66 
House & Garden 
BOSTON BROOKLYN 
BRONX NEWARK 
Refreshing 
A HO ME that is decorated with the spirited 
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reflects a new note of Beauty and Cheerfulness; 
its whole atmosphere is refreshing. 
Send for Booklet B, a color folder showing man\’ 
attractive interiors. 
RICHARD E. THIBAUT, inc. 
.MADISON AVENUE and 32d STREET 
NEW YORK 
.. 
S053 Interstate Bank 
New Orleans, La. 
The Natural Beauty of Wood 
is a most important consideration when choosing the material for 
the interior finish and trim of your home. 
That beauty is dependent principally on the texture and “grain” 
•“the Varied arrangement of the fibers in individual pieces. 
Because -.t its close, even, velvety texture and its wonderfully varied and 
pleasingjgrain, the ideal wood for interior trim is 
Southern Yellow Pine 
Southern Yellow Pine not only makes a handsome appearence finished in its 
natural color, but because of its light tint, it is especially suited to staining. 
It takes stains, varnishes, paints and enamels perfectly, and there is absolutely no 
effect of color or tone that cannot be obtained with its use. 
Furthermore, its extremely moderate cost makes it the most ECONOMICAL 
of finishing woods. 
INVESTIGA TE— We will gladly send you gratis a handsome booklet, illustrated with color plates 
entitled ‘ 'Directions For Finishing Southern Yellow Pine.' ’ Suppose you send for it NO W! 
SOUTHERN PINE ASSOCIATION 
Early Italian Tables and Seating Furniture 
{Continued from page 64) 
are very long; long tables with six or 
more baluster-tnrned legs joined by 
stretchers near the base; small round, 
octagonal or hexagonal tables, either 
with turned legs or supported on 
pedestals; notaries’ tables; square 
tables with a leg at each corner and, 
finally, drawer tables. 
The Seating Furniture 
The seating furniture of this same 
period showed considerable diversity 
and embraced, besides armchairs and 
side chairs, stools, benches, double 
chairs or settees and a form of bench 
known as a cassa banco (shown in 
figures 14 and 15). 
One early type of chair, two ex¬ 
amples of which are shown in figures 
6 and 8, apparently of Venetian 
origin, had a small seat resting upon 
two shaped and heavily carved tres¬ 
tle-like supports, splayed outward 
and resembling the truss supports of 
contemporary tables. The back, made 
of one piece of wood heavily carved, 
was set into the seat with a back¬ 
ward rake. 
The examples of 16th Century arm¬ 
chairs shown in figures 10, 12, 2 and 
7, are thoroughly representative in 
contour, ornamentation and manner 
of covering. Comparative examina¬ 
tion will show that the seats are high 
from the floor, so that oftentimes 
footstools were a necessity; that the 
legs either stand upon runner feet, 
with carved toes and claws in front, 
or else rest directly upon the floor; in 
the former case stretchers are often 
dispensed with except, perhaps, be¬ 
tween the two back legs, while in the 
latter case there is apt to be a broad 
pierced, or pierced and carved, 
stretcher between the front legs and 
stretchers also at the sides and back; 
that the seats are virtually square; 
that the arms are high above the 
seat; that the backs are raked 
slightly; that the backposts terminate 
in finials which, in the case of 2, 10 
and 12, are the customary carved and 
gilt acanthus leaves; that when the 
chairs are not covered (v. figure 7) 
the crossrail and toprail are apt to 
be much carved and also to display 
flat panels embellished with inlay in 
beech or some other light colored 
wood; that when the chair seats and 
backs are covered with either tooled 
and gilt leather or with velvet, and 
garnished with either brass-headed 
nails or with fringe and galons, the 
frames are apt to be comparatively 
plain with little turning or carving, 
save the gilt acanthus finials of the 
backposts. Side chairs (v. figure 2), 
whether upholstered or imuphol- 
stered, displayed the same general 
characteristics as the armchairs al¬ 
ready described. 
While chairs of these types con¬ 
tinued to be used and made in the 
17th Century, certain additional types 
appeared that had lower seats, were 
more comfortable in their measure¬ 
ments, had legs more consistently 
braced by stretchers and displayed a 
greater amount of well-proportioned 
turning and little or no carving (v. 
figure 17). In some of these chairs 
the backs were raked while others 
were quite perpendicular. Some of 
the backs were entirely covered with 
velvet, brocade or leather upholstery 
(figure 17) ; others were composed 
of turned spindles and occasionally 
showed a close resemblance in pat¬ 
tern to some of the English spindle 
backs in the Stuart period. Settees, 
such as the 16th Century example 
shown in figure 13, were merely arm¬ 
chairs of double breadth and require 
no special comment. Benches with 
carved or turned legs and low carved 
backs, somewhat after the fashion 
of contemporary Spanish benches but 
exhibiting distinctively Italian tech¬ 
nique of carving, afforded another re¬ 
source in seating furniture. 
The Cassa Banca 
The most monumental and impres¬ 
sive piece of seating furniture was 
the cassa banca, which was frequently 
8' or more in length and was raised 
on a low dais above the level of the 
floor. It was in reality a chest with 
arms and back of architectural pro¬ 
portions (figure 15) or with only a 
back and no arms (figure 14). In 
some instances the back was carried 
to a considerable height and adorned 
with carving, thus establishing a visi¬ 
ble line of descent from the canopied 
Gothic seat of the middle ages, a seat 
of state and ceremony, although the 
16th Century cassa banca was of 
purely Renaissance design and scheme 
of decoration. Seats of this sort were 
intended, of course, to be used only 
against the wall and in large apart¬ 
ments either at the end or in a long 
wall space at one of the sides. 
There is scarcely an old Italian 
table or piece of seating furniture to 
be met with that will not well repay 
close study and measurement; and 
the lessons to be learned from such an 
examination will bring their reward 
not only in greater concrete knowl¬ 
edge of the individual object consid¬ 
ered, but in a riper and broader 
appreciation of the methods pursued 
and the subtlety of the proportions 
followed, methods and proportions 
that have profoundly influenced all 
subsequent mobiliary history. 
Constructing Log Cabins and Camps 
{Continued from page 56) 
shingle lath or boards and cover the 
roof with tar paper. Wood or as¬ 
bestos shingles can be used for a 
finish; in fact, it is desirable to shin¬ 
gle, because with only a tar paper 
roof the building looks unfinished. 
Caulking the Chinks 
In laying the logs, fit them as 
close together as possible. This will 
make caulking both easier and neater. 
Caulking can be done in many ways, 
the simplest and best of which is to 
use cement. This is done by two 
men working together, one on the 
outside and one on the inside. With 
trowels each applies the cement 
simultaneously at the same chink, so 
that each can prevent the cement ap¬ 
plied on the opposite side from run¬ 
ning out, thus making a neat and 
thorough job. 
For a cabin of the size illustrated 
about two bags of cement are re¬ 
quired. The mixture should consist 
of three shovelfuls of sand to one of 
cement. Care should be taken not to 
use too much water, since the cement 
is easier to place when it is quite 
thick and heavy. 
The bunk can readily be construct¬ 
ed. Use four 4" posts as uprights, 
running them from the floor to the 
roof, with two cross pieces the width 
of the bed springs to be used. These 
cross pieces should be fastened 2' 
from the floor and the springs and 
mattress placed upon them. 
If an additional bunk is required 
fasten two more cross pieces to the 
uprights 5' from the floor, and place 
the springs and mattress as on the tier 
already built below. 
{Continued on page 68) 
