80 
House & Garden 
DECORATIVE LIGHTING FITMENTS 
% 
For the Breakfast Room 
I D D L E Fitments permit all the lighting 
details to be carried out in harmony. For 
the breakfast room, for instance, the ceiling 
fitment, wall brackets and lamp illustrated are all 
in keeping, in the Estofado Decoration charac¬ 
teristic of Riddle Fitments. Living-room, dining¬ 
room, hall, in fact an entire residential installa¬ 
tion, may similarly be developed on harmonious 
lines. 
Riddle Fitments may be seen at many of the 
leading dealers in lighting fixtures and accessories. 
The name of nearest dealer will gladly be sent 
on request. 
THE EDWARD N. RIDDLE COMPANY 
Makers of lighting fitments since 1892 
TOLEDO, OHIO 
The Riddle Fitment 
Book contains illus¬ 
trations of these 
he ant if til and un¬ 
usual fitments in 
their actual colors. 
It gives valuable 
hints and sugges¬ 
tions on correct res¬ 
idential lighting. 
Copy sent on re¬ 
quest. Please ad¬ 
dress Dept. 272 
On receipt of plans, 
including elevation 
details, we will make 
up for architect or 
owner a suggestion 
for fitments for any 
room or for com¬ 
plete installation , 
including photo¬ 
graphic prints of 
the fitments and the 
estimated cost in¬ 
stalled by dealer 
Elegance in the Small House 
( Continued, from page 78) 
rooms may serve as examples in plan¬ 
ning the decoration of a small house 
furnished with discriminating elegance. 
Dining Room 
Walls: Deep ivory paneled, woodwork 
to match. 
Floor: Tete-de-negre rug. 
Fixtures: Dull gilt and crystal. 
Curtains: Champagne gauze under¬ 
curtains. Over-curtains of antique 
gold damask. 
Furniture: Three-piece dining table in 
walnut with dull gold decorations. 
Top of table marbleized. Long buffet 
of wrought iron with black walnut 
top. 6 walnut side chairs. 2 walnut arm 
chairs. Seats of chairs covered in an¬ 
tique satin striped in blue and gold. 
Living Room 
Walls: Paneled and painted taupe and 
glazed with grey. - 
Woodwork: Painted to match walls. 
Floor: Neutral colored seamless chen¬ 
ille. 
Curtains: Under-curtains of taupe silk 
gauze. Over-curtains of changeable 
plum and taupe silk damask. 
Fixtures: Sconces of walnut and gold 
with needlepoint inserts. ~ - 
Furniture: 2 Kidney sofas covered in 
tete-de-negre uncut velvet. 4 pillows 
for these of vari-colored taffetas. 2 
semi-circular end tables, of dull wal¬ 
nut and gold. 2 lamps for tables. 
1 over-upholstered easy chair in 
handsome linen, in an architectural 
pattern. 1 high-backed walnut wing 
chair in old tapestry or needlepoint. 
1 low coffee table. 1 small smoking 
stand. 1 long wall chest of fine lines. 
1 walnut and gold arm chair with 
seat and back in gunmetal taffeta bro¬ 
caded in dull red. 1 painted and 
crystal lamp. 1 overmantel mirror. 
2 small painted chairs with taffeta 
seats. Owner’s piano. 
Walls: Painted cafe-au-lait and pan¬ 
eled. Mouldings green picked out in 
silver. Two decorative wall paper 
panels, set into wall and outlined in 
green mouldings. 
Woodwork: Cafe - au - lait—baseboard 
black. 
Floor: Rug of green seamless chenille. 
12 inch border of black sewn on. 
Lighting Fixtures: Decorative lantern 
of wrought iron and silver. 
Curtains: Door curtain of apricot 
gauze. 
Furniture: Painted commode, green 
with decorations. 2 French walnut 
consoles. 2 small mirrors. 2 walnut 
chairs on opposite wall with tapestry 
seats. 
Owner's Bedroom 
Walls: Pale mauve with mouldings 
picked out in orchid. 
