UNIVERSITY 01- ILLINOIS LIBRARY AT URBANA CHAMPAIGN BOOKSTACKS Digitized by the Internet Archive in 2013 http://archive.org/details/housegardensbookOwrig House & (J ar d e n s A STUDY IN PLEASING HA LANCE i found in iin library of the residence <>/ Mr. Egerton l Winlhrop, m Syo I pai* "I mull < niiiiiini/i; -until Chinrsr lumps mill similes ,ih i and i "in i'h ii a perfect arrangement against the gray paneled dkI iht cherry-colored taffeta draped curtain Delano 6 Udrich were the architects Book of Interior s HOUSE & GARDEN'S BOOK of INTERIORS Containing over Three Hundred Illustrations of Living Rooms, Dining Rooms, Libraries, Halls, Bedrooms, Porches, Breakfast Rooms, Nurseries, Kitchens, Bathrooms and the Use of Decorative Accessories and Curtains, Together with Practical Suggestions for the Furnishing and Decorating of Each Type of Room in the House Edited by RICHARDSON WRIGHT Editor of House & Garden 1920 NEW YORK CONDE NAST & COMPANY // o u s e & G ar den' $ "The HOUSE & GARDEN BOOKS ft House & Garden's Book of Houses ft House & Garden's Book of Interiors ft House & Garden's Book of Gardens ft Copyright April 1920 by Conde Nast & Co. ft Book of Interior s w M'J'MUUM- liMw, . ■; ^ ^ a A CONTENTS A Study in Pleasing Balance Delano & Aldrich, Architects The Background of the Room Schmitt Bros., Decorators Making the Living Room Livable An Adam Room in America Elsie de Wolfe, Decorator Planning for the Furniture Fisher, Ripley & Le Boutellier, Architects The Library with Personality The Architectural Bookcase Delano & Aldrich, Architects The Paneled Wall in the Dining Room Elegance in the Dining Room Cupboards for the Corner Substitutes for Sideboards G. Bovard MacBride'', Decorator A Colorful Hall Group Agnes Foster Wright, Decorator Hospitality and the Entrance Hall Furniture for the Long Hall Lewis Colt Albro, Architect' Hall Treatments : . . . . Delano & Aldrich, Architects ■■ The Intimate Bedroom ,. . .*. Porches the Year Round The Window in Decorative Composition Little & Brown, Architects ....'. .0 Adapting the Accessory Nancy Ashton Fireplace Mantel Decorations Grouping Antiques Console Groupings Lee Porter, Decorator Overdoor Decorations Couch-End Tables, Stools and Lamps How to Make Your Own Curtains Agnes Foster Wright, Decorator Solving the Curtain Problem A Portfolio of Miscellaneous Interiors The Great Hall in an American House John Russell Pope, Architect The Motif of a Room Frederick Sterner, Architect A Louis Seize Breakfast Room Mrs. Edgar de Wolfe, Decorator Planning the Playroom A Modern Bathroom Mrs. A. Van R. Barnewall, Decorator , , Hang Up Pots and Pans so You Can Reach Them .-.= The Salient Points of the Modern Kitchen Addresses of Architects and Decorators £, 6 7 10 30 31 38 40 41 SI 52 54 55 57 58 61 71 78 79 82 83 84 85 86 87 > 88 89 90 100 109 116 121 122 123 126 507434 House & Garden's I 1 1 E B A CKtJROUNJ) of the roo m i architectural bad '.round, ■ peciati i) it ha behind it the tradition oj the antique, pet ection in the detail oj everything placed in proximity to it, in example oj this is U in room oj the home of Mn William A Vanderbilt on Long Island. The paneling, which i Jacobean oak, wa brought from an old house in Kent, The ceiling, which is troduci exactl thi original The furniture is all antique. The rug is a [6th Century en and rosi Valana an oj Jacobean embroidery in vermilion and blue with let i kite taffeta draperie beneath. Stimuli Brothers, decorators Book of Interiors MAKING THE LIVING ROOM LIVABLE By a Proper Arrangement oj Furniture and the Judicious Use of Color and Design in Other Decorations It Becomes a Friendly Place for the Family and Its Guests THE living room is a friendly part of the house. Usually on the first floor, in close proximity to the hall or reception room, it is a place where hospitality is first ex- tended and the family gathers together. Con- sequently, its decoration and furnishing should serve this double purpose — slightly formal to meet the guest, and sufficiently informal to suit the comforts of the family. These definitions have to be understood if one wishes the rooms of her house to have the distinction of individuality. For, as each room in the house serves a different purpose, so should each be furnished distinctively. The living room is often a repetition in- side the house of the exterior architecture. As the saying goes, "the architecture comes through the walls." The living room of a Colo- nial type of house had best be furnished in Colonial spirit, a Georgian house can have a living room in the style of this later period. One expects English oak in the living room of a house that has an English half-timber ex- terior. The same is true of Italian and French. The architecture sets the keynote for the living room. Coming from the outside into this room, one finds the harmony pleasant and livable. But for all its touches of formality, the liv- ing room should be livable. That is a first requisite. And livableness is not so much a matter of the furniture used as the manner in which it is used. Livableness depends on grouping furniture properly so that it is com- fortable and convenient. It can be further assisted by the ju- dicious use of such x ...,.,,.,.„...,..„., .... accessories as lamps, pictures, books, etc. IN the average liv- ing room the fire- pi ace is the first center of attention. Furniture should be grouped about it naturally- — the way m e n naturally sit around an open fire, and have sat for gen- erations. A couch may be placed di- rectly in front of the hearth with a table behind it holding lamps that give plenty of light for reading, books, mag- azines, and smoking things. Couch - end tables or stools will complete the group. Or, one may have couches either side the hearth with couch-end tables to hold the lamps, or a floor lamp. Small stools or tables will be convenient ad- juncts. Or, again, the group may con- sist of two big up- holstered chairs, or a chair on one side and a couch on the other. The main things re- quired for the fireplace group are a comfortable chair to sit in, a comfortable couch to lie down on, good light to read by, small tables handy with things for the men to smoke and books for them to read. The formality or informality of this center will depend entirely upon the way the furniture is placed. Its occupants will soon find if it is livable. If not, change it about until it is. This advice applies to the placing of fur- niture in any room of the house. Move it around until you find the most pleasing, com- fortable and useful positions. The occasional changes will give the room a new air, espe- cially if the changes are made with the seasons. It is best to keep the middle floor space of the living room open. The old center table, •with its reading lamp by which no one could read, has happily been relegated to the mis- takes of the past. By keeping this space free of furniture the room is given an added sense of size and one can move around in it more freely. Moreover, by placing the furniture against the wall it is given a silhouette back- ground which will greatly enrich it. THERE may be two other centers of inter- est in the living room — a group by one of the windows that gives a pleasant outlook onto the garden, and an informal corner where one may write. The window group will have its upholstered chair or chairs or long bench or, if a row of casements set in a bay, its uphol- Repose and dignity are given this room by the dull gold mirrors flanking the chimney breast, with walnut consoles and alabaster lamps beneath. The walls are peacock blue with dull gold moldings. Chairs are covered with mulberry velvet and the settee with gold and mulberry damask. Cushions are peacock blue taffeta. The rug is taupe. This living room is in the New York apartment of Mrs. George Moffetl. Mrs. Emott Buel, decorator stered window seat. The writing corner will have its desk and chair. Still another group may be used in the liv- ing room, and this will be its formal token: a console set against the wall with mirror above and small chairs on either side. A piece of statuary, lamps, bibelots or any decorative objet d'art can be placed on this to give a touch of color and interest. These are the fundamental groups in the living room, whether it be large or small. CURTAINS, rugs and lamps constitute the remainder of the decorations. Each has a definite purpose and, when used with that purpose in mind, most effectively contributes to the harmony of the room. Curtains serve several ends: glass curtains filter the light so that an even glow is cast over the room; over-curtains and their attendant valances frame the picture beyond the window and give enlivening color to the room; at night, when drawn, curtains afford privacy. Color schemes for curtains are so varied that sug- gestion would be of little value in an article restricted to definitions. The one rule to re- member is that no window should be swathed in curtains. Simplicity is a safe guide. There are some windows — such as leaded casements — that require no over-curtains at all, a filmy glass curtain sufficing. The choice of pattern in curtain fabrics will depend upon the size of the room (one does not put a large pattern fabric in a small room and vice versa), and upon the design in the rug and the gen- eral character of the other furnishings. If the rug has a pro- nounced design the curtains should be of plain fabric or one in w h i c h the design is not pro- nounced. Should the rug be plain, the de- sign in the room can be carried by the curtains. Further, choice of plain or patterned curtains will depend upon the fabric used for up- holstery. The other acces- sories — lamp bowls and shades, vases, objets d'art ■ — serve to introduce spots of color in the room, strong or intriguing colors, as one may wish. Lights should be placed where they best serve the re- quirements of the oc- cupants. A living room flooded with light is inartistic, hard on the eyes and unfair to the fur- nishings. House & (i a r d e n ' $ A The same furniture styles were found al- most simultaneously in many countries Because of this inter- national relationship the living room in the Lake Forest home of Mr. Laurance H. Armour, is in perfect harmony. It contains Italian, French and English furniture of the 18th Century. W alls are a pale Adam green, the rug gray. Miss Gheen, decorator The painted sofa can he made u dct orative leal lire in a living room when it has a plain wall behind it, bright, crisp chintz i ushions on //, paint ed pieces in close proximity and an Aubusson rug on the flour. '/' // /' s is the I real went used in the J o li n S. Lawrent e house at Top field, Mass. Lee Porter. dei orator B k of I u t > r i o r s Ivory white paneled walls, French mirrors, Chinese rugs, a mold- ed plaster ceiling, chairs and sofa cov- ered in green and white and old Chi- nese Chippendale wicker chairs up- holstered in pink silk — these are some of the attractive details in the living room of Mr. E. E. Bartlett's house at Amagansett, L. I. W. Lawrence Bottomley, architect The bottom of the room should be heavy, the top light. This rule is followed in the living room to the right. The carpet is black and the walls ivory, further light- en e d with mirrors. Black and white cut velvet is on the sofa and deep chair and rose brocade on the other. Elsie de Wolfe, decorator 10 House & Garden's W ADAM ROOM IN AMERICA ■ : - iod i U . ht a properly adapted to meet the modern requirement i uitable to a mod i pro'i i a b i in Adam reception room The all an taupe and h blai i in i od\ • i d in i i ' I /.'" mantel I hi rot ha a dull Hi ei Warm with a red medallion at lop. Of the furni- ture, lome pieces are in walnut, some up holstered in red and black. The fixtures are also characteristic «j the period. The room is m sin- Ikiiiic of Mr. Ormonde G. Smith, at Oyster liny, A'. Y. Hoppin & Koen were the architects of the room and Mi Elsie de Wolfe, the decorator B o o k of Interior $ 11 The two views on this page show the living room in the Chicago residence of Mrs. How- ard Linn. An old coif- feuse is now used for a writing table. The chairs are French paint- ed antiques with petit- point seats. A deep smoke valance of lace enriches the mantel. A chaise longue in the corner, with its reading lamp behind, supplies the maximum of com- fort. Above the book- shelves, rich with bind- ings, hang old archi- tectural prints The other end of the living room contains a more formal treat- ment; a console and mirror form the focal point, balancing t h e fireplace at the opposite end. The Directoire sofa is covered with blue and yellow striped siLk. From the blue in this is taken the tone for the paint of the tvalls and woodwork. Valances and over- drapes are of a striped taffeta with sheer wi- der-curtains. The fur- niture was collected abroad 12 House & Gar d en' $ This simple living room, with its open fireplace, conveniently arranged desk and reading chair, has walls painted cream with plush pink and soft mauve gauze curtains. Mrs. Emott Buel, decorator In tin morning room, nicfu have been fitted < Uh \t or eland print h lurk mantel r mnrhleiznl lulu, Hamilton, decorator /lie inlur scheme here is robin's egg blue walls, ecru chintz curtains and Venetian red velvet on the furniture. John Hamilton, decorator Boo k f Interior s 13 Among the ways to arrange living room books is to enclose the sides and top of a casement, window bay with shelves. The placing of the refectory table here is unusual, and so is the absence of the ubiquitous window seat. Mellor & Meigs were the architects While difficidt to decorate, the oval room presents many interesting possibilities. White walls and mir- rors in the room to the right are effectively used to give an added sense of size. Glass and mirror doors help in this. J. A. Colby & Son, decorators An interesting color scheme has been worked out in this living room. Walls are hung with gold cloth paper. The fireplace is of gray marble with gray brick hearth. Chairs are covered with blue and yellow harmonizing with the cream damask draperies Furniture in a living room should be grouped naturally around cer- tain centers of interest. In this room in the Long Island residence of Mr. J . W . Harriman, a tapestry forms the background for one group and the fireplace for an- other. Alfred C. Bossom, architect 14 [louse & Garden's Build - in archi- tectural furniture lends an air of substantiality and permanence to an interior. In this thing room, in the home of