The house and its furnishings appear to be in the very best of taste. For example, the house is wainscoted–an expensive feature, but one that is subdued and not showy. The house has no wallpaper at all, as wallpaper is modern and vaguely commercial. The house gleams with old gold and brass ornamentation and also has “deep, old damasks,” a sofa of velvet brocade, a great Italian cabinet, and Louis Seize (sixteenth) French furniture and Oriental china. Especially important is the house’s Maltese cross. Although it is relatively small, it becomes almost a symbol of the house. In short, the house is fitted out with the best of the best ages. Equally important, it has neither a billiard room nor a conservatory, as at Waterbath, which are both fads of the moment.
The actual architecture of the house is not given, but it would seem to be an attractive place, whose design sets off its furnishings well. Still, in a hint at the thematic matter of how destructive good taste can be, Fleda Vetch thinks that Poynton, with all its treasures, inhibits artistic creativity.
Waterbath. Family home of Mona Brigstock, the fiancé of Mrs. Gereth’s son, Owen. At the beginning of the novel, readers meet Mrs. Gereth and Fleda Vetch, guests at Waterbath who discover that they have tastes in common and that Waterbath reveals no taste at all. Waterbath’s central attraction is a billiard room and conservatory, rooms regarded by the Brigstocks as the latest thing, and its walls are at best decorated only by “the family splotches,” meaning the bad paintings produced by the Brigstocks themselves. Moreover, it has wallpaper.
Ricks. Small dower house in which Mrs. Gereth is to live after her son’s marriage. It has been furnished in bad taste by a distant maiden aunt of the Gereths–and Mrs. Gereth cannot stand it. It has, for example, a “stiff flap of green baize” that Mrs. Gereth, moving there from Poynton, has not yet found time to remove. It has such things as a plastered portico, which Poynton would never have. However, when Mrs. Gereth fills her new home with almost all of the furnishings from Poynton, both she and Fleda admit that the house is transformed. Nevertheless, it is now overcrowded and in the end hardly the place for the “spoils,” for they do not really fit. They need their own setting.
Mr. Vetch’s house. Home in which Fleda lives with her father. The place jars her. Her father is a collector of odd, tasteless things, and his house becomes a storage place for these “treasures,” including old calendars, handbooks, penwipers, and ashtrays. It is unlike Waterbath in being unfashionable, but it is nevertheless ugly.
Maggie’s house. Home of the impoverished Maggie and her husband. Their house is obviously small and cluttered and hardly in a fashionable place, with “local puddles,” among smelly cottages and “smellier shops,” and Fleda notes its soiled tablecloth. There is no taste here because good taste is financially out of reach. At best, Fleda’s future, if it were not for Mrs. Gereth, would be at best a similar place and so her sacrifice of Poynton is all the more shocking and yet admirable.