Fixtures: Mirror sconces with mauve 
crystals. 
Floor: Mauve wilton carpet covering 
room entirely. 
Curtains: Cream silk gauze under-cur¬ 
tains. Draw curtains of striped taf¬ 
feta in mauve and orchid. Over¬ 
curtains of grey linen with grisaieles 
on mauve background, and valances 
to match. 
Furniture: Four-poster bed of French 
walnut with swans holding canopy of 
silk. Bed curtains of orchid taffeta 
Bed cover of orchid taffeta with blue 
trimmings. Bedside table of antique 
satinwood. French walnut bureau 
with mirror over it. Overmantel 
mirror with painted top. Chaise 
longue covered in grey and mauve 
brocade. Easy chair by fireplace in 
dull blue satin. Sewing table in an¬ 
tique pearwood. High cabinet near 
bathroom door for small articles. 
Slipper chair in taffeta. Dressing 
table and stool, in taffeta. 
If You Are Going to Build 
(Continued from page 55) 
for the lintel could not easily be found, 
a great oak plank was used, and here the 
beginning of the decorating of the fire¬ 
place took place in the carving of the 
lintel. Naturally the recessing of fire¬ 
places brought about variations of con¬ 
struction, and ranges of iron were placed 
at the sides to take the spits, which were 
turned by young boys. 
The origin of the present day type of 
fireplace goes back to the latter of the 
Norman architecture, not to the inva¬ 
sion of England by the Normans in the 
11th Century, but later when the Nor¬ 
man Keeps came into existence with the 
more developed fireplace with the use 
of brick or tile for lining the chimney. 
Ornamentation was most magnificently 
realized in the late Gothic and Tudor 
times especially, in the reign of James 
I. The most elaborate carving came in 
the Tudor period and was noticeable in 
the reign of the Stuart’s. In the time 
of Elizabeth the gorgeous effects of 
decoration grew almost tawdry and 
without purpose. Henry VIII is blamed 
not a little for this over elaboration in 
decoration, for he imported Italian 
artists with their spirit of Rococo deco¬ 
ration, and some of the great beauty 
of the Gothic time with its exquisite 
fireplace arch disappeared. 
Queen Elizabeth followed in the foot¬ 
steps of her father and insisted upon 
importing craftsmen for house decora¬ 
tion. Her preference, however, was for 
the Flemish and German artisans, and 
the result was types of decoration that 
would have been put to shame by the 
village smith. When wood became 
scarce in Elizabeth’s time, coal was 
burned in “cradles of iron” which must, 
of course, been the movable braziers. 
Fortunately for the grace and beauty 
of English homes, Inigo Jones began 
doing some very fine things along the 
first of the 17th Century. He was much 
more scholarly than the workmen of the 
royal family had been importing. And 
it was during his time that the great 
oak chimney-pieces took their place in 
those splendidly paneled walls that be¬ 
came famous through history. Sir 
Christopher Wren followed, with Gring- 
ling’s carvings “which gave to wood the 
loose and airy lightness of flowers”. 
Even Chippendale designed iron grates 
to fit into his schemes of decoration, and 
the Adam Brothers made some delicate¬ 
ly beautiful grates of cast iron, which 
rather astonishes us. As the court beau¬ 
ties of these days decided to have mir¬ 
rors over their fireplaces, instead of 
carving or painting, the actual fireplace 
was reduced in size and the mirrors 
made very deep that the lovely ladies 
could view themselves, from powdered 
wigs to tiny slippers. 
It is interesting to notice the variation 
in the roof-line and ornament as fire¬ 
places acquired chimneys that must have 
good draughts for the comfort for the 
more luxurious civilization. Smoke 
turrets appeared and the tall brick tur¬ 
rets on the Tudor houses, with their 
picturesque construction, which are be¬ 
ing imitated in America today, just as 
we are still imitating the carving of the 
Gothic and Tudor lintels. We remem¬ 
ber too, that Hans Holbein did a chim¬ 
ney piece so beautiful that it is in the 
(Continued on page 82) 
