and oh, don’t forget to leave your calling card!

www.victoriansociety.org

Take a moment and visit Thistledew Mercantile

There are many great things about this job but one of the best is finding wonderful artisans who are revitalizing the art of the past with talent and innovation. I am so proud to announce a new “Feature Artisan” to the site.

Thistledew Merchantile is a lovely site that sells the historic scissor art by Kim Frey. One of the 2009 artisans featured in the Directory of Early American Craftsman that is published by Early American Life magazine (another one of our favorites) Kim is a very talented addition to our growing list of American Craftsman.

Since 1990, the Freys’ artwork has been shown at local Art Leagues, in traveling exhibits with the Guild of American Papercutters, in special exhibits with Delaware State Museums, and in museum and gift shops across the country. Thistledew Merchantile can produce the “very thing” for your gift list and is a wonderful historical addition to any historic house museum’s gift shop.

The site features the following historic scissor art genres-

Scherenschnitte...

…a Pennsylvania German folk craft, literally meaning “scissors snipping.” Scherenschnitte was used to create Valentines, Christmas tree ornaments, cake stencils, artwork for the home, and shelf decorations.



Fraktur…

…an artistic form of important documents such as birth, baptismal, and wedding records. Fraktur were also given as rewards of merit for good students, house blessings, and bookplates.

Silhouettes…

…sometimes called “shades” or “shadows,” silhouettes were the common man’s portrait before modern photography was invented

The Freys live in Delaware with their daughter Katelyn, two goats, a whole bunch of chickens, and Oreo the cat. (Daughter Jordan, son-in-law Luke, and grandboys Jackson and Derik are staking a claim way out west!) Their artwork…and often the Freys themselves…can be seen in person at Hudson’s General Store, in Clarksville, Delaware

I urge you to take a moment and visit this site it is truly a new american treasure.

thistledewmercantile.com

Thank You to all Local Museums everywhere

It is that time of year again, every spring there are conferences for national, regional and state museums to gather and learn from noted experts in different relevant subject matter and see the latest from the trade companies that cater to the museum world.

Such an event I just attended in Richmond, Virginia. The Virginia Association of Museums (VAM) held its conference from March 14^th-16^th and I was privileged to attend and sit in on some of the events. On the drive home I was again struck by the amazing dedication to this professionthat these true public servants displayed. Amid announcements of lost funding, cutbacks in budgets and lay-offs, I heard imaginative ideas to deal with the current events that are impacting them so powerfully.

I thought that I would reprise my blog from last year’s conference experience. I again urge you all to support your local museum with your donations or please find a way to donate your time to help replace in part the lost workforce.

When I was a little girl, my mother took me to our local small museum which was in the basement of the local library. We walked down the aisles filled with the odd assortment of objects and memorabilia that are often displayed in such museums. We stopped in front of a large case that had a woven coverlet draped in such a way, so the viewer would have the best look at it they could in the small space it was consigned to. I remember my mom saying something like” President Van Buren gave your Great, great, great grandfather this as a present, they were very good friends”. Now, this sparked two reactions in my young mind. That’s a lot of GREATS, and he must not have liked him that much cause that is one UGLY spread. The point of this little story is that had it not been for that small museum in that little town in West Virginia, I would have never gotten to see something that was a real link to the past, to MY past. I have, as do all of us, a small museum to thank for that.

There are people all over this country that have visited like museums and seen the proof of their ancestry on display conserved at various levels of expertise I’ll give you, but saved nonetheless. They walk through the doors and there is Uncle Joe’s WWI helmet and the letters filled with longing he sent home to his wife or the glove and parasol of someone you vaguely knew you are related to and as soon as you see it you are again determined to call your Great Aunt and not only ask those questions about the family you always wanted to but you are also going to WRITE IT down. Thus a family’s written history is born.

We have the small museum director and its board or if really lucky a curator to thank for this…They are dedicated professionals who work with little or no budgets and constantly fight to preserve the tangible bits of our history that otherwise would just slip away. I recently attended the annual Small Museum Conference and observed some of the most talented and educated people in this profession grapple with the new challenges this economy has given them. Luckily for all of us, I heard enthusiasm and excitement from most, if not all of them that I spoke to. They remain focused, dedicated and determined to recommit, rethink and even redesign the small museums that we as the public entrust to their care. Please support your local small museum or local historical society, they are supporting you every day in preserving our shared history.