Mr. F. / Hodge, Ston- ington, Conn., the indented fireplace i^ith shelves on each side forms the chief feature Comfort is given the Hodge living room by a deep couch and a sim- ple table holding lamps and books. An intimate writing corner is created on the farther side be- tween the win- dows ■ — an old desk with mirror and photographs above. Harry T. Little, architect architectural background of a room is found in the residence of Mr. li P, Charlton, West- porl Hurl, or, l< I The fireplace form! the focal point li dignity <>j white marble is enhanced by the grill panel on iii lii r nir, the woodwork of the nihrr walli and the beams oj the ceiling. Farley & Hooper, architects Book of Interiors 15 Instead of curtained, windows may be trellised, as in the New York home of Mr. J. Theus Munds. On the side are old iron gates, a lead garden figure in the middle, and flower boxes behind. The furniture includes a Venetian tray table, Venetian porcelain appliques, tall wrought iron candlesticks and a Queen Anne secre- tary. Emil Feffercorn, decorator The heart of the living room is the fireplace. In the room below there stands beside it a comfortable couch in blue and ivory upholstery, with a deep chair opposite. The rug, colored with reds, pinks, blues and browns, is the round center cut from an old Aubusson carpet. The walls are white paneled. Ruby Ross Goodnow was the decorator 16 // o u s e <"r Garden's From England came the wainscoting and doors for the living room of Mr. C. C. Rumsay's house at Wheatley Hills, L. I. Walls are rough and the ceiling molded plaster. The davenport is in blue and old rose silk, the large chair blue green, the rug black and the curtains old rose lined with blue. F. Burrall Hoffman, Jr., architect; Arden Studios, decorators The background of the splendid l&th Century living room below is gray and gold glazed with a rich brown. A simple mantel was especially designed to receive the old Dutch painting. Jade flower groups compose the mantel decorations. The furniture is Queen Anne and William and Mary, the chairs being covered in petit- point of the period. Emil Feffercorn, decorator Book of I nt e r i o r s 17 ■ ■«■ e— i It is the chintz that furnishes the color scheme of this morning room. Its cream ground determines cream walls and its turquoise blue, mauve and pink run through the room. The walls have been given a simple and excellent finish by narrow moldings which divide them into well-propor- tioned panels. Prints are hung with careful regard for the paneling. Mrs. Emott Buel, decorator II ■ II Kl| The flower end of this living room has been beautifully developed. The room is like a great English hall with a high beamed ceiling. Jacobean furniture is used. At one end is this large bay. A broad shelf running around it holds plants and interest- ing pieces of blue glass and Chinese crystal. The leaded windows are curtained with casement cloth which filters the light & lea It is the country house living room that gives the greatest chance for riding one's hobby. The bookman may have his books and the huntsman his heads. One side of this living room is filled with cupboards. Bookshelves are tucked between them. Trophies of the chase, in- teresting prints and relics add diversion to this wall. The hearth bench, with its magazines and books, replaces the usual table. John Russell Pope, architect IS // o u s e & G ar den' i The spirit of 18//; Century France is shown in tkis morning room, full of quaint and characteristic or- naments. Perhaps the most interest- ing is an original bust by Houdon, on the mantel. Walker & Gillette, architects Assembled in thi* paneled morning room are delight- ful small armchairs and deep cush- ioned chairs, a charming com- mode and a rare table or two of \*th Century ori- gin. Above the door and mantel are painted panels Book of Interior s 19 Among its many purposes paneling serves as a silhouette background for furniture. It is especially suitable for living rooms and can be applied in many ways — wood paneling, mold- ing nailed on the plaster to form panels, and panels painted. Fisher, Ripley & Le Boutellier, architects Unpretentious, and yet dignified and livable, this morning room has an airy grace and a sense of spaciousness that is pleasing. The white walls and beamed ceiling, the simple fireplace, the. chairs disposed in natural groups, the hanging shelves and cabinet, the small tables for books and maga- zines, and the old botanical prints combine to make an unusual room Of a type entirely different from the other living rooms on these pages is the interior of Miss Ellen Terry's cottage in England. In restoring the house the main room was kept in the original atmosphere with the open fire, the broad mantel shelf, smoke valance, and the hearthside benches. The floor is brick. Old pewter and china com- plete the picture 20 // o u s e & Garden's An air of comfort has been attained in this living room, which is in the Neu York apartment of Mrs. Price Post, by the commodious furniture grouped around the fireplace. Its covering is a pink mulberry chintz. Italian landscapes have been set into the paneled beige walls above the built-in bookcases The morning-room with deep cream walls and a wood colored davenport and carpet is a symphony in browns and yellows, with an orange yellow chintz as the predominat- ing color note. A ISth Century Italian painting forms the center panel above the davenport, and English prints are used for further decoration Emerald green painted I unlit me and old New York scenic wall paper -villi green taffeta curtains create a delightfully quaint dining mom White doited Swiss is used for the glass curtains and at the French doors Book of Interiors 21 An infinite variety of treatments can be given the wall with paint. In this study -morning room, for example, the walls have been painted a pale pink and marbleized. At regular intervals are tall lapis lazidi pilasters with gold caps. The cornice is malachite green and the baseboard black. It is a dar- ing but livable color scheme. Ruby Ross Goodnow, decorator Slip covers are a simple and effective solution for the country house living room furniture. The couch and upholstered chair below are in a quaint chintz of blue, mauve and pink on a cream ground. From this is taken the turquoise blue of the console tables. Mauve and plum taffeta covers the pillows. Mrs. Emott Buel was the decorator 22 // a u s c <'r G ar den' s .1 delightful morning room and boudoir combined has been created in the home of Mrs. George A. Palmer, Port Chester, N. Y. Cur- tains are satin striped in rose, blue and gold. An armchair is lovered in blue taffeta fringed with gold. Mrs. A. Van R. Barne- wall, decorator On another side of this morning room an unusual walnut bookcase fills the space between the windows, with convenient tables, maga- zine stands, comfortable chairs and reading lamps in close prox- imity. On still another side of the room is a walnut sofa uphol- stered in old blue satin Book of Interiors 23 One can do many things with the long table in a living room. It can be placed back of a coach before the fire, or a pair of them behind couches on either side of the hearth, or placed along the nail and made the center of a pleasant grouping with chairs and painting above. Or it may be used as in this living room, where it stands in front of a long row of French doors. J. A. Colby & Son, decorators When the living room walls are paneled in oak, the fur- niture should live up to its dignified background. Ja- cobean furniture is a happy choice for such a room, especially if it is large enough to dispose these pieces in natural groups, as has been done in this living room in the home of Mr. G. A. Schieren, at Great Neck, L. I. A Jacobean settee has been placed on either side of the fireplace. Aymar Embury II, architect Comfortable as well as beautiful is this living room in the New York home of Mr. Oliver Perin, with its paneled wall of pale green, its figured screen of mulberry, green and black silk, and its deep-seated chairs covered with mulberry taffeta. The settee is covered in putty colored silk with mulberry stripes. Delightful bits of jade and alabaster give notes of gray and green to the mantel and small tables. Decorations bv Mrs. Emott Buel 24 // o u $ e l the least -problem of living room equipment it the lighting. Lights \hould be where they are needed. The strong light flooding all the room is unde- sirable for homes. Small fix- tures can be given more inter- esting treatment. In the room to the left, which is in the New York home of Mrs. Gifjord Cochran, the side lights are Chinese glass pictures made into appliques, whereas the lamp by the side of the sofa is a blanc de chine tree surmounted by a luminous parchment shade. Decorations by Karl l-reund Another interesting feature of the < a • h r a n r o m i the painted doot J In mode, very much in vogue during the \Hth try in France and Ha al toda Old readi b( and the "dor run In cho en to suit tin general cheme of the ih a decorated, the architectural value of the door i pronounced and tin- enriched I lu other ' oodv ork, of tout <-. -,, di be tinted to match and then given a dulling coat of tllOi and antiqued Book of Interiors 25 This country house reception room is done in mulberry, soft gold and sea-green. Use has been admirably made oj old gilt valance boards with French draped valances of sea-green gauze below. On the mantel are vases of painted tin flowers. Agnes Foster Wright, decorator Another reception room, in the Detroit home of Mr. J. S. Newberry, has simple panels and the few pieces of furniture requisite for receiving gtiests — a comfortable couch in front of the fire, a small table, and one or two period chairs. Albert Kahn, architect In addition to the charmingly intimate reception rooms, such as the two shown above, are those in large houses where unlimited space permits the use of large furniture. In the room below, which is in the residence of Mr. Francis L. Higginson, Jr., at Wenham, Mass., a Jacobean refectory table and chairs are placed to good advantage. Between the French doors hang large carved mirrors and quaint benches below. The walls are white paneled. Bigelow & Wadsworth, architects 26 // o u s e & Garden's A corner of the sa- lon in the New York residence of Mrs. Joseph Dil- worth shows yellow gauze glass curtains and green-blue taf- feta over-drapes. The settee is covered in orange brocade and the chair be- side it in plum , orange and yellow. Mrs. Emott Buel, decorator Formality and dil \ an- p anil living room in the i illiam I Clo U l /• beam brink tht the / t llu dOOt I . mar bleandbricl Ho ard ■ the archi v^ Book of Interiors Z7 // one's purse can- not afford to have all the downstairs rooms paneled in either wood or molding, then choose the living room. It demands a dignity of treat- ment that will be more and more appreciated as the furnishing of the room is completed by the addition of well - selected pieces. Harry Red- fern was the architect The draped wall affords an unusual treatment for the small house living room. Its cost will depend upon the fabric used. Linen and hand - woven fabrics furnish the best choice. The color contrast of folds and the soft effect of fabric give a qtdeting effect to the room. The color scheme is gold and blue. Herter Looms, decorator 28 // i) u e & Garde n ' (.Below) An interesting study in balanced furniture arrangement is found in the Vev York residence of Mr. Frederic C. Bartlett. Each console bears a beautiful lustre and above it hangs a painting in a dull gold frame. The consoles are gold and white. A grouping of this kind would be suitable for a large hallway or a reception room where space is sufficient for appreciative arrangements So long as the mantel is kept free from a clutter of non-essentials, the overmantel embellishment can be almost anything that suits. In the morning room of the residence of Mrs. I). C. Osborne in Boston an old tray has been used in the panel above the fireplace. It is flanked by tall candles. The walls are pale yellow with green and violet for other color notes. Lee Porter, decorator {Below) In the living room of the Osborne residence the ivindow trim has been accented by a broad band of antique gold. Walls are deep cream, curtains dark gray and gold, the rug catawba, blue and bronze. A Dutch altar candle has been made into a lamp for the table. A lamp of wrought iron introduces interest into the corner. The decorator was Lee Porter Book of Interiors 29 The LIBRARY WITH PERSONALITY 30 // ii it i e <"r G a r d e n ' % PLANNING F O R T UK FURNITURE i ten po ibU to trim- out just ; to pnl out i ho'u • pu " oj furniture, 01 dingl < I hi Ion thought will ■ air of pet manem e, com fort and satisfaction. In this librat v a place was < natal for the Colonial secretary and the bookshelves built around ii The old stool, the chair and the butterfly table are all in keeping Fisher, Ripley & Le Boutellier, architects Book of Interiors 31 THE LIBRARY WITH PERSONALITY // Has Three Corners, All of Which Contribute to the Comfort and Convenience of Those Who Love Books A LIBRARY is a place in which to keep books. Books are the most important things in it. Nothing can surpass them for creating the atmosphere of this room and nothing should supersede them as means of decoration. For hooks both delight the eve and quicken the soul. They are at once objects of beauty and companions. They populate a room with innumerable characters. No library i- ever empty. Apparently a place of quiet study, of placid and serene enjoyment, it is also a place where countless people foregather. In that sense, a library is always a crowded room, a room of unending activity. Conse- quently, there should be wide open spaces in it, the utmost of comfort and colors that soothe the mind. These may seem very banal sentiments, but they are necessary. There are alleged libraries in which books play only a secondary role, places so crowded with chairs and knick- knacks, so riotous with colors that there is scarcely room for the owner. If you have no taste for books, if you care more for decorations than books, then, don't call that room a-library, give it a different name — call it a morning room or something like that. Spare the word library, spare it for the sake of its as- sociations and its hon- orable past. AFTER books, a ±\_ fireplace is the second requisite in a library. It will prob- ably set the style of the room — Colonial, Georgian, French, Tudor, or what not. The main thing is to have a fireplace — one that actually burns, and preferably wood, although an English hob-grate for coal is not to be scorned. Close to it should be comfortable chairs, a couch and adjustable reading lights. Floor lamps attached to baseboard plugs are the best, as they can be moved around wherever one wants them. This fireplace grouping should be balanced by another, if there is space. The fireplace for winter reading and another for the more kindly months — say, a bay window looking out over the garden or down some quiet street. An over-upholstered chair, a small table close at hand, a stool to prop one's feet on. A third group is the writing table, placed wherever convenient, preferably in good light from a window. It will require a comfortable light-weight chair, lamp or lamps and the nec- essary writing jraraphernalia. Perhaps an easy chair can be placed alongside this desk. Other furnishings may be necessary in a large library — flat tables for big portfolios, dic- tionary stands and such — but these three groups are all one needs. If space is small, they may he combined in one group around the fire- place. After all, you can make a library out of a shelf of books, one table, one lamp, and one big chair of the sort that makes you say, "Well, I guess I'll sit down here to think it over." pr FiTRl ►/hit Because a library is a place where one re- poses and think.