Ho 
& Garden 
I LLUSTRATED is a solid mahogany desk 
Colonial in style—fluted columns, three 
large commodious drawers and two smaller 
ones—the height—3 ft. 6 in., the width 3 ft. 4 
in. 
A useful and decorative piece—price $85.00. 
The Pickwick Arm Chair, an exceedingly com¬ 
fortable Wing chair, solid mahogany. Price 
$37.50. 
Worthy of special mention is a collection of odd 
pieces of furniture—upholstered sofas, comfort¬ 
able easy chairs, mahogany side chairs, rush 
bottom seats—gate leg—drop leaf and daven¬ 
port tables—mirrors with plain frames and 
Polychromed—screens, lamps and shades. 
Oriental and American rugs. 
Beds and Sanitary Bedding. 
(!lum:pctn|r 
3 West 37tlf #trcet JKiftlt ^ite. 
DANERSK DECORATIVE FURNITURE 
P ART of the value of Danersk furniture is the unusual service 
that lies back of it. Careful records are kept of the design 
and color of the individual piece or set sold to each customer, 
making it possible at any future time to add pieces finished in the 
same color scheme. 
All Danersk furniture is made for the particular setting in which 
It is to be used. Our prices are the most reasonable for this 
character of furniture available to-day. Let us help you plan each 
room so that it will possess the maximum individuality and charm. 
ERSKINE-DANFORTH CORPORATION 
SEND FOR VALUABLE ^ Wcst 47 th Street, New York 
BOOK "A-i” Pirst Door West of Fifth Avenue—4th floor 
The Role of Furniture Hardware 
{Continued from page 46) 
highly diversified veneer or embellished 
with marqueterie patterns, decorative 
balance likewise required them—the con¬ 
trasting color of the wood acted as a 
foil to the opulence of the mounts and 
the character of the mounts enhanced 
the effect of the veneered or marqueterie 
background. Many of the veneered 
cabinets of the period, instead of the 
broad, flat and engraved brass mounts, 
had smaller mounts of brass molded in 
low relief and sometimes fretted as well. 
In France and Italy 
In France, from the end of the 16th 
or beginning of the 17th Century on¬ 
ward, fretted and engraved mounts both 
of iron and of brass or bronze were 
wrought with the utmost dexterity of 
finish. During the 17th Century the 
art of molding and sculpturing brass and 
bronze mounts was carried to perfec¬ 
tion, and not only were handles, pulls, 
key-hole plates, hinges and locks fash¬ 
ioned in elaborate designs, but bands, 
decorative cartouches or pieces of orna¬ 
mental metal applique, feet or foot cas¬ 
ings, angle-pieces, galleries and applique 
scrolls of foliage were wrought in great 
number. The motifs adopted for these 
mounts were exceedingly varied; they 
were all characteristic of the Baroque 
style of decoration with masques, figures 
and leafage playing a prominent part. 
The imposing elaboration of much of 
the Louis XIV Boulle cabinetwork with 
its intricate metal inlay, required the 
extensive use of richly ornate mounts to 
ensure a fitting balance of materials. 
In Italy fretted and engraved iron 
and brass mounts, modeled in relief, of 
the same general sort as those used in 
France, but as a rule far less elaborate, 
were employed to a limited extent. 
They never had the same vogue in Italy 
as they did beyond the Alps. Of more 
frequent occurrence were the small 
molded or cast brass studdings for cred- 
enze and modest turned or cast brass 
knobs for cabinetwork. High cabinets 
with m.any small drawers—somewhat 
like the Spanish papelera—on high 
stands, occasionally displayed a good 
deal of perforated brass banding. 
The Rococo style, 1715-1765, affected 
decoration and furniture far more than 
it did architecture and its sway was 
therefore short-lived. 
