The wood-work, including a five-foot wainscot of small square panels, is painted a glittering varnished white which is warm in tone, but not creamy.

The upper halves of the square windows are of semi-opaque yellow glass, veined and variable, but clear enough everywhere to admit a stained yellow light.
Below these, thin yellow silk curtains cross each other, so that the whole window-space radiates yellow light.

If we reflect that the colour of sunlight is yellow, we shall be able to see both the philosophy and the result of this treatment.
The wall above the wainscot is covered with a plain unbleached muslin, stencilled at the top in a repeating design of faint yellow tile-like squares which fade gradually into white at a foot below the ceiling.

At intervals along the wall are water-colours of flat Holland meadows, or blue canals, balanced on either side by a blue delft plate, and in a corner near the window is a veritable blue porcelain stove, which once faintly warmed some far-off German interior.

The floor is polished oak, as are the table and chairs.