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TWO CARDINAL PRINCIPLES OF 
SIMPLICITY AND SYMMETRY IN 
THE WORKING—THE REQUIRE¬ 
MENTS OF THE PERIODS—TREAT¬ 
MENT OF THE CHIMNEY BREAST 
On this mantel shelf are shown both simplicity and symmetry . The Oriental vases find themselves quite at home, 
novel effect has been obtained by the arched picture moulding on the chimney breast 
T HE problem of what to put above the mantel often resolves 
itself into a negative question of what not to put above it, 
for it would seem a trait characteristic to most of us to follow no 
guide other than that of feeling that a thing “looks pretty.” Such 
a guide is scarcely dependable in the decoration of an important 
factor as is a mantel shelf. To put the matter in homely simile, 
the above-mantel decorations are to a fireplace what the trimmings 
are to a woman’s hat; a misplaced feather in the latter instance 
will destroy the entire effectiveness of the whole; a misplaced 
ornament on the former would have practically the same effect. 
Just as the fireplace is the focal point of family life—or should 
be—so the mantel becomes the focal point for the eyes of those 
who are of the family or are entertained by it. Yet the mantel 
and what goes over it are the only parts susceptible to embellish¬ 
ment. The fireback and the hearth both eventually become dis¬ 
colored from the fire, so that efforts at decoration are impossible 
to any hut the mantel and the space above it. 
Two cardinal principles obtain for those who desire the best 
effect: simplicity, have a few things; and symmetry, make the 
ends balance. Both warrant detailed consideration. 
Because the fireplace has always been the focal point of family 
life it need not he considered a place to deposit all the lares and 
penates. The result of such treatment would invariably be a 
jumble of junk, a preponderance of many things that distract the 
eye and detract from what should be an honorable architectural 
feature. 
What goes on the mantel depends upon the character of the 
room. Thus, the dining-room is quite different in character from 
the living-room, and deserves different 
treatment. The mantel of the parlor or 
reception hall, for example, should carry 
but few objects, and those of a rather for¬ 
mal style, something that is beautiful in 
itself without personal association, and 
that will give enjoyment to the visitor. 
Any amount of expense may be put into 
such ornaments, the smaller and more re¬ 
fined workmanship often necessitating the 
largest outlay. Oriental objects of dis¬ 
tinguished line, like Oriental rugs, are 
always in place. There is a balance and 
poise of color, tone and line about Orien¬ 
tal things that give them an urbanity, a 
cosmopolitan air, that fits them for use in this important place. 
Canton ginger jars, for example, have decided decorative value. 
Added distinction 
will be lent them if 
they are placed on 
low teakwood 
stands. 
The library man¬ 
tel should receive a 
characteristic treat¬ 
ment. Use the bust 
of a favorite author 
in bronze or bronzed 
plaster, giving it the 
place of honor. Or 
one may use a piece 
of that delightful 
Florentine bronze. 
If none of these are 
available, a piece of 
lacquered tin, such 
as an old tea caddy, 
will answer the pur¬ 
pose admirably. The 
mantel of the living- 
room, on the othei The niche and its flanking panels are sufficiently 
hand, should ex- decorative as to require only a pair of vases or 
press the changing candlesticks 
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