82 
House & Garden 
*%{fpot 
QyrmmeZ 
The Same Painter— 
The Same Labor— 
The Same Cost— 
can mean either a permanently beautiful piece 
of work or a short-lived, mediocre “job." 
The difference in results depends entirely on 
what the painter uses on his brush —whether he 
uses “any enamel” or Enamolin itself. 
Enamolin is an enamel so white, so durable, so porce¬ 
lain-like that it not only beautifies but protects any sur¬ 
face to which it is applied. 
As for the floors of the Enamolin-finlshed room—there 
is Namlac Floor Finish, the most durable floor varnish 
on the market. 
Enamolin and Namlac Floor Finish are on sale at the 
better paint and hardware stores. If you cannot secure 
them, write to us. 
Ask for free copy of “The White Spot” booklet 
EMIL CAIMAN frCQ 
ESTABLISHED IN lfi'jO 
lOOWilliam Sl NewAbrk 
A samplecan of either 
Enamolin or Namlac 
bloor Finish sent for 
10c. 
Address Home Dept. 
PerfectandLowPriced 
Callahan Cut-to-fit Greenhouses 
set into your place as well as if a high priced architect planned them—and at 
a cost complete as low as his fee. 
They are made in a wonderfully equipped factory, of any size you desire, 
and shipped to you so marked any carpenter can set them up. 
Factory production makes possible the best building at the lowest price. 
Hence they have every approved feature, and are as durable as they are 
artistic. Quality construction in every particular. 
Let us send you our green¬ 
house catalog telling all about 
them. 
Callahan Duo-Glazed Sash— 
the only double glazed sash 
that can be easily and quickly 
cleaned. Ask for sash catalog. 
Callahan Duo-Glazed 
Sash Co. 
1415 Fourth St., Dayton, Ohio. 
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"Tiles of Old and Their Place Today 
( Concluded, from page 80) 
mense serpents, standing erect, were 
shown. The description runs : “Which¬ 
ever way we look on the wall surfaces 
of the towers, as well as of the gate¬ 
way, every part swarms with reliefs.’’ 
This wall has been discovered, and 
has been found to be, it is said, exactly 
as described in the Babylonian rec¬ 
ords. 
Persian tiles are especially beauti¬ 
ful, so that explorers who come upon 
them in their original setting are 
aroused to enthusiastic admiration. 
Many Persian tiles have come down to 
us intact from the days of the great¬ 
ness of Chaldea. They are formed 
usually of a soft, richly glazed body- 
clay, ornamented with very graceful 
floral designs. 
As early as 620 B. C., tile is said to 
have been made in Greece. The more 
imposing of the Greek temples were 
roofed with tiles of white marble, ex¬ 
quisitely fitted together. Tiling was 
also very widely used throughout the 
Roman dominions. The mosaics which 
cover the floors, and sometimes the 
walls, of the houses of Pompeii are of 
rare loveliness, many precious stones 
being imbedded in them, so that the 
recorder of them exclaims, “If a lit¬ 
tle, second-rate town was the center 
of so rare an art, what was the gran¬ 
deur that was Rome!” 
Majolica Tiling 
The comparatively modern tilings 
are full of interest, either from the 
viewpoint of history or of art. The 
majolica ware of Italy alone can fur¬ 
nish chapters and books of fascinat¬ 
ing material. The making of majol¬ 
ica was caused by stimulus from the 
East. Its name, a corruption of Ma¬ 
jorca, is supposed to have been de¬ 
rived from the fact that ships bearing 
the ware stopped at that island, since 
there is no evidence of its manufac¬ 
ture there. Many varieties of arti¬ 
cles are included under the name ma¬ 
jolica, which refers to the method of 
making and producing the decoration. 
Not only tiles, as properly under¬ 
stood, but articles of vertu, candle¬ 
sticks, jars and jugs, vases, plaques, 
indeed any object capable of being 
made by this particular process. Ma¬ 
jolica appeared between the 12th and 
13th Centuries, and by the year 1300 
had attained a high degree of decora¬ 
tive excellence. The completed prod¬ 
uct is a soft buff clay, covered with an 
opaque white glaze, on which has been 
fired ornament in yellow, blue, green, 
black and brownish-red. An early 
form of majolica had an incised dec¬ 
oration, the dull under-color forming 
the design where the glaze had been 
scratched away. The finer wares were 
highly prized and services of such 
pieces were only made for royal or 
princely personages, and frequently as 
presents for the ruling prince. Some 
of the choicest are single gift pieces, 
“small plates and scodelle, which it 
was the fashion for gallants to pre¬ 
sent, filled with preserves or confetti, 
to the ladies of their choice.” Sig¬ 
nificant is the work of Lucca della 
Robbia, who “sought to invent a 
method of painting figures which, 
being executed in vitrified enamels, 
would secure for them endless dura¬ 
tion,” according to Vasari. We have 
the familiar Tondi and panels carry¬ 
ing out the art of the time, the figures 
being modeled in clay and covered 
with colored, opaque glazes. 
