94 
House & Garden 
The 
reborn 
romance 
of 
Candles 
I ITTLE did our forebears dream of the beauties of 
candles and candle-light that to-day are yours. 
Modern opportunities for pleasing decorative and illu¬ 
minating effects and modern methods of candle manu¬ 
facture have made possible their greatly heightened 
charm. 
Atlantic Candles, hand-dipped and moulded, are the 
highest achievements of the candle-maker’s skill, the 
latest conception of the decorative designer’s art. 
They contain the purest materials, and are so made 
that they burn down evenly in “cup” form, with a de¬ 
lightfully steady flame and without drip, smoke or odor. 
Colors are deep-set. Atlantic quality is distinctly notice¬ 
able. To help you get it, Atlantic Candles are banded 
or their boxes labeled. 
There is a size, shape and shade for every use, for 
every room and to harmonize with every furnishing or 
lighting scheme. 
“Candle Glow,” an interesting and authoritative booklet 
prepared by us, offers many suggestions on candle styles, 
lighting and decoration. We will gladly mail you a copy. 
THE ATLANTIC REFINING CO., Philadelphia 
j 
CANDLES 
A Plymouth chair in 
antique maple, deco¬ 
rated with a packet 
ship design. Courtesy 
of Erskine-Danforth 
Occasional Chairs 
(Continued from page 53) 
and by the end of the centurv the 
revolving chair had been established. 
Cromwell, who had a decided taste for 
comfort and pomp, imported from 
Holland quantities of single oak chairs, 
turned and knobbed, and chairs up¬ 
holstered and velvet covered were not 
uncommon. These were, however, ex¬ 
ceedingly heavy, and in consequence 
more or less static; something more 
nearly approximate to the pull-about 
occasional ’ chairs of the modern living 
room came in with the Restoration. 
The light-hearted gaiety and the 
luxury of Charles II’s court was reflected 
in the furniture. The characteristic chair 
of the period is still turned, but the 
turning is much lighter, and the carving 
less massive, and exquisitely fine' caning 
replaced the solid wood back and seat of 
the Commonwealth. 
Outside court circles a plainer style, a 
more old-fashioned tradition lingered; the 
high solid backs were preferred by 
yeomen in their draughty halls and 
kitchens. The craze for all things French 
that swayed the court was, as yet, hardly 
felt outside it. The oak of this period is 
not dark, but of a clear brownish shade; 
later it was darkened artificially, but only 
oil was used to polish the Restoration oak, 
and genuine pieces are never black. 
Walnut, too, was in high favour, and 
quantities of single walnut chairs are still 
extant; these may be c assified as “occa¬ 
sional,” but it is probable that originally 
they formed part of a set. 
Upholstered chairs had been made in 
the time of James I, but the fashion had 
waned, and was not revived till the 
Commonwealth. From that time on the 
upholstered chair in some form has always 
been popular. Marot, in whom Dutch 
and French taste were mingled, was an 
apostle of the upholstered style, and 
during the reign of William and Mary the 
single upholstered chair was prominent. 
The high backs, arms, and seats of the 
chairs were often covered with the 
beautiful embroidery which Queen Mary 
had made fash onable, and all the fine 
ladies of that time, and long after, 
followed her example of industry and 
skill. Velvets and large patterned 
damasks were used with the embroideries 
or alone. Taffeta, painted, was greatly 
admired, and leather for the backs and 
seats of chairs was painted, too, and 
sometimes gilt. Gorgeousness charac¬ 
terized this period of upholstery. 
In the reign of Queen Anne a simpler 
style prevailed; walnut was by far the 
most popular wood, and the typical chair 
of her time was of walnut. The “grand¬ 
father,” as it is now called, or winged easy 
chair was a favorite model. This chair 
is one of the oldest patterns; it was made 
in the time of Henry VIII, a somewhat 
crude thing, all of wood, but with the 
characteristic wings, or ears, which the 
big draughty halls of the period had made 
necessary, and it was known as the 
“draught chair.” 
The William and Mary “grandfather” 
is somewhat small, stuffed all over, and 
built up on beautiful lines, and this, 
combined with comfort, brought it into 
high favor. The Queen Anne “grand¬ 
father” was sometimes fitted with loose 
(Continued on page gS) 
This original American mahogany 
armchair shows decided Chippen¬ 
dale influence in its design. Cour¬ 
tesy of Barton, Price & Willson 
An antique Italian armchair of 
Louis XV influence, in walnut 
with silver gilt carvings and old 
brocade, Barton, Price & Willson 
