The Vital Functions of Light 
in the Home 
PRACTICAL SUGGESTIONS FOR THE AVOIDANCE 
OF GLARE — THE IMPORTANT QUESTIONS OF 
GLASSWARE-HOW IT INFLUENCES DIFFUSION- 
HINTS FOR MAKING FIXTURES MORE ATTRACTIVE 
by F. Laurent Godinez 
Editor’s Note.— Science has advanced much during the last decade in eliminating evils 
and correcting abuses, especially these connected with home living. We have a better 
architecture, more efficient means of sanitation, but in one department of the home we 
remain woefully ignorant. The question of illumination is answered to-day with little 
consideration of the esthetic. We are entirely unaware of the vast possibilities of light 
as a means of decoration and know nothing of its subtle influence upon our health and 
ev.en our mental attitude. Mr. Godinez has spent much time and careful research in this 
field and has astonishing disclosures to make that will awaken our dormant sensibilities. 
Although his criticism is direct, it is of the highest order in that he offers a remedy for 
each abuse which he makes apparent. He does not advocate any definite equipment, but 
he suggests how each individual may make use of his own to best advantage, and what 
are the desirable requisites of new material. In this article practical advice for correcting 
unsatisfactory illumination is given. The January issue dealt with the question of eye- 
strain and its attendant evils. 
T HE modification 
of light sources 
for the attainment of 
eye-comfort, a t m o s- 
phere and repose in the 
home involves among other considerations an 
analysis of the glassware used in lighting. 
Whether in the home or abroad, the over bril¬ 
liancy of modern illuminants should legally 
necessitate their concealment within shades 
for the purpose of eye protection and, where 
necessary, the redistribution of light over 
working areas. Since our visual impressions 
are invariably acquired from surface indica¬ 
tions, it is evident that the effects and influence 
of artificial light are very largely dependent on 
its shade or covering. Therefore the source of 
light should invariably be concealed in appro¬ 
priate glassware, which then becomes a sec¬ 
ondary source, and through its own character determines our di¬ 
rect or subconscious impressions of the light. 
Never introduce in the environment of the home the shades or 
globes which suggest the ugly, commonplace, ribbed affairs of the 
shop interior. Remember the eye can¬ 
not refrain from straying toward a 
source of light and let that source be 
mellow, subdued, and artistic. 
Several years ago, when electric il¬ 
luminants were less economical than 
now, the glassware manufacturer did 
his best to make shades which would 
reflect, re-direct, and concentrate 
every ray of light over a working 
area, sacrificing every consideration of 
appearance, or beauty, for economic 
efficiency. To-day, however, owing to 
the wonderful economy of illuminants 
and to the increased use of gas and 
electric light in thousands of homes, 
the glass maker must shape his 
product for adornment as well as 
utility. Artificial light is so cheap in 
cost that the great problem of the 
hour is to prevent its becoming cheap 
in appearance,—and the makers of lighting glassware must come 
to the rescue. Some of them have done so, but others still con¬ 
tinue to unload a product which has become old-fashioned as well 
as ugly, ignoring all the wonderful possibilities of the chemistry 
of glassware for the time-worn argument of the illuminating 
/ 1 
dVX / T 
Roman numerals indicate comparative 
distribution of illumination above and be- 
lozv the horizontal when various media are 
used, i. e., I, with no enclosing globe; II, 
with ground glass; III, increased diffusion 
with opal glass. 
If the light source here be covered, the pleasing result 
of eliminated glare is instantly realized 
engineer—“for utility.” 
The more progres¬ 
sive glassmakers who 
have done things worth 
while, have erred, per¬ 
haps, in that their product is not always so at¬ 
tractive when illuminated as it is by daylight. 
This is because certain forms of glassware for 
lighting are adapted to modern illuminants, 
and others are not. 
While “transparency” is the most common 
attribute of glass, there are kinds which are 
but slightly transparent, even opaque. 
After the fire-clay pots, in which a mixture 
of sand, carbonate of soda, carbonate of cal¬ 
cium, and red oxide of lead have been heated 
and maintained at a melting temperature, the 
furnace is cooled, and the glass, at various 
stages of cooling, may be blown, cast, pressed, 
rolled, drawn, cut, drilled, ground, and shaped in many forms. 
Acid etching, sand blasting and grinding, have various effects in 
bringing out the body color and lending texture or softness of 
tone, and these various applications modify the appearance of 
glassware, and have much to do with 
its artistic effect, and its transparency, 
which should be carefully considered. 
In many interiors with average ceil¬ 
ing heights, lighting fixtures are hung 
so that the pendant, or upright shades 
are continually within the visual field. 
In such cases glassware must be 
selected to perform several functions. 
Ocular comfort demands that these 
globes shall be restful and uninjurious 
to the eye, since the brilliancy of the 
light source within them must be sub¬ 
dued by their diffusive action. 
Globes of harmonious contour and 
with that proportion of line, expres¬ 
sive of period and fixture design, 
should be selected. It matters not how 
beautiful a globe may be, when not il¬ 
luminated, if when lighted an ugly, 
glaring splotch of light reveals the lo¬ 
cation of the source, and destroys its pictorial value. 
Globes and shades may be of totally enclosing, or semi-enclos¬ 
ing form. The former entirely enclose a light source, or else ex¬ 
pose but a small portion of the lamp tip. In globes of such form 
light from the illuminant within is transmitted through the struc- 
( 95 ) 
