If, after having been built with great respect for harmony and appropriateness, the bungalow should be filled with the usual collection of badly designed and inadequate furniture, the ensemble would be distressing, and the thought involved in the structure of the building thrown away.

The term furniture implies, per se, movable portions of the building, and, as such, should be conceived by the designer. Otherwise, nine times out of ten, an unpleasant sense of incongruity prevails. The importance of unity between the furniture and the structure, in spite of the fact that every writer on the topic has insisted upon it, in the majority of instances is further from realization than it was in the Stone Age, when, by force of circumstances, harmony of manners, methods and materials was a necessity. It is not intended by this to surest that we should return to that period, but to emphasize the fact that necessity involves simplicity and that simplicity is the key note of harmony. This furniture, while adapted with much precision to its various functions, is of almost primitive directness. It is done in oak with a pale olive Craftsman finish, and thus becomes an integral part of the bungalow.

Whatever hardware is used in connection with this furniture is of wrought-iron, in the “Russian finish,” which falls into place very readily in the general scheme.

Great care has been taken in furnishing the bungalow to omit every article that is not absolutely essential to the comfort or the convenience of the occupants, it not being intended to make the building in a small way a cheap museum to be indifferently managed by an amateur curator, as is usually the case in urban residences and frequently happens in the summer cottage, to the great disturbance of the simple life.