Visit the Culpeper Museum of History. www.Culpepermuseum.com

Using Antiques in your historic home

Of course the use of period antiques are the best way to furnish your period home, but how do you know if what you are buying is authentic or period correct. Finding a reputable dealer in antiques of the period that you are interested in is the best way to find your way through the intricacies of appraisal and purchase.

Some periods are more affordable than others And certainly much easier to find. The Victorian period is the most prolific as many of these pieces were machine made and mass produced. The arts and crafts period is next having been fabricated in the early 20^th century and there are still many fine pieces to be found. The Colonial and Federal periods are the ones that I feel you will be paying the most for although it is true, one of a kind handmade items will be costly whatever the period. Search the web for appraisers and dealers that have professional affiliation with either of these two organizations.

http://www.isa-appraisers.org

http://www.appraisers.org/ASAHome.aspx

these organizations will give you the names of antique dealers that are reputable and knowledgable.

The following is a short list for what to keep in mind when shopping for antiques.

Although bargains and good deals may be had when buying certain antiques, the first rule of thumb is to be highly suspicious of bargains when shopping for antiques. This is the initial and sometimes the most costly lesson any collector needs to learn. You must not set out to haggle with the dealer.

Step 2

The antique you buy should never be solely for investment purposes. Most antiques have proven to be a solid investment for most antique collectors. In addition, the items have been historically a wonderful hedge against inflation. The thing to remember, however, is the increasing value of the item is dependent on changing preferences within the market.

Step 3

You must be wary of heavily restored antiques. It goes without saying that most antiques need care as well as periodic restoration. However, an antique that has been excessively restored will show no signs of its age and thus cannot be fairly judged in determining the authenticity and antiquity of the piece. It is therefore advisable to stay clear of items that have been overly restored or excessively refinished.

Step 4

Be leery of reproductions or fake representations. Consider the demand of particular items. When demand rises to very high levels, reproductions and fakes are the by-products of such demand.

Step 5

Do not barter over price. Most dealers consider their prices rigid and firm. Today's dealer marks her prices up according to a fixed percentage in order to secure a profit. Wrangling over price is part of the old business of antiques. Unless you find such a rare situation, it is advised you accept the dealer's price as established with no room for flexible negotiating.

Step 6

In order to attain the best value, it is highly recommended you learn all that you possibly can about antiques. You may do so by subscribing to periodicals and reading books on the subject. Visit museums and well-regarded antique shops.

Step 7

Manage your range of collections. In other words, it simply is not possible for you to collect antiques in every category. Narrow your focus to a reasonable level. Choose one or two eras and one or two preferred collectibles within an era. If you collect too extensively over too broad a range, it will only prove to take away from the enjoyment you'll find as an organized collector.

Step 8

Many times you may be journeying about and find a monstrosity of an antique you greatly admire far from the area of your home. Resist the temptation to purchase it, unless you have access to a truck. Moving such an item can be more of a problem than you may have anticipated.

Step 9

It is important to trust your initial instincts. This step, of course, comes with experience as well as persistence.

Step 10

Collect solely for pleasure. Collecting and owning items of rare or great beauty should be your only motive. Men throughout history have collected antiquities. If you choose to be a collector of antiques, do not resist. There are few hobbies more rewarding--even if you must do so on a budget.

How much fabric, paint or wallpaper do I need?

I thought since many had written me and asked about the basics of what they needed to “do it themselves” for either drapes or wallpaper and also paint I decided to use the blog for this week to give you this basic information. You can find so many fabric sources on the web, either use one of the ones featured under “Textiles and Trim” or “Window Treatments” on our site www.thehistoricinterior.com or use the company’s products as a guide to find similar fabrics at your local fabric store.

I hope this helps you for whatever project you might have, don’t forget to email me if you need any other advice, I am always happy to help if I can

For Throw Pillows:

The general rule of thumb is half a yard for 14 to 18 inch pillows and 1 yard for 19 to 24 inch pillows. If you want to add a ruffle, you will need at least another half yard.