-, as well as reads, there should be open, restful spaces, which are conducive to thinking and repose. For this same reason the wall and curtain colors in the library should be quiet. Enough color activity will be afforded by the book bind- ings. Curtain fabrics should have not too pro- nounced a pattern and should be made with a simple shaped valance. If the walls are pan- eled in wood — oak or gum wood or wood painted — a very dignified room will result. Or they can be paneled with molding or, finally, papered. In any event keep the walls unob- trusive and choose quiet colors. AS an intimate room, the library is second 2\ only to the lied chambers. Therefore personal accessories are used — bibelots, photo- graphs, objets d'art, souvenirs of travel and friendship. But these should not be permitted to clutter the room. The mantel shelf, for ex- ample, should not be piled high with them. Keep that space free. A pair of candlesticks and a clock, a pair of beautiful vases and a bronze; above the shelf a mirror or a painting set in the wall — these enrichments are suffi- cient and give dignity to the focal point of the room. As in other rooms, a soft tone floor cover is preferable. A two tone rug with a deep pile or Orientals of quiet colors can be used. An excellent and inexpensive scheme is to take plain carpeting and have it sewn together to make a rug. Old time hooked rugs, now enjoying renewed popularity, may be used if the library furniture is Colonial. They give a touch of color. IT rr The acme of luxury is a library paneled in English oak with inset bookshelves and a plenitude of easy chairs. The library of Mr. Henry C. Perkins, Hamilton, Mass. On either side of the fireplace bookshelves can be built in, as in this reading corner, of which Chamberlin Dodds was the decorator The stone fireplace and vari- colored bindings give this li- brary corner character. From the home of E. S. Atwood, Esq., East Gloucester, Mass. 32 II o u s e <"r G n r d e n ' s \sm % si'- -^~ can BBBH IIP! tw mm! !»n!W — main mis* .4 built-in, architectural bookcase will establish the atmosphere of a library, especially if it has such a distinctive design as this. It is matched at the opposite end of the room by a group of windows. The woodwork is ivory and the walls pale yellow grass cloth. The room is in the home of Mrs. Edwin Hotter, Mt. Kisco, N. Y. The library in the residence of Eugene Meyer, Jr., at Mt. Kisco, N. Y '., is paneled in English oak, making a dignified room. Built-in bookcases are along two walls. A stone mantel of delicate design forms the focal point. Around the fireplace are grouped comfortable couches and deep chairs. Charles A. Piatt, architect Book of Interior 33 Chintz covers the furni- ture in this unusual li- brary. A quaint, chintz- covered fireside seat is the final touch of comfort. It is a room worthy of the books White woodwork with blue and crim- son decorations on the pilasters and capitals and arched top shelves gives unusual character to this library. The table is Ibth Cen- tury Italian. Karl F r eund was the decorator An interesting li- brary corner is found in this old house in Sussex, where the window embrasure is cur- tained off, making a quiet spot for the lacquer cabinet, the shelves and the com- fortable chairs 34 // i) u i e & C a r d e n ' s If the books are the most im- portant thing in the library, then surely thi<, library is com- pletely furnished. Along one mtire end crowded shelves range from floor to ceiling, and again on either side the fireplace. A gallery breaks this farther wall, giving inti- mate access to the books above. The walls are paneled in dark oak, and the white plaster ceiling is relieved by a molded design. Comfortable, deep couches make it a very livable library In keeping with the dignity of the gallery end is the fireplace. It is faced with stone, a sim- ple panel flanked by fluted pilasters forming the chimney breast. On the mantel the silver candles and Empire clock with painting above give a balanced enrichment. A chair upholstered in tapestry stands on one side and a velour-cov- ered, deep reading chair on the other. Bookcases on each side are built in flush with the wall. The bindings give rich color to the room B o o k of I nt e r i o r s 35 In the New York residence of Mr. Edward A. Shewan has been created a little. Tudor library oj unusual interest. The room is paneled in \bth Century oak, bookshelves being let into the walls and concealed behind panels. Hwmonizing with the woodtaork are curtains of Florentine crimson and gold. Karl Freund, decorator A harmony in soft browns is this library, with its well-proportioned paneling in the natural colored French oak, and Regency settee and chairs covered in mellow-toned Beauvais tapestry. The table desk is a repro- duction of one at the Louvre. Hangings are crimson. Alavoine & Co. were the decorators // o u i i'. & C ar den' $ 7 hi- lovers of booki are di- vided on how they should be shelved. Some say that they should be placed behind glasi where dust cannot corrupt them. Others, who desire the genuine intimacy oj books, champion the open shelf. In this library corner the open shelves and the woodwork are while. A magazine table stands in front of the books and an easy chair is placed in a good reading light. Mrs. Emotl Kuel, dfcorator One of the most convenient bookshelf arrangements is to have the shelves built in sec- tions, the top board covering and binding all three. This top shelf can come slightly above the top of the average chair, giving a broad surface for the display of interesting bibelots and objets d'art. The simple paneled walls of this library are painted an elusive gray-green, furnishing an ex- cellent background for the books B o o k of Interior s 37 Books help to humanize a room. They give it an at- mosphere of comfortable cul- ture. In the library to the right, for example, a row of shelves from baseboard to cor- nice enriches the corner with vari-colored bindings. The deep couch, the open fire, the white woodwork, the huge fur rug are all companion ele- ments in making this a quiet. orderly, livable room where books can be and are appre- ciated. Decorations by Lee Porter Even though it has open spaces, the library below is an intimate room. First, it con- tains only the necessary furni- ture, and each piece has some distinguishing merit. Second, its books are many and easily reached. Third, its archi- tectural elements — such as that landing and its handrail, the wide board floor, the carved mantel — come in nat- urally as part of the room. And, finally, its accessories a~e interesting. Peabody, Wilson & Brown, architects 38 // o u s e & Garden' s THE ARCH [TECTURAL BOOKCASE . /: man and mon the i u lom i" h"ii>r 0) '""il !•) l> to Ircnl a an m • kiti < i "ml feature, ,,./ i in helvt into the ■ all, i In hi ini in part ni the art hi u ,: bat ! ■ -, mm, i oj i lii room l In' , mill used in this library is butternut in a warm, rich brown, I chair uphol iirni 111 ,i brilliant English chintz gives color variety to the ensemble From the New York residence of F. F. Palmer Delano & Aldrich were the architects B o ok of Interior s 39 ELEGANCE IN THE DINING ROOM -40 House & G arden' t - ■ ■- '■'"''•' - ' "~" "■■■"""■ <><■-"'■'■' ■ — THE PANKLKI) WALL n uii beautiful in it elf, the simple paneled wall can often be given additional interest "?'>"'"• in th» panel In thi d ij room, where the panels form a digmfxed ^ffZt^nn] 4 old Dutch pictures nave been jet in on either side the fireplace, The over-mantel decorations con i i "l old bronze i ases, wall lights and an antique convex minor B ok of Interior s 41 ELEGANCE IN THE DINING ROOM The Necessary Furniture Arranged in An Orderly Fashion and with Accessories to Delight the Eye Creates the Atmosphere Required for Dining Well ELEGANCE and elegant are two words verv often misused in America. The one is sweepingly applied to such diverse things as a good dinner, a becoming hat or a beautiful sunset; the other is considered the pose of the corrupt and contented rich. Elegance is a very restricted attribute, and it is not a pose. It is the concomitant of gen- tility and culture. Social upheavals and the misuse of the word cannot destroy elegance. It is a fundamental quality always active in cer- tain strata of society and quiescent at least in others. Provide a modicum of leisure and the means that made a modicum of leisure possible, and elegance or the striving for it immediately manifests itself. In no other phase of life is this more true than of the decoration of the house. We speak of the livableness of living rooms, the intimacy of bedrooms, the hospitality of halls and the personality of libraries, but the one room in which elegance should be evident i- the dining room. This is made even more important by a recent economic change in the United States. Whether for good or evil, whether legal or illegal, whether the will of the people or the madness of religio-maniacs, Prohibition is an established fact. Drinking has gone out as an art. With this social cus- tom destroyed, it is reason- able to believe that its place will be taken by eating. And eating is the one habit common to man with which elegance has been most often associated. We are not concerned here with the alimentary requisites of gastronomic delight — such a subject would fill many volumes — but we are interested in the part played in the fine art of eating by the place where one eats. The actual food on the table is only half the meal. The other half is the kind of table, the kind of napery and silver and deco- rations, the chairs, the walls and all those other furnish- ings that combine to estab- lish an atmosphere of ele- gance in the dining room. >ERHAPS the first mark of elegance is the desire Lancashire chairs and a Welsh dresser, but the Mission will offend the eye, whereas its parallel in simplicity will not. Those who plead for Mission say that it is "honest craftsmanship", that it "shows how it was made." These ob- vious facts are the deadly foes of elegance. Elegance pre-supposes good craftsmanship, and above all things it does not want furniture that shows how it was made. Such things rarely delight the eye. - The delight of the eye, it must be remem- bered, is twin to delight of the palate. The difference between good hash and bad is often the way it is served and the room it is served in. Another evidence of elegance is order, and order requires a certain amount of formality. Formality is a compliment a hostess pays her guests and a mark of respect she pays her- self. Formality is order — the right thing at the right time and in the right place. Order demands, for example, that only the necessary pieces of furniture be placed in the dining room. A couch is obviously unnecessary. So is a china closet. Why display all one's ceramic possessions? Keep the china in the pantry. It is disorderly in the dining room. On the other hand there may be accessories that delight the eye — mirrors, torcheres on either side the serving table, bits of Capo di Monte or a fish bowl set in the bay window to catch the sunlight. These are more useful than a china closet for the simple reason that they are beautiful and interesting. a; to have a few things but have them good. One must first choose between quality and quantity. After that quality itself is subjected to rigorous tests. Discernment does not judge the value of dining room furniture on the basis of usefulness alone; it must delight the eye. A Mission dining room suite, such as one sees advertised by the instalment-plan furniture houses, may appear more useful than a set of quaint is that it is in- . ducive to quiet. Elegance, as we have tried to show, is a subtle attribute of the mind, a way of looking at life and the objects that enrich life. For the fullest enjoyment of such objects — and for life itself — one must have a calm atmosphere. Certainly quiet and calm are requisites in the enjoyment of a meal. Consequently elegance will not choose a piece of furniture that has an objectionable contour. A great deal of Rococo furniture is inelegant, because it is too exuberant, and cot- tage furniture, on the other hand, may also be inelegant in certain rooms because it is too severe. There is a nicety that guides the choice. In the matter of colors, elegance will not tol- erate those that disturb the eye or such as are grouped in a fashion that makes them difficult to live with. For elegance above all things is a livable atmosphere. It avoids the novelty. It lasts through generations. The elegancies of our forebears are just as elegant today as the}' were a century ago. Finally, elegance presup- poses restraint. And re- straint is the fundamental rule in furnishing any room. Especially is this true of the dining room. I The color scheme of this dining room includes paneled gray walls, blue lacquered ceiling, antique gray painted furniture with plum and blue decorations and a gray Wilton carpet. Herter Looms, decorator N the pages that follow are many types of dining rooms. Each has a distinct personality and each gives delight to the eye. There are distinguished dining rooms in the English and