House & Garden 
This home owes much 
of its distinctive charm to 
an artistic blending on roof and side 
walls, of two beautiful, soft-toned and 
lasting colors. Such combinations are 
characteristic of our exclusive factory 
process of staining and preserving. Your 
home, too, can have an unusual beauty 
and individuality—if you use 
“CREO-DIPT” 
STAINED SHINGLES 
17 Grades 16, 18, 24-inch 30 colors 
dry rot, worms and weather. 
They keep their color be¬ 
cause stained deep into the 
fibre of the wood with best 
earth pigment colors 
ground in pure linseed oil. 
Cheapness of materials and 
hurry find no place in our 
factory process. “CREO- 
DIPT” Stained Shingles | 
are not to be compared m 
with “job-stained” or “pat- | 
ent” shingles—yet they cost J 
you even less than staining | 
on the job. ■ 
Our “Dixie White” Stain | 
on 24-inch shingles for side walls gives an effect more J 
pleasing than wide clapboards. With green blinds and a | 
“CREO-DIPT” moss green shingle roof of 16-inch or ■ 
18-inch shingles, a lasting color scheme is assured with a | 
building cost that is attractive. | 
Send Coupon for Our Book | 
Picturing 100 handsome “CREO-DIPT” Homes, and Samples B 
of Colors on Wood. Names of Architect and Lumber Dealer | 
Appreciated. I 
Both for artistic and pro¬ 
tective value, this brand of 
shingles stands alone. The 
celebrated beauty of colors 
and proof against fading' 
and the wear and tear of 
sun and storm are direct 
results of a painstaking and 
secret process of creosoting 
and staining. 
“ CREO - DIPT ” Stained 
Shingles last twice as long 
because sawed only from 
live cedar—thoroughly sea¬ 
soned and creosoted against 
STANDARD STAINED SHINGLE CO. | 
1012 Oliver St. North Tonawanda, N. Y. 1 
Factory in Chicago for West H 
STANDARD STAINED SHINGLE CO., 
1012 Oliver St., North Tonawanda, N. Y. 
Send Your Book of “CREO-DIPT” Homes 
and Sample of Colors on Wood to 
□ Specially interested in 24-inch shingles. 
Name . 
St. No. 
City . State .. 
Old Scenic Papers in New Rooms 
(^Continued from page 56) 
a decoration; the room should be 
sparsely furnished or furnished with 
only the necessary pieces. 
Primarily that room is the dining¬ 
room. It is a place of occasional 
occupation; it is a room of not too 
great activity while it is being oc¬ 
cupied, and it is the one room of the 
house that should contain only the 
necessary pieces of furniture required 
in serving and eating meals. 
Since the paper is the thing in this 
instance, the wall space should not 
be broken save in the case of such 
on page 56, was produced by Reveillon 
of Paris, in the latter part of the 
18th Century. Reveillon was one of 
the greatest manufacturers of wall 
paper in his time and his firm was 
appointed Fournisseurs de Roi Louis 
XVI. It was at their estabishment 
in the Faubourg St. Antoine that the 
French Revolution broke out. The 
firm has not existed these eighty years. 
“Scenic America” was produced in 
1826 from drawings made by J. Mil- 
bert of Paris, who visited America 
in 1824. Over 2,000 wooden blocks 
“Scenic America"—this is a vieiv of West Point—was produced 
from drawings made by J. Milbert of Paris in 1824. Over 2,000 
wooden blocks were used in the printing. A new edition, made 
in 1912, is now out of print 
architectural features as doors and 
windows. Side lighting fixtures 
should be discarded. Light may be 
had from torcheres and on the dining 
and serving tables, from candles. Nor 
should the curtains be of prominent 
design, as they will detract from the 
interest in the paper. 
In addition to the effect of activity 
given the room, the pictorial paper 
will add to its apparent size. The 
depth of the picture will convey the 
impression of distance. We may 
look up from our dinner to the Bay 
of Naples or the distant horizon of an 
English hunt—there will be constant 
diversion and life on all sides. 
The manufacture of these old 
scenic papers has a history all its own. 
“The Hunt,” part of which is shown 
were used in the printing. A new 
edition made in 1912 met with a very 
great demand. One set hangs in the 
residence of Mrs. Harry Payne 
Whitney. This set, the only old 
reproduction obtainable, is out of the 
market, since the factory of J. Zuber 
& Company, in Alsace .has been closed 
by the war and is at present being 
used for a hospital. 
In addition to these old reproduc¬ 
tions are several scenic papers of 
American design and manufacture 
which closely resemble the original 
designs. In hanging them, extra 
strips are provided to cover the space 
left after the scene has been hung. 
In the older papers, the design was 
never repeated, with the result that 
variety is their strong characteristic. 
Color Schemes in Exterior Paint 
(^Continued from page 33) 
one that will stay white, use oxide of 
zinc, or add a portion of it to the 
white lead. Where coal smoke and 
sulphur fumes prevail it is impossible 
to have a permanent white unless 
zinc white is used, this not being af¬ 
fected by sulphur, which unites with 
lead to form black sulphide of lead, 
discoloring the white. Where there 
is much factory smoke, white not be¬ 
ing practicable, one may employ a 
French or pearl grey as a pleasing 
alternative. Or a light slate body 
with light grey trim, black sash, roof 
olive color, will give a very satisfy¬ 
ing color combination. Other schemes 
are medium drab body, ivory white 
trim, and chocolate brown sash. 
Such colors are adapted to city and 
country or suburban residences. 
While some houses seem to require 
an all white treatment, yet most 
houses will not show up to the best 
advantage when so treated. Colonial 
houses are sometimes painted all 
white, trim, body and all, but as a 
white body will admit of almost any 
color of trim, it is better to employ 
some one of these, such as pea green, 
grey, pale yellow, or a very light 
brown. If in time you weary of the 
white body, an agreeable change may 
be made by painting it a warm drab, 
medium drab, ivory white, or grey- 
stone, with white trim. 
The Colonial style of house should 
never be painted in dark colors, such 
as brown, red, etc. An old stone 
farmhouse looks best in white with 
almost any color of trim, and with 
the shutters and blinds in dark green. 
The same may be said of the New 
England frame house. Usually the 
greens used for the blinds and shut¬ 
ters are too dark. 
The Safe Colors 
Those colors that are commonly 
known as “safe” are red, white, grey, 
yellow and brown, according to style 
of structure. But the walls of the 
(Continued on page 66) 