For Upholstery:

CHAIR SEATS: 3/4 yard of 54" wide fabric is enough to re-cover 2 standard chair seats. So 3 yards will be enough for 8 chair seats. Each 3/4 yard gives you two 27" by 27" pieces of fabric to work with. If the repeat is large or a pattern has to be centered, you may need more.

SOFA WING CHAIR TRADITIONAL CLUB CHAIR
3 cushion with arms 5 to 7 yards CHAIR 5 to 6 yards
6 ft sofa 10 yards Upholstered Back
7 ft sofa 11 yards and Seat
8 ft sofa 13 yards 3 yards
add an extra 2-3 yards
if you want a ruffled skirt
or if the back is taller than usual


LOVESEAT CHAISE OTTOMAN
6-7 yards 7-9 yards 2-3 yards

For Curtains and Draperies:

For curtain width, measure window or door plus any additional coverage outside of casing. For fullness the window/door width should be, at minimum, doubled. For extra fullness and a custom look, multiply the width by 2.5 or 3. Add another 2 to 3 feet for hem and to match pattern repeat. (The larger the repeat, the more you need to add.) Divide your final width measurement in half to get the finished width for each panel. If the width per panel is wider than the fabric (usually about 54 in.) you may have to sew two lengths of fabric together to get enough width. For example, if you are making draperies for an 82 in. wide window area, you would need 2 pieces of fabric for each panel, and 4 pieces for the pair.

For length, measure from the top of your rod to the point where you want the panel to end. Add approx. 30 in, to this measurement for the rod pocket, heading, and hemming. To measure for the rod pocket or casing, take the diameter of the rod and add 1 inch. To add for the heading, or the part of the panel that sits above the rod pocket, take the height you want it to be, double that and add an extra half inch for seaming. So if, for example, you want a 1 inch header, you need to add 2.5 inches. For a 4 inch header, you would add 8.5 inches.

For Round Tablecloths with 10" drop: For Round Tablecloths with 29-30" drop:

30" diameter Fabric = 1.5 yards Trim = 4.5 yards 30" diameter Fabric = 5 yards Trim = 8 yards
36" diameter Fabric = 3.25 yards Trim = 5 yards 36" diameter Fabric = 5.5 yards Trim = 8.5 yards
48" diameter Fabric = 4 yards Trim = 6 yards 48" diameter Fabric = 6 yards Trim = 9.5

Yards

Estimating How Much Paint to Buy

Before you begin painting your home's interior walls, ceiling, woodwork, doors, or windows, you need to estimate the amount of paint you'll use. Estimates require specific calculations for each surface you want to paint.

To estimate the amount of paint you need in order to cover the walls of a room, add together the length of all the walls and then multiply the number by the height of the room, from floor to ceiling. The number you get is the room's square footage. Is that math class coming back to you now?

Now you have to determine how much of that square footage is paintable surface area. Because you use a different paint on the doors and windows, subtract those areas from the room total. No sweat, just subtract 20 square feet for each door and 15 square feet for each average-sized window in the room. You end up with a number that is close to the actual wall area you have to cover with paint.

In general, you can expect 1 gallon of paint to cover about 350 square feet. You need slightly more than a gallon if the walls are unpainted drywall, which absorbs more of the paint. You also need to consider whether to paint more than one coat. If you're painting walls that are unfinished, heavily patched, or dark in color, plan on applying two coats of paint.

When painting a dark color, pros often add a color tint to the white primer. Tints for both latex or alkyd paints are available at most paint stores. For best results, choose a tint shade that's closest to the top coat color.

Now for the clincher of the math problem. Divide the paintable wall area by 350 (the square-foot coverage in each gallon can) to find the number of gallons of paint you need for the walls. You can round uneven numbers; if the remainder is less than .5, order a couple of quarts of wall paint to go with the gallons; if the remainder is more than .5, order an extra gallon. Of course, buying in bulk is usually more economical, so you may discover that 3 quarts of paint cost as much as a gallon.