Italian manner, cottage din- ing rooms, rooms of sim- plicity and rooms of rich- ness. In every one only the necessary furniture has been used. Elegance is found in that furniture and in such accessories as cur- tains, lights, shades, screens, and over-mantel decorations. The element of order is also apparent and, in most of the rooms, an atmosphere of calm. Some of this calm is due to the wall treat- ments — panels and such — some of it is given by scenic papers of great heritage,, some by the softness of the rug, some by the ease of the chairs. Order is given by the arrangement of the fur- niture and the regularity of the architectural details of doors and windows. They are rooms the ama- teur decorator can well study with profit. They have an atmosphere con- ducive to eating as a fine and genteel art. I 42 // u $ c ("r Cur d <■ n ' $ The soft brown of the paneling in the dining room of the residence of C. H. Connor, Rye, N. Y., is enriched by the deep rich damask draperies. The mantel group, with its handsome iron and silver flower stands, is unusual. Agnes Foster Wright, decorator Gay, picturesque and quaint is this dining room, with its brilliantly colored wall paper of "Scenic America", printed in Alsace Lorraine in 1840. The refectory table, side table and chairs are painted emerald green. Decorations from Wanamaker A' o o k of Interior s 43 The mirror holds many secrets. It can tell how to make a small room appear large and a dark room seem gay. Bat one must choose the right mirror for the room and place it properly. In this medium dining room the only light came from the north and it was drab. A large mi) ror in the French fashion — cut in squares and held in place by small gold rosettes — was placed on the main wall, completely filling the cen- tral panel. It reflects two lovely crystal lustres and an alabaster vase that stand on the black marble- topped console. Mrs. Emott Buel was the decorator The spirit of the l&th Century is crystalized in this dining room in the residence of Mrs. William K. Van- dcrbilt. The walls are antiqued paneling painted green and gold. At the casement windows is hung an l&th Century chintz in which peach color predominates. A peach colored brocatel is used for upholstery on the walnut chairs. The sideboard is a Will. am and Mary antique, holding old purple glass bottles. Over it hangs a mirror with a petit point panel. The serving consoles by the window and the china cupboard add further interest. Schmitt Brothers, decorators 44 // o u s e & G a r Into the dining room in the home of Mr. Franklin Colby, of An- dover, N.J., have been introduced a Ja- cobean hutch and Lancashire chairs that suit the en- vironment of rough cast walls, beamed ceil inn and large, old- fashioned n re- place. An antique brass candle chandelier is still used in its orig- inal manner, ac- c e n tin g t h e qua'.ntness and age of the room Early Georgian blue green pan- eled wall are in the dining room below. On the stiles of t h e panels are placed Queen Anne mir- ror sconces. The ideboard is an original A da in Above it hangs a llth Century portrait. Cur- tains and chat- cover in gs are glazed r h intz with an orange background, a copy of an old English desi^ti. Emil Feffercorn, decorator Book of Interiors 47 Delicately de- signed black lac- q u e r furniture against light green painted walls is found in the dining room of the New York residence of Mr. Donald Tuttle. The curtains and portieres are linen in pink and American Beau- ty, edged with a jade green taf- feta that matches the gauze of the nndercurtains and the decora- tions of the fur- niture. Agnes Foster Wright, decorator The Georgian paneled dining room leaves very- little to be de- sired when the workmanship has the dignity of this. The em- brasured win- dow, the round arch door, the paneled fireplace with its over- mantel painting make an excel- lent background for the furniture, which is mainly American repro- duction of old designs. Pea- body, Wilson & Brown, archi- tects 43 // o u s f. >' l/i idtu Drew in New Yuri- < ity the entire dining mom is furnished with wrought iron. The table is wrought iron, tin con oli truing inbif \hown above, and the large console which is used fur a sideboard during incut times, Lighting fixtures an iron on antique pit bracket Over the table hangs a Greek primitive a. Bovard MacBride, decorator Book of I 11 t e r i o r s S3 HOSPITALITY AND THE ENTRANCE HALL 54 // o u s e & G ar den' $ A COLORFUL HALL GROUP ! , , , ; . , ,,, a p l o) brilliant color or in a here •> colorful and imple -roup is desired-, .. lH i,i i„ u "/ The commode i dark rich Uh Italian decoration and molding o) antique gold ,/„„/ chait i ith black broadcloth pad peacock '<'«< and embroidered In rich, dark colon Further enrichment is given the group by the flower paint- ing which hangs above the commode uu unusual but suc- cessful shape h'l' Hi" position, 1 /'"/*' Chinese lady m ■Minimi pink mil/ black, ami vases villi blut I.- mill green futurist flowers comprise Hie accessories. The wall is Italian pink. Agnes Foster Wright was Hie decorator Book of Interiors 55 HOSPITALITY AND THE ENTRANCE HALL The Distinction of any Hall is Attained by Light, Good Walls and Floors and The Disposition of JT ell-Chosen Furniture A HALLWAY is an architectural hand- shake. Its furnishings should therefore express hospitality. The entrance to the house and the hallway that lies behind it arc the surest indications of the sort of people who dwell in that house and the sort of hospitality they extend. And just as there are different kinds of people and different kinds of hos- pitality, so are there different kinds of halls. Reduced to general classifications, these kinds of halls fall into two general groups — hall- ways that are designed as passages and hall- ways designed as reception rooms. In many cases the hallway is merely a place to pass through, and it would seem that the architect and decorator have conspired to make that passing as dull and rapid as possible. Hallways without light, with one or two pieces of .-tiff, uninteresting furniture, with a shadowy stairs creeping up into dark infinity — such hallways are inhospitable, unkind to guests, unfair to the occupants of the house. The first requisite in any hallway, then, is light — plenty of it. One should not come from the bright sunshine outside and go suddenly blind in the darkness inside. Fan lights above the door, glass panels beside the door, or in it, windows on the stairs or on a stairs landing are possible solutions that should be thought of when the house is planned. If the hall goes the depth of the house light can be given by a panel in the rear door. Should none of these architectural changes be possible one will have to depend upon artificial lighting. THE hallway that is merely a place to pass through en route to other rooms should contain no furniture to block that passing. One should not be required to squeeze through the hall. Nor on the other hand, should the furniture be so slight as to make the hall uninteresting. Above all things, whether large or small , the hallway is not a cloak room. The old- fashioned hatrack is taboo today. Provide a closet for coats and wraps, and insist that they be kept there. The handshake that your house extends its guests should not be encumbered with cloaks. In the small hall there may be room — and consequently, purpose — for only three pieces of furni- ture — a console or small table, a mirror above it and a chair. The mirror is essen- tial for a fleeting last glimpse. The choice in tables is legion — Colonial tip tables, wrought iron consoles with a black glass top, carved consoles, etc. The mirror should be in keeping. Thus, if one has a wrought iron console with a black glass top, the mirror frame can be wrought iron with a handing of black glass around the mirror. A bowl of flowers and a card tray is all this table need contain. These may seem inhospitable furnishings, yet in a hall that one merely passes through no attempt at hospitality need be made. The hos- pitable rooms are in close proximity. The Colonial house or the cottage hallway af- fords other treatments. A Welsh dresser may be used, or an old cabinet of interesting lines, or a Jacobean sideboard or hutch or even a painted commode, such as shown in the illus- tration opposite. The use of these will depend entirely upon the space available. It is also the space available which decides whether the hall shall be a passage or a recep- tion room. There is a style of country house architecture which provides that one shall come directly from the front door into a big living hall, which serves also as living room. This has many disadvantages; it affords the family no privacy, and it causes draughts to blow across the room every time the door is opened. Some sort of vestibule at least should be provided. BUT where the hall is large, then one has ample room to furnish it in a generous style as a reception room. There may be a fireplace in this hall. Upholstered chairs can be set on either side of the hearth. If a couch is placed there it should be a small piece and not the kind one generally uses before the fire in a living room. A wrought iron floor lamp can be placed near one of these chairs, or a In a spacious hallwa behind it to act as bowl of y one can have a group such as this — a Jacobean sideboard with a rich tapestry foil, and antique Italian chairs on either side. Tall silver candlesticks and a flowers give their color notes. Brett, Gray & Hartwell, decorators table with a lamp on it, although it is generally the custom to restrict the hall lights to side fixtures or the lantern that hangs in the stair well. Rugs are the best floor covering for a hall. They can be easily taken up and cleaned. The floor itself may be tiled or hard wood stained with a dark finish and oiled, or any other treatment that will stand frequent washing. If the floor is oiled and waxed, one should take care that it is not too slippery. An advisable precaution is to have the rugs held in place by- snaps attached to the floor. Verdure and scenic papers seem to be the fa- vorite choices for wall covering; but the pos- sible treatments are many, ranging from the hall dignified with oak panels or panels made with moldings and painted, to the rough plaster tinted wall. One interesting treatment is to have the walls paneled with molding and to fill in some of these with Toile de joie or strips of interesting paper antiqued with shellac and burnt umber. The architecture of the house will decide how the walls should be treated, for the hallway is the room in which the archi- tecture is most pronounced. It may also come through the walls of the living room, but in the hallway the walls, which always form the architectural background of a room, will take their note from the architecture of the house. WHERE the hallway opens on to the liv- ing room and dining room by large doors, it should have some of the color of each, so that the three rooms present a harmonious scheme. Small openings, however, do not re- quire this color distribution. It is generally a good rule to remember in choosing the color schemes for rooms that the change from one to the other should not be too abrupt. This applies to the portieres. If the hall- way colors are dis- tinct from that of the other rooms, double portieres will be de- sirable. In more mod- ern homes French doors are being used between the hall and its adjoining rooms and the problem is easily solved, if one wants to curtain the doors, by using net, gauze or lace against the glass. This cur- taining, of course, will be of the same fabric as used on the side panels or fan light over the door. The final rule for all hallways, however, is to have plenty of light, and where an abundance of light is not possible, to keep the walls and hang- ings of a cheerful color that gives the semblance of light. 56 House & Garden's Light stained oak is used in the hallway and stairs of the C. F. T. Seaverns home at Hartford, Conn. It affords a dignified background for the antique chest and chairs and the dull gold fixtures. This hallway also shows the proper placing of Oriental rugs, which are laid in parallel lines The arched doorways of the paneled hallway give a desir- able openness to the first floor and afford ample light for a proper appreciation of the architectural detail. The plac- ing of the stairs, the turned balusters and curved newel are interesting. Goodwin, Bul- lard & Woolsev, architects Book of Interiors 57 Black and white marble and iron painted polychrome have been suc- cessfully used in this hall oj the A. K. Wampole residence in Baltimore. The niche with its fountains and the con- sole shelf are interesting features. Mott Schmidt, architect (Center below) Old Venetian irons fastened to the stair wall and con- nected with cords and tassels serve to enrich this narrow stairway in a New England home and lift it from its commonplace atmosphere. Lee Por- ter, decorator The Wampole stairs shown above curve upward gracefully. There is a pleasing sweep to the rails and the decorative iron spindles are color- ful and unusual Taken from an old home, these richly carved banisters have been placed in the home of Mr. Arthur Little, at Wenham, Mass. Little & Brown, architects Where the hallway is large and plays the role of a re- ception room, the stairs can be wide and should be giv- en ample approach. W. Stanwood Phil- lips, architect 58 House & G arden' $ HALL TREATMENTS An upper hall shows simplicity in iron balustrade and lantern fixture. Residence of Mr. Bertram G. Work. Oyster Bay, L. I. A view from the hallway to the living room shows an interesting fixture of black iron in a fish design The iron balustrade shows an interesting dolphin motif. The fixture is star-shaped. Denalo & Aldrich, architects A harmonious combination of crimson and deep yellow makes the living room a cheerful place 59 B o o h of Interi o r 60 // o u s e & Garden' $ In the boudoir the dressing table is naturally given thr place of honor. It should also have a place full of light, preferably in a bay window or close by a window. In this instance ample light falls from both sides. The antique rose taffeta curtains with their quaint frills and tie-backs make a delightful background for the dressing table on which stand Wedgwood lamps with pink taffeta shades edged with silver tissue. Frederick Loeser & Co., decorators Black lacquer furniture, walls covered in a gay Chinese de- sign of birds and flowers and