A House of Many Names — Part 2

4/3/26 23 Comments

Authored & Curated By

M.J.G.

In the previous article, we stepped into the front hall and began uncovering the many names associated with this house, yet the question of who occupied it at the time these photographs were taken remains unresolved. The images are believed to date to around the turn of the century, and the handwritten caption “Shilling residence” on the cabinet cards only deepens the mystery rather than clarifying it.

In this chapter, we move further into the house, following the natural progression of a visit. Passing through the reception room and into the spaces beyond, we begin to see how the home was arranged for both display and daily life. From there, we are invited to the dining room—set behind the reception room—where the interior character of the house becomes even more fully realized.

The reception room and dining room were located on the left side of the house, entered from the central hall we visited previously. Before stepping inside, it is worth taking a closer look at these windows, as they will help us match the exterior features to the interior spaces.

When identifying rooms from interior photographs, it is important to study the window treatments, bay configurations, number of openings, and overall window styles. These features will correspond directly with what is seen on the exterior, allowing us to determine that this is likely the same area of the house. Pay special attention to the lace detail along the bottom of the window shades.

The reception room is a grand Louis XVI Revival / French Neoclassical interior, interpreted through a Victorian lens with paneled striped wall coverings. Despite its formality, the room retains a dainty character. The wall panels are unusually narrow and placed very close together, creating a distinctive effect. Notice also that the fireplace on the left corresponds with the chimney location on the exterior, while the bay window likewise matches the projection seen outside.

A round table topped with a flower pot occupies the space. The table itself is notable for its bowed design. Perhaps someone can identify its maker in the comments section below.

This beautiful pedestal supports a striking and unusual statue or bust of a woman, who appears to grasp the pedestal itself. She seems to be cast in bronze. The pedestal is two-toned at the base and top, possibly with gilded accents. Behind her, the blinds are drawn to filter the light, with lace detailing along the lower edge of the roller shade—matching the window treatment observed on the exterior. It is always rewarding to be able to connect what lies beyond the windows in these old photographs.

Instead of a wood grille or fretwork, here we see a design featuring fringe and tassels suspended within a wooden frame. Delicate cords and tassels are also looped and braided along the base.

We saw a similar treatment in the Floods’ rented home in San Francisco as well. You can see that in an earlier article here, in image number 8.

This room does not appear to have a central chandelier, but is instead lit by numerous wall sconces, as we will see throughout the space. The popular parlor palm receives muted light from the bay window.

This unusual conversation chair, or tête-à-tête, invites two people to engage in conversation while facing each other closely. This type of seating was not uncommon, appearing in many variations and styles throughout the period.

It is unclear whether this table is painted or enameled, but it features a bowl-like tray at the center, likely intended to hold small items. Behind it, the dado is simply divided and left unembellished.

A fantastic and artistic metallic chair, likely gilded, stands prominently in the room. It matches others in the space. Behind it, gilded scrollwork and a fabric inset can be seen.

Additional wall sconces feature gas lights designed to mimic candles, executed in a French or Rococo style.

Here, the upper panel or frieze features an appliqué of a gilded scroll centered above each panel below, each framed in matching gold scrollwork.

On top of the mantel are two beautiful statues, though their identities remain unclear.

The fireplace is beautifully executed. The mantel appears to be made of onyx marble or alabaster, which would have created a striking effect when illuminated by the fire. The chair in the foreground to the right matches the one seen earlier in the room.

At the back of the house, is the dining room accessed by the rear of the hallway. It is unclear if the kitchen was in the basement level like other California homes, and food was brought up through a dumbwaiter in the pantry or not. We can only surmise as the back area of the home is not photographed.

Remember this plant stand as we’ll see it later. Can anyone identify what plant is growing here?

This picture is hung directly on the wall using a photo pin rather than from a picture rail.

The built-in sideboard features an ornamental top and numerous shelves. From this view, we get a clear look at the frieze and can also see the absence of a picture rail. If you look closely, a porcelain pin is visible just below the frieze pattern. The frieze paper appears to be a mix of grapes and fruit.

It was only upon closer inspection that the center cabinet reveals itself to have glass doors, which are standing open. Inside, plates are displayed along the back, alongside revolving castors, cake baskets, spooners, and an array of kettles.

