106 
House & Garden 
Garden Walks 
Coping 
Paving 
Thresholds 
Floors 
Stairs 
Landings 
Hearths 
Slate 
underfoot 
saves overhead 
T he enduring qualities of slate are such that, once in¬ 
stalled, the upkeep, deterioration, repair and renewal 
expense is practically nil. 
Slate is unaffected by the elements, heat, cold and frost. 
No matter where or how long slate is used, it presents the 
same resistant, non-absorbing surface. 
No other natural stone formation can equal slate in archi¬ 
tectural beauty and adaptability. It may be obtained in 
natural or finished slabs, blocks, tiles or sheets of any size, 
thickness or shape, in black, grey, brown, green, purple, red 
or variegated colors. 
The underfoot uses for slate include flagging for walks, 
promenades, terraces, porches, entries, lobbies, alcoves, 
breakfast and living rooms; thresholds, hearths, sills, stair 
steps, risers and landings. Added to its other properties, 
slate offers a safe, sure footing. 
Other Profitable Uses For Slate 
In the middle ages it was discovered that a slate roof kept 
out the weather longer than any other natural or artificial 
material. This fact remains unchanged to this day. 
No one knows how long a slate roof will last. 
IMany of the slate roofs of medieval times are as service¬ 
able today as when they were put on, centuries ago. Fire, 
sparks, chemical fumes, weather conditions have no effect 
upon slate. It will not curl up or warp. 
iMuch of the slate quarried is used for re-roofing. 
The structural, sanitary, electrical and miscellaneous uses 
of slate are almost limitless. 
A comprehensive booklet, devoted to the 
varied uses of slate, will be mailed on request. 
NATIONAL SLATE ASSOCIATION 
757 Drexel Building Philadelphia 
Peach blossoms in 
shell pink on white. 
Also in pastel blue on 
yellow. From Lloyd 
WALL PAPERS for BEDROOMS 
{Continued from page 52) 
space but with an exposure toward open breaks up the light, varies it, and sends 
country, a river, or a lake—anything it back into the room—a rich, interest- 
which gives unbroken or strongly re- ing and pleasant glow. The emboss- 
flected light. The same window space ing of a paper serves the same purpose, 
in a much larger room would also re- does to the flat surface what the artist 
quire a much lighter paper to get the accomplishes on his canvas by the thick- 
same degree of illumination. It is simple and-thin of his paint and the manipula- 
enough, yet thousands of rooms lack tion of his brush. All these things 
charm and comfort because the atten- add or detract from the light quality 
tion has been focused upon the dra- in a room. 
peries and upholstery before the light The effect of airiness is hard to sep- 
has been properly adjusted. As the arate from the effect of light. Usually 
starting point of the entire decoration the light papers will give it. But there 
of the room is the background, the is one other element that crops out for 
walls, whether they be painted or pa- consideration in obtaining the most 
pered, should be considered long before successful results. I have already re- 
anything else. ferred to it in the article on halls; the 
There is one more point that is usual- effect that certain patterns have in pro- 
ly ignored in this question of light ad- ducing the illusion of space and openness. 
The delicate colors 
may go far toward 
getting this effect in 
the bedroom, the 
pinks and grays, the 
lavenders and whites, 
the creams and blues, 
and so on. But we 
do not always want 
a delicate color. 
Sometimes we want a 
vigorous tone in ad¬ 
dition to the lightness 
and airiness. There 
are charming chintz 
papers with clearly 
marked patterns in 
fairly strong colors on 
clear white back¬ 
grounds. I recall one 
paper with vigorous 
green and red flowers 
wandering indefinitely 
across a clear white 
ground. It was a 
marvellous space 
opener and so cool 
and airy! Another 
had a meandering 
blue flower of small, 
{Cant’d onpageicii) 
justment. What re¬ 
flecting power has the 
surface i t s e 1 f—the 
texture—of the pa¬ 
per ? And is it a pleas¬ 
ant light that comes 
back to us from those 
walls? Workers with 
pigments know that 
the most agreeable re¬ 
flections do not come 
from perfectly plain 
flat surfaces where the 
color, has been wash¬ 
ed Or laid on in a 
solid flat tone. It is 
monotonous, tiresome, 
and glaring. The in¬ 
teresting surface, the 
broken and mottled 
color, the undertone 
and the overlay, all 
give a vibrating quali¬ 
ty which far surpasses 
the flat tone in quali¬ 
ty of liveableness. 
This is one of the 
things that pattern 
does for us, too, 
whether in paper, 
rugs, or upholstery. It 
Landscape in greens and 
blue surrounded by morning 
glories in lavender, pink and 
blue. Courtesy of Strahan 
Bradley & .^lerriU 
A quaint and charming cottage 
paper has bunches of prim pink, 
mauve and yellow tulips on gray. 
From W. H. S. Lloyd 
Imagine this pale green paper 
with white lilacs in a big, square 
bedroom with maple furniture. 
From Richard E. Thibaut 