curtains, some pale yellow edged with green and some orange and green, make an in- teresting bedroom in the resi- dence of Mr. Joseph Thomas at Middleburg, Va. The bed is an old jour-poster with an unusual top draping. Behind it is an alcove, down each side of which are book shelves. The ceiling in this alcove is made up of small mirrors in panels Book of Interiors 61 THE INTIMATE BEDROOM Four General Groups of Furniture Comprise the Equipment of a Bedroom Whether It Be Large or Small BECAUSE they are the- most intimate, most personal rooms in the house, the bedroom and boudoir should come closest to expressing the personality of the per- son who occupies them. This expression of personality might seem to apply to even- room in the house. In a way it does. No room should look as though the decorator had just moved out. That pleas- ant atmosphere of having been lived in, which is the desideratum for every room, is accom- plished by the use of personal and intimate ac- cessories and belongings, and it is logical to suppose that these will not be scattered about the house in an indiscriminate fashion. However small, the furnishings of any bed- room fall into four general groups. By keep- ing these in mind the decoration will be a simple matter. The first group might be called the sleeping corner — -the bed or beds with their adjacent night stand and its lamp. Twin beds are pre- ferable to a double bed shared by two, however much old-fashioned prejudice may be against them. And however much old-fashioned ad- vice may warn against reading in bed, the habit is conducive to sleep — if one chooses the right books. This is one argument for the lamp; the more obvious argument, of course, is its con- venience. The second bedroom group consists of the bureau, chifferole or dressing table. In rooms provided with modern built-in clothes closets the bureau is really not required. Such closets provide trays for shirts and collars and blouses and underwear and all the other things one ordinarily keeps in bureau drawers. With the bureau eliminated more space is given the room and a dressing table can be placed there. THIS is not intended as a defense of vanity but it is a fact I believe (writing from the observation of an ancient married man!) that if the choice came be- tween built-in closets and a bureau, the aver- age woman would choose the closets when she was promised a dressing table to take the bureau's place. Of course she must have some place to lay away her clothes; that is im- perative. But it is just as imperative that she have a corner where she can pretty herself. Men may be able to dress without a mirror, but a mirror is a sine, qua non in a woman's life. And if you can provide her with a triplicate mirror that shows all sides, a dainty table whereon she can lay out her brushes and combs, and a drawer to keep her cosmetics in, a big problem of married life will be solved. The third group con- sists of a writing desk and its attendant chair. This may seem the sort of furniture that would go into a living room. The living room secretary, however, is a pub- lic sort of desk, whereas the boudoir desk is private. Behind this distinction lies a fact that we should not forget. Every individual in the world, even the closest and most happily married, should demand and be given a meas- ure of privacy. Men may not feel this as much as women, for men go in packs, like wolves, but woman is the eternal free ranger. Respect that fact by providing a desk in the bedroom or boudoir. THE ideal master's suite, as the architects call it, consists' of the bedroom, sleep- ing porch, dressing room and bath, with, possibly, a boudoir or morning room adjoining. Since sleeping out of doors has attained the popularity it deserves, the bedroom is being made smaller, as it is used only in the coldest weather or as a dressing room. Where this arrangement obtains one may have a small bed- room or dressing room in conjunction with the bath and an extended boudoir which can also serve for morning room. With such space available there is no limit to the possibilities of decoration. The boudoir can be made distinct from the bedroom by its furnishings and functions. Perhaps the bed- room would have only the necessary furniture of beds, night stand and chairs. The boudoir, then, would contain the other pieces of equip- ment. We have still to mention the fourth group that completes the bedroom's furnishing. A chaise longue with a small table beside it and a lamp on the table or a standing lamp in close proximity afford a place where one can rest and nap without disturbing the beds. This should be included by all means where space permits. This is also an essential part of the equipment of any boudoir. Add to it straight Champagne color silk curtains and valance fringed with blue, an 18th Century Italian cabinet, a draped dressing table and large mirror, an 18th Century Italian window seat for bench and a comfortable upholstered couch are features of this bedroom, decorated by Miss Gheen chairs, an upholstered slipper chair, and one upholstered easy chair, and the furniture for the bedroom may be considered as complete. In no other room of the house have colors such a free gamut as in the bedroom, and by that same token in no room should one be more careful in the selection of the colors used. Choose tones that soothe — grays, ivories, the palest of blues, yellows and cream. Brilliant color can be found in the curtains and in the bedspreads, which generally are made to match. The floor covering can be carpeting with rugs laid over it — old-fashioned hooked rugs or some of the interesting current weaves. The occasional rug placed on an oiled floor is not advisable in bedrooms except in country houses. Take into account floor drafts and that uncom- fortable chill one gets when she puts an unslip- pered foot down on a cold wooden floor. Hence the all-over carpeting for the bedroom. If a rug is chosen — and there is a great variety to choose from — buy a big rug and leave only a narrow margin of the floor uncovered. PAPER is the most inexpensive treatment for bedroom walls. Use a small patterned paper and firmly refuse the cut-out frieze. Have the walls quiet and unobtrusive, keeping the pattern and color in the room restricted to the hangings, bedspreads and accessories. Paint is the next in the list — either a flat tone or an antiqued finish or panels painted on the plaster. As the woman is the mistress of this room its general character will .be dainty, that is, feminine without being effeminate. The glas-- curtains can be of the sheerest gauze, or net or dotted Swiss; the drapery of the dressing table will repeat this treatment. Pillows of lingerie and taffeta in abundance on bed and chaise longue add the feminine touch. Lampshades should also enrich this feminine atmosphere, and they can be made up into all kinds of shapes with intriguing ruffles that take tone from the color of the lamp base. How elaborate these rooms will be depends entirely upon the purse and the personality of the woman. Her sense of orderliness will pre- vent them from being cluttered with useless and silly gewgaws, although, if she wants them that way, here are the rooms where she can indulge that weak- ness to her heart's con- tent. But, after all, order is decoration's first law, and it is the first law in most households. With- out it comfort, livable- ness and elegance can- not exist. The bedroom and boudoir are no exception. Only the necessary furnishings should be used even in these intimate rooms. 62 // o it s e & G Wrought iron and painted furniture plays an impor- tant role in this breakfast porch in the Denver home of Mr. William Pelriken. The refectory table, chair: and stool are in the Italian manner, painted a yellow ivory with decoration*, in red and black. The brick walls are painted a soft gray which makes a good background for the wrought iron trellis. Iron floor lamps, interesting wall baskets and a floor of black and white complete the picture. Mrs. A. Van R. Barnewall, decorator Orange and light green are the colors used in this en- closed country porch. Cushions and valance are of a rich green, orange and gray linen, with a worsted block fringe of these col- ors. At the windows hang linen gauze curtains edged with the same fringe. On the red tiled floor is used a large oval fibre mat. Furniture is wrought iron and Swiss reed enameled a clear light green. The long table is painted orange and green antiqued. Agnes Foster Wright, decorator Book of Interiors 73 closely, evenly woven wicker which, wlien upholstered in a fairly formal material such as a broad mercerized silk stripe or a linen moire, would he excellent. The curtains, made up simply, might he of the same ma- terial. Then, to key up the room, use wrought iron antiqued with gold and touched up with a suggestion of the color found in the drapery. There could be a console table of wrought iron in excellent workmanship, with a top of black glass I3/2" thick. A mirror with a wrought iron frame, a gem, comes with a panel of black glass on either side of the mirror. A plant stand, 5' high, is also of wrought iron touched with gold. Around this could be grouped plants in Spanish or Italian pottery jardinieres. There would be several low tables and benches. A porch that has a beautiful, near-garden view should have plain tone, almost color- less curtains. One's eye should not be caught by a multitude of color in the cur- tains but by the play of color in the garden beyond. In the mountains or by the sea a flowered cretonne seems more in place. The more distant view is not obstructed by the gayness of the curtain. For most porches it is safer, on the whole, to use a plain window drapery and figured upholstery. Flowered, glazed chintz roller shades, pulled up high enough not to interfere with the view and giving a rich touch of color by day and night, are cheerful and decorative. Plain draperies should be used with these shades. Plain colored linen has many good quali- ties for cushion covers on all sorts of porch furniture. Made as slip covers, it can be laundered, and, in these days of soap dyes, can always be kept in fresh color. Arcund the edge use a little fringe of a darker tone, which is not changed by the soap dye. The line of 50" upholstery goods, which cuts to advantage for pillows, comes in regular upholster}' shades of soft colors. When this plain fabric is used for covers, inter- mingle with it cushions of dif- ferent tones — say a deep pink toning to orange and a cool, greenish brown, or a nattier blue and orchid color, or a sea green and vermillion. Monk's cloth can be dyed and corded with a deep pile cotton velvet. It is serviceable for up- holstery and pillows also can be made of it. Dye it orange and cord with blue-green velvet, or peacock blue and cord with tobacco brown. The velvet edge should be of a sufficiently dark color so as not to show the dirt. With this plain fabric use either the figured roller shade of chintz or decorated holland. Arched windows form a good ground for the linen hangings in yellow, blue, green and mul- berry in this sun porch. The floor is of black and white tiles. Walls and cornice are Caen stone. The furniture is painted green striped with yellow. C. Victor Twiss, decorator .1 fibre rug in alter- nate squares of black and ecru covers the floor. The desk is painted green with an orange band. Be- hind it is trained ivy. From the resi- dence of Mr. Thom- as Lyman, Evans- ton, III. Margaret Field, decorator 74 // o use & Garden's The sheltered end oj an open terrace jorms an ideal porch when furnished with Swiss reed enameled to withstand the weather. The sunjast stripe gives service for semi-outdoors. An attrac- tive wall treatment can be used — reed wall baskets with containers for flowers. Agnes Foster Wright, decorator The terrace of the Long Island home oj Mr. Charles II. Sabin is furnished villi rattan chairs and stools in keeping with out-of-doors. Cross & Cross, architects < ullage chairs are in pleasant harmony with the Colonial archi- tecture of this country home. Peabody, Wilson & Brown, tin Sulci ts Book of Interiors 75 There are several rooms, the popularity of which is growing, that are so distinctly outdoor rooms that when they are included inside the house they require an al fresco treatment. These are sun rooms, breakfast porches and sleeping porches. The sun room illustrated to the left and below is in the residence of Mr. H. Poppenheimer, at Avon Hills, Cincinnati, Ohio. Soft toned fabrics have been used, painted furniture and wicker. The floor is cement marked in squares. Lattice decoration relieves the walls. At one side is a wall fountain with evergreens grouped in a box at the base. Mrs. A. R. White, decorator S5Skj! The walls of the sleeping porch are mainly windows, so that the chamber is more of a room than a porch. Black and white tile has been used on the floors, striped shades at the windows, the same fabrics being used for covers on the couch beds. Green and yellow also enter into the color scheme. In the same house is a breakfast porch that lays just claim to distinction. The furniture is green-black lacquer with decorations in old Florentine colors. Draperies are citron rep with black trim. Cushions and seats covered with striped linen in strong colors. The rug is citron color with black border. Anne Forester, decorator 76 H o u s e & (, 'i r d I- )/ ' ■ In the residence of Mr. E. J. McCor- mack, Brooklyn, N. Y ., is a delight- fully simple sun room with a red quarry tile floor and cream stucco walls. Slee & Brvson, architects A charming place to breakfast in is this sun-.su.ept porch with its latticed walls and hangings of gay cretonne. The coloring is mostly gold — to catch the sunligh' . perhaps Warm gray pi., i.r -.an , a floor of red tile 'i„, I „ generou mantel i" • bet n u "I in tin a,, porch in thi n I denct -■■ \lr i t, Edgar, m Gro ■ Pointe, Mich Uberl Kahn, an lull 1 1 B o o k o f I n t c r i o r s 77 ADAPTING THE A C C E S S O R Y 78 II o u s e & G ar den' t I 1 1 E W INDOW IN DECORATIVE COMPOSITION I In , niiln;.' i one oj the most important factors in any decorative composi- lion, and much oj the success oj a room depends upon the draping oj it. Either it / an object to be covered, or, as here, an architectural feature to be accented Thh interior is from the residence oj Mr. Henry G. Vaughan, Sher liorn. |/fl I In woodwork is tinned gumwood, the floor painted black and hilt to imulate tiles, the upholstery is dark blue