The base of this substantial built-in cabinet is clearly executed in a bold Eastlake design, with characteristic drawer pulls, burled walnut accents, and diagonal patterned panel insets. A variety of dining room apparatus sits ready for use.

Looking behind the chandelier, an asymmetrical valance can be seen hanging from a wood cornice. From this angle, the ceiling moldings are just visible and appear to be painted in alternating colors.

This door either marks the point of entry into the room or leads to the butler’s pantry. In either case, it is beautifully executed and possesses a notable sheen.

The fireplace mantel étagère, or overmantel, is boldly designed, echoing the pattern of the built-in sideboard across the room. The upper shelves are left empty. A porcelain clock and other adornments are arranged asymmetrically along the mantel shelf.

The mantel tiles and coal box are particularly striking, both heavily ornamented and richly detailed.

They did not set the table for us—are we only here for a glass of water?

Walking to the opposite corner of the room and looking back from where we came, we see the space from the reverse angle. With its tall ceilings and carpeted floor, the space reflects typical late 19th-century construction, even if the photograph itself may date from a slightly later period. How fantastic to discover that there is a small conservatory attached to this room!

We get a closer view of the wall-to-wall carpeting, along with an excellent look at the richly carved wood-paneled dado, a feature very popular in the late 19th century. To the left is the mantel of a fireplace. The plant stand is particularly striking—note the plant, vase, and stand is the same one we saw earlier to the left of the sideboard. Staging was very common during picture taking.

To the left of the fireplace, the overmantel—sometimes referred to as a mantel étagère—stands with its upper shelves notably unadorned. Nearby, a decorative wall pocket is mounted to the wall. One can only wonder what it may have held—newspapers or articles for reading after dinner, perhaps, or even plant care guides. Whether this wall pocket was a handmade piece by the homeowner or a ready-made item purchased from a catalog remains an open question.

Dining room chairs are scattered throughout the room, positioned near the doorway leading into a small conservatory nook with tall windows.

Upon closer inspection, the floor in the conservatory appears to be either tile or an ornamental wood pattern. Metal plant stands and simple greenery line the floor and window ledge. Turning to the woodwork beneath the windows, notice the intriguing detail at the far right that interrupts the paneling—one can assume a similar feature appears on the opposite side as well.

This room features a combination of clear window glass and a central section filled with stained and leaded glass.

Faintly visible through the curtain of beads is a stained and leaded glass panel depicting a figure carrying a sword. The figure appears to be rendered in a romanticized medieval style, more decorative than historically exact, reflecting the period’s fascination with chivalric themes. Rather than representing a specific individual, he likely serves as an allegorical presence—adding a sense of story, symbolism, and refinement to the room. Even partially obscured, the figure contributes to the layered and atmospheric character of the conservatory space.

Looking at the foreground, we should not overlook that the room is divided by a beaded screen pulled to the side. The beads themselves form a patterned design, and to the left a floral motif can be seen. Also notable are the small flower vases attached to the woodwork, both within the conservatory and along the surrounding trim.

Two details are especially worth focusing on here. First, the grillework above likely helped diffuse the light coming down from the glass ceiling, even if that was not its intended purpose. The central sunburst pattern divides the composition neatly, and the design is both attractive and simply executed. Look now at the transom windows behind it. Second, the stained glass pattern can also be seen repeated in all of the window transoms. The central transom above this more ornate section appears to be centered with a painted circular motif.

The room is divided with the tripartite wall treatment so typical of the late 19th century, consisting of frieze, fill, and dado. The frieze here appears to be a simple floral border paper set against two different background colors.

This close-up reveals an interesting detail: a speaking tube mounted on the wall, complete with a whistle. One wonders where it led—to the kitchen, the butlery, or perhaps the servants’ quarters. On either side of the wall are two intriguing ceramic objects depicting figures peering through shutters from a window.

Mass-produced speaking tubes with built-in spring whistles served as the intercom systems of their day. They were available in a variety of configurations to suit different households.

On the carpeted floor sits a carpeted footstool, a piece very popular during the era, alongside a table draped in a heavy fringed cloth.

Next, we'll be invited into the library.

For Part 1, click the picture below

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