In England Rococo influence was less 
in evidence and of even shorter dura¬ 
tion than on the Continent. In furni¬ 
ture, the chief Rococo exponent was 
Chippendale wLo, about the middle of 
the century, departed somewhat from 
his better-known modes and designed a 
good deal of cabinetwork the inspira¬ 
tion for which was wholly derived from 
the contemporary Louis XV fashions in 
France. Chippendale had back of him 
the heritage of Queen Anne and early 
Georgian brass mounts, such as have al¬ 
ready been noted and illustrated, and 
of these he made constant use, often 
elaborating such features as backplates 
or key-hole plates, in the shaping of the 
outline and in the perforations, or such 
items as bail pulls by their shaping and 
molded relief ornament. He was quite 
ready to fall in with the theory—and 
it is a sound theory—that mounts should 
be made to play an important decora¬ 
tive role. Taking his cue, therefore, from 
the French cabinetmakers, he embel¬ 
lished some of his more ambitious pieces 
with chased and carved mounts in the 
intricate fashion of the contemporary 
French ormolu mounts. After the in¬ 
tricate key-hole plates and pulls with 
their flamboyant backplates, which were 
sometimes designed in pairs as “rights 
and lefts”, were cast, they were in¬ 
geniously chiselled, chased and engraved 
and, sometimes, to enhance their ele¬ 
gance and to protect them from the 
atmosphere, they were gilded. 
In Italy and Spain, Rococo furniture 
and decoration never attained the deli¬ 
cacy of design, the finesse of execution, 
nor the variety of forms and materials 
that were characteristic of the period 
in France. Wherever mounts of the 
species just noted were used at all, they 
were far simpler in design and usually 
cruder in workmanship. Nor was any 
great dependence placed on them for 
decorative effort. As key-hole plates 
and pulls they occasionally appeared, 
but for the most part simple mounts 
of some of the older fashions were 
used. 
How to Handle Color in Decoration 
{Continued from page 34) 
the action of receding color upon the 
optic nerve will cause the apparent size 
of a room to increase by making the 
walls seem to stand farther away from 
the eye. The small room with walls 
in a cool or receding color will look 
larger than it is in reality, and the large 
room with wells of a warm or ad¬ 
vancing color will lose some of its ap¬ 
parent size. 
Color and Size 
In deciding whether to use w^arm and 
advancing or cool and receding color 
for walls and for floor coverings, one 
must also take into account the ex¬ 
posure of a room as well as its dimen¬ 
sions. As a general rule, it will be 
safe to use cool colors when there is 
a warm, southern or sunny exposure 
and to use warm colors when there is 
a cold light or a northern exposure. 
In the case of a small room or a nar¬ 
row room which has also a northern 
exposure and consequently a cold light, 
it will, however, be best to stick to cool 
colors, in order to avoid apparent con¬ 
traction, and to rely upon occasional 
touches of strong, bright color, intro¬ 
duced at effective points, to impart the 
necessary warmth and contrast. 
While reckoning the effects of ad¬ 
vancing and receding colors in filrnish- 
ing, remember that a piece of furniture 
upholstered in a fabric of advancing 
color will look larger than it will when 
covered with goods of a receding color. 
A secondary color (resulting from the 
equal combination of two primaries) is 
said to be complementary to the one re¬ 
maining primary color that does not en¬ 
ter into its composition. The comple¬ 
mentary and its opposing primary have 
nothing in common, but they bear a 
definite relation to each other. Green 
(composed of blue and yellow) is the 
complement of red; violet (composed of 
red and blue) is the complement of yel¬ 
low; orange (composed of yellow and 
red) is the complement of blue. The 
diagram makes this relationship clear. 
The complementary relation can exist 
only between secondary and primary 
colors; beyond that limit every color 
derivation incorporates some proportion 
of each of the primaries. 
It is only between complementary 
colors that absolute contrast can exist, 
a contrast, that is, between totally op¬ 
posing elements that have nothing what¬ 
ever in common. The complementary 
colors balance or neutralize each other 
and if blended would produce gray, as 
we shall soon see. If all colors were 
of the same intensity; if there were only 
one red, and that a pure prismatic red 
without taint of yellow on one side, or 
taint of blue on the other, or if there 
were only one green composed of equal 
{Continued on page 50) 
