June, 1 913 



AMERICAN HOMES AND GARDENS 



225 



or a square of velour or brocade edges with a band of gold 

 galloon. 



The whole aspect of a great many house interiors would 

 be greatly improved, if the furniture were placed with due 

 regard to its being occupied and used, and not as though 

 one's chairs and tables were simply ornamental objects. 



HANG A DRAW CURTAIN 



IT is not a difficult matter to hang curtains at windows or 

 in doorways so that they can be drawn to and fro by simply 

 pulling a cord. If most people knew how simple the matter 

 is they would have their heavy curtains equipped in this 

 manner and would not have to jerk them along the pole 

 when they want their hangings drawn together. You use 

 the ordinary curtain pole, of brass or wood, and the regula- 

 tion curtain rings. The only extra items that are required, 

 are the heavy cord and two curtain rings which have little 

 pulleys attached to them. One ring should be equipped with 

 one pulley and the other with two pulleys. Rings such as 

 these can be obtained in the upholstery department of any 

 department store, and most likely at less pretentious ones. 



By referring to the illustration, you will see that the rings 

 with the pulleys attached are placed at the extreme ends of 

 the curtain pole. Then the cord "A" is run through the 

 pulley "B" and knotted around the curtain ring at "C," then 

 passes on through the pulley at "D," and is knotted around 

 the curtain ring at "E," and then passes on through the 

 second pulley at "F" and hangs down and ends at "G." The 

 cord should pass through the rings and a weight should be 

 attached to each end of it to keep it taut. 



L»KKK«ssKSxaxaKK5aKasKaK;KlIlll 



SOME LIVERPOOL PITCHERS 



(Continued from page 218) 



a XXX S_S S X a a ] 



g a a a a a a a a a a a a a:a a a.a.a a a'a foia a a aiaiiaBgfcWIaW, 



ber of stars shown on many pitchers sent to America. They 

 seemed to have clung to the unlucky number of thirteen, 

 even after twenty states had been admitted to the Union. 



The popularity of this ware rose rapidly, and not only 

 pitchers, but occasional teapots were shown. Chaffers, who 

 had a great reputation for his punch bowls, had them let- 

 tered with the names of different liquors, such as "cyder," 

 these being very popular in taverns, and were used in 

 America, in the "ordinaries," or inns. 



Portraits of Washington were found on a great many of 

 the pieces, and the Washington jug was one of the most 

 popular of these. The pictures were often caricatures, 

 however, which might as well have passed for any other dis- 

 tinguished general. The most interesting of the represen- 

 tations shows George Washington and Martha drinking 

 tea. This_is an outdoor scene, the table being laid under 

 the trees, and shows the president and his "lady" seated. 

 The strongest proof that this was meant for an American 

 piece is the fact that a negro servant is in the background, 

 this same idea being characteristic of many pieces repre- 

 senting that period. 



One of the most familiar designs shows the portrait of 

 Samuel Adams and John Hancock. These are placed side 

 by side. Around the medallion is the following inscription: 



"The memory of Washington, and the prescribed patriots 

 of America — Liberty, Virtue, Peace, Justice and Equity, to 

 all mankind," while below is the couplet: 



"Columbia's sons inspired by Freedom's flame, 

 Live in the annuals of immortal fame." 



Doubtless the potters took great pains in vying with one 

 another to suit the tastes of the American public, and some- 

 times their ideas were peculiar, as is shown in the "Monu- 

 ment Pitcher," where "Washington in Glory" appeared on 

 one side, and below it "America in tears." Underneath is 

 a monument, on either side of which is an eagle and a weep- 



ing woman. The reverse side, however, often shows a full- 

 rigged ship, for ships were favorite designs and very popu- 

 lar, not only with sea-faring men, but with many organiza- 

 tions, especially the Masons. 



While Liverpool goes by that name, yet there were a 

 great many pieces made at the Staffordshire potteries. Prin- 

 cipal among these was the Herculaneum ware, which shows 

 the bird feature, which is the crest of the Liverpool Arms. 

 This factory used their mark, pieces having "Herculaneum" 

 printed or in crest, with sometimes a crown, and again a 

 crown and garter, underneath. 



In addition to this ware, this firm also made busts, but 

 these are very rare, there being only about six marked speci- 

 mens in existence. There are many inscriptions on these 

 old pieces which are of interest both abroad and in Amer- 

 ica, while others have significence only in this country. 



HggiMiSilJiS SEE® 3 M D a a a a a a a a a a a a a a a a a a a a a a a a WSMMSMSSM 



OLD TIME SILHOUETTES 



(Continued from page 223) 



HSlIIIIiMIMIlHHIHl^^ 



Haines, to whom many members of the Royal Family gave 

 sittings and whose work is justly admired; J. Gapp, who did 

 a "roaring business" on the Chain Pier at Brighton, and C. 

 Atkinson, whose principal claim to silhouette honors lies in 

 the fact that George III and his sons gave him frequent 

 sittings. 



Germany has already given us some clever artists with 

 the scissors, perhaps the most remarkable being Paul 

 Konewka, who is said to have worked entirely by touch, 

 frequently making portraits with his hands covered, to the 

 great astonishment of his clients. Karl Frohlich, whose 

 dainty work illustrative of children, butterflies, cupids, etc., 

 is so well-known and admired, began life as a compositor. 

 Packney, of Vienna, gained fame for his Silhouette work 

 somewhat about the forties, while Runge, the German artist, 

 astonished and delighted Goethe by the ease with which he 

 cut out flowers, etc. 



Curiously enough, the art of "Silhouetting" does not 

 appear to have attracted many women artists. "Mrs. 

 Lightfoot of Liverpool," who practised it during the latter 

 part of the eighteenth century, always referred to her por- 

 traits as "shades" and guaranteed to preserve "the most 

 exact symmetry and animated expression of the features." 

 In her advertisement Mrs. Lightfoot adds an important 

 N. B. — "Mrs. Lightfoot keeps the original shades and can 

 supply those she has taken with any number of duplicates. 

 Those who have shades by them may have them reduced 

 and dressed in present taste. In this way, "Mrs. Lightfoot 

 of Liverpool" probably built up a very lucrative business. 

 Mrs. Beetham, of Buxton, and Patience Wright were other 

 lady artists who turned their attention to Silhouetting with 

 considerable success. 



The collecting of Silhouettes is growing in favor year 

 by year, and as a consequence specimens by recognized 

 artists are becoming extremely rare. It is well, perhaps, to 

 remember that the Silhouette frequently possesses two 

 values — first, as the work of a recognized artist and, second, 

 as the portrait of a celebrity. The portrait of an unknown 

 person by a famous Silhouettist may be worth a great deal, 

 but its value will be greatly increased if the likeness is that 

 of some historic character. 



And in conclusion, I would beg all amateur collectors to 

 exercise extreme care when purchasing Silhouettes as, 

 obviously, they lend themselves to forgery more easily than 

 even autographs. If in doubt regarding the genuineness of 

 a specimen, it is well worth the trouble to first obtain the 

 opinion of an expert which — from the experiences of my 

 early days — will, I am sure, be cheerfully and even gladly 

 given. 