and the curtains are a sheer, dark blue net. Little & Brown, architects Book of Interiors 79 A pleasant grouping of delightful souvenirs of Victorian days. Here you have a quaint old flower bouquet in its glass case, a pair of yellow glass candlesticks, and two oval gold mirrors with storks reflected in them. Courtesy oj Mrs. Emott Buel, decorator ADAPTING THE ACCESSORY The Proper Use of Such Tremendous Trifles as Lamps, Small Tables, Screens and Objets d' 'Art Gives a Lived-in Atmosphere to a Room TO create a lived-in, intimate and sympa- thetic atmosphere, to make homes rather than houses, it is essential that all the acces- sories for the rooms be selected and arranged with a view to comfort as well as beauty. For it is not until a room is complete in all its minor touches that it may be said really to "live"'. Through them, it gains personality and distinction, and by the taste displayed in their selection, one may very easily judge of the character of the owner. That idea, of course, is a little hard on many of us, who have inherited quantities of useless trifles, which have nothing but a sentimental interest to recommend them and with which we often litter our homes. A suggestion for those unfortunates so handicapped would be to put the sentimental trifles away with lavender and old lace, where they belong. IF we are so fortunate, however, as to possess really beautiful objects, of a mellower civil- ization, it is a different matter. Objects, such ,as those of the 18th Century in France, for example, when really great artists occupied themselves with the designing and creating of not only art objects per se, but all sorts of the necessary small appurtenances, such as lamps and screens, clocks and andirons. Then it was that men like de Gouthiere or Clodion were among the many masters who gave their skill to the casting in bronze of a candelabra or lantern and who inspired and animated all of the fascinating details, which through their clever use make a perfect setting. It was in those days that the collecting of beautiful objects was considered an obligation of the leisure class, and the man who wished to live in the appropriate sort of an atmosphere had not only to have the money to acquire these objects, but the discretion to choose them, and, above all, the patience to wait for the artist's handiwork to be completed. One of the curses of modern civilization is that we no longer have time, patience or suffi- cient interest to allow our homes to grow mel- low gradually. This feverish restlessness has naturally affected our artisans and discouraged our artists, and for that reason we find our shops crowded with poor, cheap objects with a purely "catch-penny attraction", which, when placed in an otherwise attractive interior be- come through their very tawdriness the most conspicuous things in the room. Consequently, the entire standard of the decoration is lowered. On a marquetry table stand a green vase with bead flowers and a pair of parakeets How often have decorators thus suffered from the idiosyncrasies of their clients! As a matter of actual fact, there is abso- lutely no necessity for ornaments at all, unless as an inspiration, because of their beauty in color or form, and bad ones are totally worth- less. The acquisition of purely expensive things, inartistic bronzes, oil paintings in heavy gold frames, onyx pedestals, imitation teakwood stands, ornate, impractical vases should be discouraged. These atrocities are still frequently seen, having been sold to the gullible purchaser under the guise of "objets d'art". THERE are a few general rules which may help to guide the unwary. To begin with, the term "art object" should be conceded to be appropriate only after an authority (an au- thority with a cultivated taste) has pronounced them worthy of that title. Having decided upon the soundness of one's judgment in the matter, the next consideration is the appropri- ateness of the selection for the room for which they are intended. The}- should not only be appropriate in style, to conform with the gen- eral decoration, but in proportion as to size. It is quite obvious that a huge crystal lustre, although magnificent in a formal drawing room, would be quite inappropriate in a sim- ple chintz-hung sitting room. A vase which looks top-heavy for a small table, a lamp so small, because of its unfortunate position, that one could not possibly read by its light, a lit- tered, crowded mantel with objects too large in proportion for its size are all pitfalls to be avoided. As to the appropriateness in style, it is need- less to mention the inadvisability of using quaint Victorian touches in a rather formal Louis XVI room, or delicate Directoire orna- ments in an early Jacobean English room. It is, of course, not necessary to stick religiously to one period in the choice of accessories, but the type of small object used should be in the period which will happily combine with its surroundings. This is a subtle art, which can only be learned gradually. AS to the essential accessories, such as mir- _/~\. rors, screens, lamps, small tables, candle- sticks, they should have to pass the same tests as the art objects. In other words, they should be really beautiful things in themselves. For- tunately, for us, there are bits of lovely china so House & Garden's Delightfully appointed is this Venetian lacquer desk with a happy arrangement of a Chinese figurine between two lotus blossoms. Symmetry is gained by a careful placing of the pictures. Mrs. Etnott Buel, decorator An antique walnut Italian settee stands between mahog- any and satinwood small French tables of the same epoch. On them are green Chinese porcelain lamps with painted shades. Darnley, Inc., decorators and glass from the Orient, modern to be hut very lovely in color and attractive in de- sign, which arc available today. Italy is also making fascinating pottery, appropriate for lamps, flower bowls, vases, and so forth, most of it reproductions of old pieces, but all of it answering to the requirements of both use and beauty. NO matter how beautiful the object, how- ever, or how lovely its color, it will l>e of no avail unless it is so placed as to be of some real use. Not only must that be con- sidered, but the question of overcrowding as well. For example, the potential possibilities of a mantel shelf or a buffet, or a console table are very great. On all these may be developed a well-balanced, restful, interesting decoration, through the use of carefully selected, har- moniously placed objects. Their use in pairs as in many instances illustrated, creates that restful, well-balanced atmosphere which makes the coming into some rooms such a delight. THE objects selected for these little centers of decoration should be sufficiently closely related in themselves in type, as well as to the object on which they are placed. An Italian table, with an old piece of heavy filet lace will carry with distinction a pair of tall amber colored Venetian glass urns, and a center deco- ration of fruits in an Italian alabaster bowl. This feeling for the right thing is not merely an appreciation of beauty; it is a gradual elimination of the inadequate. If your arrangement of accessories will not stand the test of either use or beauty, they may well be said to be of no importance. If we will but stop to analyze the rooms which have had that home- like, lived-in atmosphere which is the ultimate goal for which most of us are striving in our houses, we will realize that that subtle something which may be missing in our own surroundings is due to the fact that all the small articles have been placed with discretion and a sympa- thetic understanding of the needs of the occupants. One will realize that On a round I r i - pod Empire table in dull mahogan . w i t h green a n d ■/old ley.: and a marble top a Venetian glass i n d a quaint old i hnnli l in chair i rnrrnl • ■ karat Xtt < ham In- rim :, a I In ■if the room Perfect boudoir accessories are a painted lamp with a taffeta s hade finished with mulli-col- o r e d ribbon, a French figurine in the Chinese man- ner and an old painted sweet- meal box, all dis posed on a satin- wood double kul ney-shaped table. Chamberl i n Dodds, decorator Book of Interiors 31 that small table near the davenport has its accompaniment of essential lamp and shade, its box for cigarettes, its ash trays, its place for hooks. One will appreciate that a careful arrange- ment on a commode of a bowl of beau- tiful flowers with a pair of Chinese porcelains at each side gives the eye a pleasing resting place and adds much to the quiet distinction of the room. How often has one visited houses where the obvious fact that nobody lived in the living room made it a cold, uninviting interior. The writing table had none of the essentials arranged upon it; there were no flowers any- where; there was no fire in the fire- place and no intimation that there would be any, no place where one could sit down and read comfortably, no pic- tures, no books; no anything alive. All this due to the fact that the tremendous trifles had not been considered. IT is with great delight that one re- members some rooms. They may have pleased us for man}- reasons, un- considered at the time. There was the delightfully comfortable paneled liv- ing room and library combined, with filled bookshelves up to the very ceil- ing, with a bay window forming a com- fortable nook in which a writing table with all its delightful appointments had l>een placed. There were a sufficient number of softly shaded lamps creat- ing glowing spots in the room and in- viting the reader. There was an ample table with place for books and maga- zines and comfortable chairs drawn close by, and there was that most in- viting arrangement of all around the fireplace with its shelf, a perfect de- light in color decorations. The walls had been painted a soft gray-green and one never will forget the delicious com- bination of Chinese yellow vases stand- ing at each end of the mantel with a brilliant blue Chinese urn in the cen- ter. They formed the only decoration on the mantel, with the exception of one or two very small bronzes, adding an art interest to the whole. That one does not have an elaborate setting or proud objects to create this desirable atmosphere is frequently illustrated, when a clever person has been able to do it through the use of color alone and a few wisely chosen, inexpensive things. I particularly re- member a little dining room with its painted Venetian blue plaster walls. At the casement windows had been hung orange sundour curtains, and in the very sunniest place of this very sunny room was a bowl of goldfish, with pots of growing ivy standing at each side. More ivy was arranged in a box with a trellis at one side of the room, between two very simple mahog- any consoles, and on them were candle- sticks of inexpensive Italian pottery, with painted orange colored shades. Nancy Ashton. To break a long living room by dis- creetly placing a tall red lacquer screen at one of the entrances, with an arrangement of furniture in front of it, is an interesting treatment. Schmitt Bros., decorators S3 II o u s e & G a r d e » -, The dignity of a spacious room with a large Carrara mantel finds re- sponse in crystal candelabra and a bust of Pauline Bonaparte by Casa- nova; from Chamberlin Dodds FIREPLACE MANTEL ~mstmm Above the mantel are mirrors with dull gold rosettes, and Directoire armchairs are drawn up near the fireplace. Mary Nash imperson- ates the charming Directoire lady DECORATIONS Very effective is this treatment of a man- tel in a paneled room painted red violet. Eight little Chinese gods guard the hearth, surmounted by a carved gilt mir- ror; from Ruby Ross Goodnow (Right) On a Louis XV mantel of Breche d'Alep marble stand amethyst and white crystal girandoles. A gilt bronze clock and a marquetry table with silk "garde feu" are of the period; from Diane Del Monte I 1. rlt ) A /- r e » i li mantel under a flow- er painting holds a boi , rie bust of the Louis V 17 peri o d Hanked by Venetian -1,1 candlesticks anil urns. At either id innil I a a i \ I / . hair El /< de II "//'■ Uatl o Edward Hewltl Book of Interiors 83 Suitable for a hall or the side of a large living room is a group consisting of a three- drawer Italian table, on which is placed a miniature chest of drawers of the late \~th Century from South America, and a pair of Lowe- stoft vases. The background is furnished by a piece of rich damask bound with galloon. Wrought iron candlesticks are placed on either side GRO U PI N G ANTIQUES Five Suggestions for Their Positions in the Room A serving table group for the dining room is composed of a pier table with an antique tray and vases, and above, a jerandino mirror. The composition is simple and in keeping with the lines of the table Wm mm A carved Jacobean chest with accompanying chairs and a tapestry for a background constitutes a good hallway group. Each piece in the composition has sufficient room. If antiques are worth preserving at all, they deserve decent display; they should never be crowded For the guest room a group can be made of a Jacobean chest of drawers with Lan- cashire chairs on either side. An early 18th Century ma- hogany mirror is hung above. The walls are covered with an antique French chintz full of rich coloring, a custom now in vogue A third grouping for the hall uses the oak-seated Lancashire chairs, which are very much in vogue, a Spanish table with iron supports surmounted by an early \"ith Century Span- ish chest of ivory inlay. The French Renaissance tapestry used in the hall group above has been employed here for a background 84 House & Garden's CONSOLE GROUPINGS LEE PORTER, Decorator (Below) A natural, dignified hallway grouping is composed of a carved gilt con- sole with marble top; an ornately carved mirror, a pair of lustres and a fine Chinese bowl. This is arranged with an oak pan- eled wall as background In a narrow hall a decorative balanced group can be made of a console shelf with a plant stand on either side. All three pieces are carved walnut with gilt decorations. The console shelf is marble (Below) Among wall furniture that is treated in the same manner as the con- sole is the sideboard. A panel painting takes the place of a mirror; the bal- anced grouping of accessories still obtains The addition of old carriage lamps used for side lights gives interest to this hallway grouping of table and mirror. It will be noted that marble is gaining popularity