Dutch Tiles 
With the decorations of Dutch tiles 
we are all familiar. In England, about 
the middle of the 17th Century, there 
was a revival of interest in tile-mak¬ 
ing when some Dutch potters estab¬ 
lished themselves at Lambeth and 
spread over to Fulham, Bristol and 
Liverpool. “Delft” was made in Bel¬ 
fast two hundred years ago, accord¬ 
ing to a record. The first tile work 
of architectural importance in Eng¬ 
land was the floor of Temple Church, 
London, for which medieval tiles 
were reproduced by the Mintons from 
examples taken from the ancient 
Chapter House, Westminster. A 
modern example of English tiling is 
to he seen in the tiled pillars of the 
refreshment room of the old South 
Kensington Museum, London. 
American Tiles 
In this country the making of tiles, 
due to the new inspiration mentioned 
already, has been taken up with en¬ 
thusiasm by potters. The styles vary 
greatly in color and texture, showing 
Spanish, Moorish, German, old Eng¬ 
lish and other designs. The interest¬ 
ing way in which they may be used to 
decorate a modern facade is shown in 
a house on 19th Street, New York 
City. The tiles are set off with espe¬ 
cial refinement and brilliancy by the 
rough cement background. The large 
panel over the door is of a pleasing, 
medium blue color, and the decora¬ 
tion is of a peacock, the whole panel 
being in four parts. These were taken 
from the Basilica of St. Apollinaris at 
Ravenna. Around it is a border of 
tiling and cement and the small tiles 
which ornament the ground show two 
swastika forms. One of these is 
copied from a tile excavated at Tyro, 
the other copied from one excavated 
at Persepolis. This doorway is fur¬ 
ther enhanced by large garden pots, 
one on either side. These are made 
of the same materials, a gray, nega¬ 
tive concrete, with tiles of historic 
design in dull greens and blues and 
browns imbedded in the material of 
the vase. The tulip design on one of 
these vases is 18th Century German. 
Other exterior tile decoration has 
been employed by Price and McLana- 
han, of Philadelphia, both in that city 
and outside it, notably in the Hotel 
Blenheim at Atlantic City. The build¬ 
ing is of hollow terra-cotta blocks 
covered with cement, into which tiles 
are set, which vary from those of geo¬ 
metric pattern to elaborate mosaics 
showing the forms of marine crea¬ 
tures. These vari-colored tiles give 
a touch of gaiety and an appropriate 
holiday air to the building. 
For Mantels and Floors 
For mantel-pieces and floors, tiles 
have always iDeen sought, and for 
these uses there are many develop¬ 
ments. In Detroit a church pave¬ 
ment has been made which is a beau¬ 
tiful example of what the newer art 
is doing in this regard. Each design 
was made with careful reference to 
the effect of the whole, and carries 
symbolic significance. For the floor 
of the Capitol at Harrisburg there is 
used a new kind of “clay-mosaic.” 
The tiles or blocks are made by cut¬ 
ting the parts of the design from dif¬ 
ferent colored clays and uniting these 
by means of a broad outline of ce¬ 
ment, which takes much the part of 
the lead lines in stained glass. The 
method itself imparts a decorative 
quality to the design so used. 
Among interior designs for mantel- 
facings are friezes and panelings 
which become in some instances quite 
pictorial, yet hold well within the ne¬ 
cessities of decorative design. These 
show landscape effects, flights of 
birds and the like. While when care¬ 
fully placed they are very effective 
and beautiful, judgment is needed in 
placing them in appropriate relation 
to other decorations. The design is 
included in a slightly raised outliirc 
and the glazes are painted over the 
parts enclosed. Such tiles, or series 
of them, are so planned that an almost 
limitless variety of arrangements can 
be had by exercising a little ingenu¬ 
ity in setting them up. 
