92 
House & Garden 
Berkey & Gay 
FURNITURE 
This shop-mark is inset 
in every Berkey & Gay 
production. It is the 
customer’s protec¬ 
tion when buying and 
his pride ever after. 
A July Furniture Opportunity— 
^TheCambridge’—EspeciallyPriced! 
July brings you a Super-value in this Colonial Dining Suite. 
Seldom, indeed, can you buy furniture of such distinction so 
inexpensively. For“The Cambridge” is a demonstration value. 
Built throughout of beautifully figured American walnut, 
drawers and cabinets mahogany - lined, it interprets for 
modern use some of the finest traditions of Colonial cabinet¬ 
making. In beauty of design, in sincere, honest craftsman¬ 
ship, it worthily expresses those ideals that have marked 
Berkey & Gay furniture for over 60 years. 
“The Cambridge” is featured nationally this month to 
make it clear that you can buy Berkey & Gay quality at as 
low a price as true economy will permit. See it at your 
Berkey & Gay merchant’s. (To the uniform prices quoted 
below he adds freight charges.) 
Sideboard 
$150 
Chest 
$75 
China Cabinet 
100 
Armchair 
27 
Table 
120 
Chair 
20 
Our brochure, illustrating and describing “ The Cambridge” 
together with name of nearest dealer, sent on request 
Berkey ^ Gay Furniture Company 
444 MONROE AVENUE, GRAND RAPIDS, MICHIGAN 
l^eta York Wholesale Showroom; 115 West 40th Street 
(Admittance by letter of introduction from your merchant or decorator) 
Orchids, one of. 
Tang’s panels,' 
shows his signa¬ 
ture in the cor¬ 
ner 
PICTURES f « I R O N 
{Continued from page 59) 
neighbors.” It was then that there 
came to him the inspiration to change 
the medium of his art and to fashion 
pictures in iron. “He thought in iron,” 
the Chinese wording has it. He erected 
a forge in his home. 
Early and late he gave himself to his 
experiments with the metal which he 
knew. He had first to produce an iron 
of high ductility. Attaining this, ac¬ 
complishment was simple to the erst¬ 
while artisan in iron. His was a new art. 
No one today can tell exactly how 
he wrought. Indeed though there are 
still imitators of his art, none of them 
are able to obtain that pliancy in iron 
which enables them to draw from the 
molten metal the completed shapes of 
the graceful bamboo, or the more com¬ 
plicated flower designs. An examina¬ 
tion of the later work shows the use 
of nails, wire devices and annealing 
where Tang conceived and executed 
entire units of his pictures from a single 
mass of molten iron. 
The canons of art which Tang fol¬ 
lowed are those laid down in the fifth 
century A. D. by Hsieh Ho in Records 
on the classification of Old Paintings. 
The paintings of the old masters 
were made either in the form of scrolls' 
to be hung on palace walls, or they were 
done directly upon the walls of temples.* 
The latter were of religious character.^ 
According to Hsieh Ho, the six can-* 
ons, or rules of art, are comprehended' 
in the following: 
Rhythmic vitality 
Organic structure 
Conformity with nature 
Appropriate coloring 
Arrangement 
Transmission of classic models 
It was my good fortune while re-^ 
siding in China a decade ago to have 
brought to me a few landscapes from'- 
the forge of Tang Tien-chih. For nearly 
three hundred years they had been the 
property of the Djung family the' 
members of which were now reduced 
to poverty. The pictures appeared to' 
be mere scraps of iron, the frames had', 
decayed and the unity of the pictures 
was broken up. By the aid of one of 
the family they were restored to their, 
former relationship and remounted in^ 
teak wood frames. f 
These primitive pictures done by Tang | 
in iron show close conformity to the; 
{Continued on page 94) 
A work-wearied man toils 
down the slope; above 
stands the mountain peak 
The bamboo panel, one of 
the four by Tang symbol¬ 
izing the summer season 
In the orchid panel Tang 
made his symbol for spring 
with consummate delicacy 