for table tops of this char- acter (Below) The serving table in the dining room opposite is treated in the same manner as the sideboard: group is set before a picture let into the panel of the wall, with the candles i n silhouette A fine example of eagle console with heavily carved mirror, used as a hall- way grouping Book of Interior* 85 OVER DOOR DECORATIONS Black and white checked carpet, a black and white door with a silhouette panel above. The treatment would give interest to a dull apartment hall An unusual effect oj formality is found in this double door by the decorative statues of the woodwork and the glassed panel below % The painted panel is the most popular form of overdoor decoration, especially adapted to a formal room where the woodwork is of good period design In a room of large proportions and heavy fittings the niche can be used. This is from the of- fice of M ell or & Meigs, architects A carved panel is often used in the arch of a Colonial doorway A heavily carved overdoor from the State House in Philadelphia A carved entrance overdoor decoration with a lamp inserted s» II o use & C a r d <■ n i COUCH-END TABLES, STOOLS AND LAMPS TO GO ON THEM A popular design for smoking stands beside • imihe s is the English oak stool of the 1625- 1640 period English oak stools help furnish a room and are especially desirable where Jacobean piece* are used {Above) The three-cornered table fits well into an angle when the couch is against the wall and presents an un- usual shape for the purposz An Italian table will often serve at the end of the couch or beside a deep chair. Its lamp can have a parchment shade. Lee Porter, decorator o this i fpe do not " a mall land a i t tki in character with the othei III ttubet i i " dt < oralot The interesting semi circular table is especially adapt able for couch ends or consoles. There is space enough for it small reading lamp and smoking tray. Earle Campbell was the det orator B o o k of Interior 87 HOW TO MAKE YOUR OWN CURTAINS D by ACNES FOSTER WRIGHT Where only one set of curtains is required use a French valance. Gathers are made onto a narrow tape. Across the top the fullness is taken in a tuck between each tape On the bottom of the painted val- ance board is tacked a i l />" band with three full taffeta ruffles pinked on the edge. The tie-back has the same ruffles, and the curtain ruffles are of plain muslin A simple valance can be made by using two %i" bandings ap- plied 2J^" apart. Valance and curtains are picoted On buckram or a semi-circular frame is gathered the striped material with a ruffle, to make this interesting valance Both the valance and the hem of this curtain are finished with ruf- fles — a 12" ruffle with two 3" ruffles applied and edged with rick- rack braid. Suitable for a cottage room 8S House & G ar den' t SOLVING THE CURTAIN PROBLEM An air of formality is given a window by a plain fitted valance so arranged with the cur- tains as to cover the window trim. It may repeat the design of the curtain fabric. It should be fitted on a board or a strip of plaster board to keep it in shape To the right is a box pleated valance with undercurtains looped back, the latter ar- ranged on cords that permit them to be dropped. These under- curtains can be made of scrim or net, prefer- ably an ecru color. The color of the overcur- tains will depend on the scheme of the room * mm-~~ tor a row of casements or a bow window, an over-all valance with curtains at either end is best. The glass cur- tains can be made to draw. If one desires complete privacy under- curtains can be mad: 1 o r each window. Scrim, net or gauze would be the fabric Below is the trouble- some type of window with the circular head. Fit a curtain to it either draping the fab- ric or fitting it loosely. Piping may define the bottom. This acts as a valance for the rest of the curtaining The French window or door with a transom is always a problem. Make shirred curtains of net or scrim for the transom and attach them on rods or tapes. The door itself can have a glass curtain — of the same material — attached at top and with a ruffle effect below. Overcurtains should hang loose For a bedroom window the valance on a curved rod is always interest- ing. It should be made with a deep hem and the curtains hung from behind. Marquisette, voile, casement cloth or even cheesecloth can be used effectively , , .. ;,,, i \orm drapi con i ' i of undet wronged on rods or taut wires for fro/Wing, ""d OVerCUrtalm Hung on mil; and f the ronw and the implicit) n v d dignity oj tin rlr ■•ign. A pair oj '■n im jili- iron bracket and a paintinv ate thi Book of Interiors 97 Paintings done i n the spirit of the nth Century fur- nish the walls of this dining room. The chairs, also designed in 11th Century spirit, are upholstered with needlework m o - tijs of the 16th Century. Two interesting shrines are placed on the 16th Century linen cupboard at the right of the picture 98 House & Garden's The entrance hall- way in this Boston residence is charac- teristically Colonial, with its cur v in g stairs and the repe- tition of that cune in the ceiling and the lights about the door. The fur- niture is in period and disposed to the best advantage o f dignity. The m a - hogany of the fur- niture, it will be noted, repeats t h e mahogany of the stairs rail, follow- ing the accepted Colonial custom in this respect An interesting scheme has been ■ d in this room. The bed i warm ivory w i t h jade green lim ■■■. and run Crisp taffeta j a d e are piped with lemon yellow. Lampshades ■ ell W and >i a i- ■ blue 1 h • < hai >■ longue mauve trip' hn mg table and tool are u p h n I tered in and tin- r a n I' lined ■:: i ! ■ A %n i in I i- r hi, decorator Book of Interiors 99 How is any cold photograph ever going to make one realize just what Chippendale mahogany, yellow cur- tains, and a Chinese lacquer screen can do in a dining room? Old sil- ver and glass and a pair of Chinese vases shine here and there Paneled in cream color, the walls of the dining room make a serene background for the stately old ma- hogany and the family portraits. And through that quiet doorway, one glimpses the fireplace of the living room opening beyond (Left) These very literary Chinese cocks crow their imaginary farm- yard joy on the fine old mantel in the library, while the tan and blue Chinese rug on the floor reflects the color scheme of the whole room "Topside", the home of Mr. Bruce Clark on Long Island, is a farmhouse of 1830 days remodeled. The living room has light tan walls and mulberry curtains. On the furniture is rose and blue mulberry chintz ICO House & Garden's THE M O TIF OF A ROOM // i often t>" iHilr for one piece of furniture \o t tabli h the atmosphere of mi entire room In tin drawing room, which i in the Vew idenct of Charles Mather MacNeill, Esq., the Adam over-mantel mirror sets the motif for the rest of the tin orations — the Adam wall panels, the crystal mantel garni- ture, the frieze. Frederick Sterner, architect Book of Interiors 101 In I h e h o in e o j Mr. H. G. Vaughan, at Sherbom, Mass., of which five views are shown here, the dining room walls are cov- ered with an old Dutch scenic paper and the furniture is Jaco- bean. George Porter Fernald, architect All floors upstairs are painted dark gray and walls cream. In each bedroom is a large fireplace with mantel taken from old Sa- lem houses. Wainscoting and cornices came from the same source. Lee Porter, decorator Prom an old house in Maine was taken the design and detail for the second story stair, a beauti- fully proportioned element well placed in its setting 102 House & Garden's There is great beauty in rough plaster for a room, especially wh n combined with open beams, a stone mantel, terra cotta inserts and serving as a background jor oak furniture. From the G. W. Davison residence, Greenwich, Ct. A. L. Harmon, architect In tht residence antique Italian furniture, wrought iron and tapestries have been effectively placed. The refectory table is \nd beat toll tilver candle ticks l church lamp, wired for modern uses, hangs above. Harry H. Kussell, architect Book of Interiors 103 Italy of the 14th Century — that pivot of the medieval cycle — is perpetuated in this chamber. The walls are of old gray plas- ter, against which are hung curtains of deep coral damask with a heavy fringed valance. The bed is an antique, a 14//; Century piece, in walnut and polychrome. A richly figured damask cover with a deep fringe maintains the dignity of the bed. The little bedside chair, also a 14th Cen- tury antique, has a seat pad tied on with tasseled cords — a quaint device. Benjamin W'istar Morris, architect On the other side of the chamber shown above is a wide fireplace with a caived mantel. A tryptic and a pair of fine old K'ang-Hsi beakers in coral ornamentation are used for mantel decoration. The doors are solid oak fitted into the openings with- out wood trim. The ceiling is arched and in that rough plaster one finds universal in Italy, its rough texture giving it rich values and a variety of light and shade that is pleasing in such a room. John Hutaff, decorator Another Italian chamber boasts a little \\th Century bed raised, as was the custom of the day, on a platform. A pair of old commodes makes bedside tables. Behind is a Flemish tapestry that is in perfect character with the rough plastered walls. A coverlet of velvet bound with heavy fringed galloon is thrown over the bed and the footboard. A stool is covered in the same material. One object typical of the \4th Century chamber, oddly enough, seems lacking — some religious symbol. John Hutaff, decorator 104 House cr Garden's (T 7,- There is an Eng- lish 17th Century atmosphere in litis dining room, with its paneled walls, cove ceiling, and Laded casements. The furnishings and accessories are antiques o r the period. T h i s room and the room below are from the New York City home of Stewart Walk- er , Esq., the architect The background of the library is glossy pine pan- eling of beauti- ful grain with a carved co r - nice ant} mantel. The bookshelves are built in, with cupboards for portfolios below. The over-door dec- oration shows a pleasing use of an ivory cast toned to har- monize with the color of the walls J Book of Interiors 10S H Much of the dig- nity of this dining room, in addition to its proportions, is d ue to its architectural ele- ments — the low wooden waimcot with the yellow paint e'id wall above, the old mantel and its painting and the shallow niches a t either end with old iron and wooden console tables built in A little recep- tion room is paneled in wood painted a Geor- gian green with moldings and ornaments tipped in dull gold. The rug is a fine Oriental and the fixtures are crystal. Both rooms on this page are from the New York residence of W. F. F. Palmer. Delano & Aid- rich, architects 106 // o u y e & Garden*i The ample day bed at one end of the boudoir is covered in a chintz of Chinese design. This in combination with the wide striped fabric at the windows and plain velvet cushions makes a vari- ety of material used which is quite interesting and still harmonizes The corner of this sitting room shows a black and gold lacquer desk with its delightful appoint- ments. The walls are yellow pan- ' eled with green and the over-cur- tains of green taffeta with val- ances of green and yellow damask carry out the general color scheme of the room Slate blue walls with oyster col- ored moldings are a restful back- ground for the architectural paintings which have been set in the panels of the dining room. The curtains are of blue taffeta with under -curtains of gold gauze and the furniture is in the spirit of Louis XVI wmm&mmmmmmamm Book of Interiors 107 In the Southamp- ton home of C. H. S ab in the Georgian library was wisely built around an orig- inal old door- way. The pan- elled walls and beautiful mold- ings form a de- lightful back- ground for the admirable taste of Mrs. Sabin, who has done many charming things with book-lined re- cesses, chintzes, and 18th Cen- tury furniture An antique Chi- nese wall-paper, of a sort that suggests a Hoku- sai print with mountains, gnarled trees, and beguiling tea- houses, covers the breakfast room walls. In a recess topped with the Geor- gian shell are bits of rare old china. The fur- nishings here, as throughout the house, are con- sistently English. Cross & Cross, architects IC8 // o u-s e & Garden's '' '"• • ' hich are in the residence of James 11 ■ i g at i Louis, tb top one ha a background of cream 1 Id biut and th chair and chai e tongue in the '"" ' ivory Curiam ol flowered linen bound with blue taffeta and cream net against thr glass The master's bedroom has gray painted furniture with rose and blue flower decorations. The walls are. cream panels. A dark rose run repeal*, the color of the day-bed upholstery. The pillow is gold taffeta of blue, rose and gold. Curtains are gray taffeta with rose and blue binding'. War field Shop, decorators Book of Interior IW A LOUIS SEIZE BREAK EAST ROOM Louis Seize spirit is found in this charming breakfast room, with its pale green walls and painted panels. The curtains are butter colored taffeta. The table has a marqueterie top. Venetian glass vases are placed on the marble top console. Wrought iron fix- tures reproduce the delicate floral sprays and ribbons of the period. Mrs. Edgar de Wolfe was the decorator of the room 110 House & Garden's I fi Extending from ground to upper floors is a pierced bronze screen, thus obviating a hand rail. A "Walking Naiad" replaces the usual newel post and symbolize* the Greek feeling. The marble of the stairs is softened by a carpet until one reaches the the hall floor, which is of tile The inspiration here is Greek, but Greek art adapted to the every- day life of a refined American home. American materials and native craftsmanship were used without losing any of the atmos- phere and dignity. Kentucky stone was used for entablature and columns. The mantel itself is of Alabama marble. Two Chinese pots of biscuit color and a green blue vase 'land on the mantel, giving the color tone for the room I he reclining ""ah. chairs, ttool mmg table all tkoit their in but are tin at w< of modernity m comfort and con I hit room ha. turned of hi tory and ill) -. Uhout of -i> in fort, or modern utility. It i. mple of cholarl ■ under landing of Aiiuri can life It > the home „i Wellet I Orlh, nrthiterl Book of Interiors 111 We inherited the ingle- nook from the English cottage, and it is, there- fore, suitable in