Examples

The following examples walk you through the calculations for determining how much paint you need for a 14-x-20-foot room that's 8 feet tall and has two doors and two windows.

Ceiling paint estimator

Use the following formula to estimate the amount of ceiling paint you need. Double the result if the ceiling requires two coats.

1. Multiply the length of the ceiling times its width to find its area.

14 × 20 = 280 square feet

2. Divide that number by 350 (the estimated square feet covered per gallon) to figure out how many gallons of paint you need.

280 ÷ 350 = .8

For this example, you want to buy 1 gallon of ceiling paint for a single coat.

Wall paint estimator

Use the following formula to estimate the amount of wall paint you need. Double the result if the walls require two coats.



1. Add together the length of each wall.

14 + 20 + 14 + 20 = 68 feet

2. Multiply the sum by the wall height, to find the total wall area.

68 × 8 = 544 square feet

3. Subtract 20 square feet for each door (20 × 2 = 40) and 15 square feet for each window (15 × 2 = 30) to find the actual amount of wall area you're painting.

544 – 70 = 474 square feet

4. Divide this figure by the paint coverage (350 square feet per gallon), and the result is the number of gallons to purchase.

474 ÷ 350 = 1.4

For this example, you want to buy 1 gallon and 2 quarts of paint for a single coat.

Woodwork paint estimator


For this example, you want to buy 1 gallon and 2 quarts of paint for a single coat.

Woodwork paint estimator

Measure the length of the trim in feet, and multiply that number by 1/2 foot (.5), as a rough size for the width of the trim. Include all the trim around doors and windows, at baseboards, along the ceiling, and for any built-in furniture.

As an example, imagine that you have ceiling molding running around a room that is 14 feet wide and 20 feet long.

1. Determine the total length of molding around the room by adding together the length of all the walls that the molding covers.

Round the numbers off to the nearest foot.

14 + 20 + 14 + 20 = 68 feet

2. Multiply the sum by .5 for an estimated width of the molding.

68 × .5 = 34 square feet

3. Divide this number by 350 to estimate the gallons of paint required to cover the molding.

34 ÷ 350 = .09

The result in this example is much less than a quart, but you may paint other woodwork in the room the same color, so buying a full quart may not be terribly wasteful.

Door and window estimator

Use the same figure for estimating door coverage as you use in your wall-area calculations — 20 square feet = one door. Multiply the number of doors by 20, doubling the answer if you plan to paint both sides. Wall paint estimates allow for 15 square feet for each window. Use about half that window area to figure trim and inside sash — the glass isn't important to the calculation.

For the room in this example:

1. Multiply the number of doors by 20.

2 × 20 = 40 square feet

2. Multiply the number of windows by 7.5.

2 Windows × 7.5 = 15 square feet

3. Add these numbers together.

40 + 15 = 55

4. Divide the result by 350 (the estimated square feet covered per gallon).

54 ÷ 350 = .16

Often, you end up needing to buy only a quart of paint, which goes a long way on doors and window trim

How much wallpaper do I need?

1. Step 1

Determine the square footage of the room. Measure each wall in the room and multiply the length times the width of each wall to determine the square footage. Subtract the square footage of the windows and doors to determine the actual square footage of the room.

2. Step 2

Determine the square footage of a single roll of wallpaper. The square footage of your wallpaper roll will depend on the width of the roll with varies from designer to style. If you order your wallpaper from a design center, they will be able to tell you how much square footage each roll covers. If you are purchasing stock rolls of wallpaper, the square footage will be on the label of the wall.

3. Step 3

Divide the square footage of the room by the square footage of the wallpaper to determine the number of rolls you need.

4. Step 4

Consider the pattern of the wallpaper. The pattern on your wallpaper roll will determine how much extra wallpaper you need in order to ensure pattern match from panel to panel. A subtle or small pattern means you will need just the normal 10 percent extra wallpaper. A large-scale pattern or bold plaid or other pattern will mean you need another 10 percent of extra wallpaper

1. 5

Remember that wallpaper is always sold by the double roll. This is important when you are ordering wallpaper from a design center. If you determine that you need 11 rolls of wallpaper, you will need to order 12 double rolls.