such rooms as have an English cottage feeling, as in this room. Open beams, a cut stone fireplace, simple mantel and groupings of comfortable seats and chairs make it the fea- ture of the room. Pea- body, Wilson & Brown, architects Italian influence is shown in this simple but dis- tinguished hall. The black and white marble floor, the, deep red of the hang- ings, the colors in the her- aldic tapestry, the marble bench and standards o f wrought iron show Ital- ian feeling adapted to the requirements of a modern American house. Charles A. Piatt, architect 112 House & Garden's E MiOANCE AND T 1 1 K INTIMATE ROOM not dependent upon size for its adequate expres- Thi Loui iii,,, , Regena and Louis Seize styles of decoration belonged to an era thai revolted against the merely palatial flu- intimate wa math- elegant, An example »/ this ran be found in the Vew York apartment of Paul A. Isler, The apartment i not palatial m > < but it has been mail' ant I in French tyle have been em ployed with meritorious restraint. They serve as a valuable testimony to the livable, human qualities of periods little mi derstood, The mantel (if this room is a beautiful design in marble, with a mirror and Grisaille above, and a terra cotta bust and pair of Chinese vases on the mantel shelf. The walls are cream paneled. The room is an epigram in Louis Seize. Alavoine & Co., decorators Book of Interiors 113 In such parts of the house as breakfast porches and sun rooms one should take advantage of Nature's offer to assist in the decorations. The lattice ivalls and multitude of plants are responsible for much of the charm of this breakfast room. Charles A. Piatt, architect From Independence Hall in Philadelphia was taken the wall motif for this card room in the Long Island home of Mr. Ormond G. Smith. Hoppin & Koen, archi- tects. Elsie de Wolfe, decorator The open, restful spaces of this country house living room are greatly responsible for its livableness. Interesting old furniture and gay linen curtains have been used. Peabodv, Wilson & Brown, architects I' // oust & Garden's The four views on these pages arc from the New York home of Mr. Charles E. Mitchell. In the living room the walls are fawn colored plaster and the ceiling wooden. A mellow harmony of lone prevails in the damask coverings of the comfortable chairs and the soft glow shed by the delicately shaded alabaster lamp. Curtains are green damask. The room has a huge stone mantel and the walls are enriched by old tapestries Walker & Gillette, architects Coming to the second lauding one finds a very fine old Italian bench with an early Spanish painting above it, that rive distinction to the hallway. .1/ the farther side, the door into the dining room is pronounced by a black marble frame surmounted by an an hid inula' lion containing a profile bust in In, relief Black marble is used for a base board. The spiral stairs shown op posite start in a recess at the near end of this landing J Book of Interior 115 An 18//; Century morning room, com- plete in every detail, is paneled in un- stained pine, with recessed bookshelves. There are comfortable chairs about. A glazed chintz is used on some of the upholstered furniture and is repeated in the curtains. The principal pictures are. English prints framed . in black glass mats. By the window stands a large writing desk with two old lamps and silver writing appointments. The chan- delier is crystal and side fixtures silver The first stairs land.ng shows a pic- turesque spiral carved wooden stairway leading to the floors above. In place of a newel is a wrought iron swan of fan- tastic shape attached to the central pil- lar. The heavy carved brackets under the treads, the twisted carving of the central pillar and the delicate lines of the wrought iron rail with its slim spin- dles are unusual and distinctive features of this architectural element. Under the treads the wood lias been antiqued 116 House & Gar den' s This Italian Louis XVI loggia, done in soft gray and yellows, has particularly in- teresting hangings. The valance is shaped to conform to the arched openings. Hang- ings are taffeta edged with a decorative fringe and a narrow tracery of embroider v culminating in a feather design. Walker & Gillette, architects In the living room shown below glass cur- tains of sheer French net are ruffled and bound in blue taffeta. Hangings are violet taffeta with a scalloped edge, blue rosette tie-backs and looped valances — a happy color arrangement against the jade green glazed paneled walls. Mrs. A. Van R. Barnewall, decorator An unusual treatm nl for a French doorway leading from a library to a dining mom ihows heavy, ecru colored ca cment tl<>ili edged . Uh n otton fringi and • ,ii top n,' i il iii I, if il in III*' am inanii' raduated tuck run nmg from i" iii ;", - iih tin widest il llv In, Hum I I I), iii,ii, i : Book of Interiors 117 .4 n Italian paper of brilliant color forms the back- ground in this nursery playroom, and the chief piece of furniture is a combination seat and toy box with shelves at the sides, painted a terra cotta, with the naive decora- tions in deep fawn color. Decorations by Mrs. Coit Mac- Lean PLANNING THE PLAYROOM A PLACE to play, a place to be gay, to shut out the grown-up world, when the Olym- pians become too tire- some; a place where ideas may nourish, and a place to be remembered all one's life, is what the ideal playroom should be. At the moment when the intuitive appreciation of beauty may be fos- tered to the greatest ex- tent, when the impres- sionable child's mind is ready for all suggestions of the world of lovely things, careful consid- eration should be given to the surroundings in which it is to nourish. Simplicity and har- mony of color are of the utmost importance, as well as the proportion- ing of the furniture to the small occupant. And apropos of this, it is well to plan the nursery play- room in such a fashion that its furnishings may In the residence of Mrs. Willard Straight this little girl's nursery has its furniture painted in white with blue lines and medallions of blue fairies on a yellow ground. Blue and white checked cretonne at the windows and on the backs of the furniture. Miss Quackenbush, decorator be added to from year to year. We have at last grown away from the idea that rows of solemn Noah's Ark animals and Dutch children, may be suffi- cient to establish a child- ish atmosphere. There was something very banal about all that. Now, we rather incline towards simple painted walls, where a few well-chosen pictures may be placed, varying in character as the child's interests vary; or, towards using one of the lovely scenic papers. One of these papers, Italian in origin, with the deep blue sky of that sunny land, was used re- cently in a most delight- ful nursery. No longer confined to the four walls of the room, there one could wander in fancy over hills and dales, past great lakes in which brilliant colored birds disported them- 118 House & C ar den' s selves. There was something infinitely in- spiring about the great spaces opened out to one, just the sort of surroundings in which the young imagination would flourish. In this room the simplest of painted furni- ture was used, constructed to stand the hard usage any healthy youngster would give it. A toy box which served the purpose of seat, just as well, with shelves at each side to hold the favorite toys and books, was one of the most interesting pieces, painted a terra cotta with fawn colored decorations. The little rush seated chairs and desk were painted to match, and there were one or two arm chairs with terra cotta and cream striped slip covers. A mouse-colored carpet covered the floor, which was attractive, although a cork floor would he even more practical. The very fortunate youngsters are the ones who live in the country and may grow up in a garden, and for the city child it would be interesting to plan a garden nursery, with the lower part of the walls painted to look like a box hedge, beyond which one may see the gently sloping hillside with birds and flowers, tall hollyhocks in brilliant rose and delicate yellow standing sentinel near the hedge. There should be real flowers in the window 1 oxes, which could be tended by the young gardener, and a globe of gold fish with bright green marbles. A low bench or two painted grass green, with a few garden chairs in natural color wicker, with bright chintz cushions, the carpet a grass green, and a little gate leading from the day nursery to the night, would help carry out the illusion. A sand pile in a green wooden box at one end of the room would not be out of place in "the garden,"' nor would a simple old-fashioned rope swing. If the nurse sleeps in the same room with the baby, the crib should be close at hand. This arrangement oj four-poster and crib, with baby's wardrobe, is practical and modern. Brett, Gray & Hart-well, decorators Delicate rose paneled 'walls, blue and rose chintz and blue floor covering make this a cheerful nursery. Paint- ings of playing and dancing Amorini hang on the walls. The toy shelf is set accommodatingly low. Karl Freund, decorator A s S much as possible, the playroom The fireplact -• the child' e , m ilu n><,w Sn arc the dancing l>ui *■■ I and iron '/» i Below the bathroom mirror can be set a marbleized con- sole just big enough to hold bottles and jars. Thus it will serve as a dressing table. Mrs. A. Van R. Barnewall, deco- rator 122 House & Garde n s The pot rack, a frame of iron or nickel with hooks for the pots set above the work table, is the most modern device for the kitchen. It is shown here in the home of Earle P. Charl- ton, Esq.. West port, Mass. Courtesy of Janes & Kirtland A pot shelf is a simple arrangement — the sup- porting board has hooks on which to hang the pots, the shelf takes the covers. Knives are stuck in a wooden groove back of the sink A still simpler arrangement is to hang the pots and various other utensils on nails or hooks driven into the wall, all within easy reach of the kitchen sink and 'work table HANG POTS AND PANS WHERE YOU CAN REACH THEM Hung your pots and pans in a place thai will not require leaning over to Ki . tin k i l f h i n it equipped plumbing, i ood m drain board . cmeralor, marble table It Uh n pot rai I* aboi i < ourU o ' Br am hall Sinks should be grouped accord- ing to their uses and placed in a good light. Open plumbing, com- pression faucets and roll rim sinks of English porce- lain are found in the Frick group, which is shown in the photo- graph above. Courtesy of Meyer & Sniffen Book of Interiors 125 The sink should be placed in good light, tables con- veniently placed and floors and walls tiled, as in the kitchen of the Frederick Lewisohn house. New York City. Harry Allen Jacobs, architect The kitchen shown below, in the residence of Mr. Louis Sherry at Manhasset, L. I., has white tile walls and a tiled floor, and the cupboards painted white enamel. Pots are hung at a reachable height- // o u i e & ar d i n ' Mb Addresses of ARCHITECTS and DECORATORS Alavoinc, L. & Co 712 Fifth Ave. New York City Arden Studios 599 Fifth Ave., New York City Atkinson & Alexander 35 Bedford Sq., London, Eng. Audrain! 603 Fifth Ave., New York City Barnewall. Mrs. A. Van R 3 E. 47th St., New York City Bigelow & Wadsworth 128 Tremont St., Boston, Mass. Bossom. Alfred C 366 Fifth Ave., New York City Bosworth, Welles Bottomley, W. Lawrence Brett, Gray & Hartwell Buel. Mr-. Emott .527 Fifth Ave., New York City .597 Fifth Ave., New York City . .647 Boylston St., Boston, Mass. .20 E. 46th St., New York City Campbell. Earle, c/o Jas. I. Wingate & Son. . . .563 Boylston St., Boston, Mass. .681 Fifth Ave., New York City .34 E. 48th St., New York City Chalfin, Paul 597 Fifth Ave., New York City Colby. J. A. & Sons 129 N. Wabash Ave., Chicago, 111. Cros- k Cross Darnley. Inc De Campi, Anita 22 E. Washington St., Chicago, 111. Delano & Aldrich 126 E. 38th St., New York City Del Monte. Diane WE. 46th St., New York City De Wolfe, Mr-. Edgar. . . .1801 Van Ness Ave., San Francisco, Cal. 1, Wolfe, Elsie 2 W. 47th St., New York City Ids.Chamberlin 28 E. 52nd St., New York City Imbury, Aymar II 132 Madison Ave New York City ■ r 15 W. 38th St.. New York City rn,Emil 126 E. 28th St., New York City G . Porter., o Littli m, 70 Kilby St, bo-ton, Ma-. Fi I ;aret -Garland Bldg., Chicago, 111. , tellier 45 Bromfield St., Boston, Mass. I, 616 S. Michigan Blvd., Chicago, 111. K rl 1" E. 46th St., New York City 'i " W. 16th St., New York Cit 3 V R 46 W. llth St., Ne« Y.„l. Citj Bullard&Wool A I 9th 51 Ne* VTork City . | G .145 E.35thSl '.-l Cit; H - . L < W. 29,1, S. Ne« Yori Citj „ ■ .1 Mad fori I il Hoffman. F. Burrall, Jr 120 W. 52nd St.. New York City Hoppin & Koen 4 E. 43rd St., New York City Huber, H. F. & Co WE. 40th St., New York City Hutaff . John H 101 Park Ave., New York City Jacobs, Harry Allan 320 Fifth Ave., New York City Kahn, Albert 58 Lafayette Blvd., Detroit, Mich. Lewis, M. A 10 E. 46th St., New York City Little, Harry T 70 Kilby St., Boston, Mass. Little & Browne 70 Kilby St., Boston, Mass. Little & Russell 70 Kilby St., Boston, Mass. Loeser. Frederick & Co Fulton & Bond Sts, Brooklyn, N. Y. MacBride, G. Bovard 3 E. 52nd St., New York City MacLean, Mrs. Coit 366 Lexington Ave., New York City Mellor & Meigs 205 S. Juniper St., Philadelphia, Pa. Morris, Benjamin Wistar 101 Park Ave., New York City Quackenbush, Miss 334 Fifth Ave., New York City Peabody, Wilson & Brown 389 Fifth Ave., New York City Phillips, W. Stanwood 103 Park Ave., New York City Piatt, Charles A 101 Park Ave., New York City Pope, John Russell 327 Fifth Ave., New York City Schmidt, Mott. Schmidt, Mott. Sice & Bryson. Sloane, W. & J Porter, Lee. .c/o Jas. I. Wingate & Son, 563 Boylston St., Boston, JMLclSS. Redfern, Harry, .c/o Central Control Board, Latymer House. 154 Piccadilly W., London, Eng. ,, tt T5 9 Park St., Boston. Mass. Russell, Harry B y 14 E. 40th St., ,New York City 14 E. 46th St., New York City 154 Montague St., Brooklyn, N. Y. 575 Fifth Ave., New York City Smith, F. Patterson 67 Milk St., Boston, Mass. Sterner, Frederick 569 Fifth Ave., New York City Townsend, Chas. Frederick 55 Church St., New Haven. Conn. Twiss, C. Victor Co 14 E. 50th St., New York City Walker & Gillette 128 E. 37th St., New York City W maker, John Broadway & 10th St., New York City Wh it e) Mrs. A. K Clermonl Bldg., Walnut Hills, Cincinnati, O. K I, Mn, Grace ™ E. S 3rd St., New York City Wright, Mrs. Agnes Foster 42 E. 48th St., New York City 3G1 09/S9 7|ii| 36021 Jin