118 
House Garden 
Four out of Five 
is Pyorrhea^s Toll 
warns with bleeding gums 
When Pyorrhea comes, the teeth loosen, and drop out 
or must be extracted. Pus'pockets form at the roots and 
poison spreads throughout the system. 
Comparatively few persons are immune. Statistics show 
that four out of every five past forty, and thousands 
younger, are subject to this sinister disease. 
Heed Nature*s Warning 
At the first sign of Pyorrhea, Nature gives her danger signal— 
tender gums which bleed easily when the teeth are brushed. 
Fortunate is he who heeds that friendly warning; his teeth 
may be spared, while he who neglects that admonition may 
pay the extreme penalty. 
At the first sign of tender, bleeding gums, go to your dentist 
for teeth and gum inspection and start using Forhan’s For 
the Gums at once. 
Formula oj R. J. Forhan, D. D. S. 
Forhan Company, New York 
Forhan’s, Limited, Montreal 
Forhan’s For the Gums is the scientific formula of R.J. Forhan, 
D. D. S. If used consistently and used in time, it will prevent 
Pyorrhea or check its course. 
In addition to its efficacy in the treatment of Pyorrhea, Forhan’s 
For the Gums is an excellent dentifrice. It contains nothing 
but the most beneficial ingredients that keep teeth white and 
clean and the gums firm and healthy. 
Remember, statistics are all against you. Science 
proves that four out of every five are doomed after 
forty. For that reason it is good health insurance to 
start using Forhan’s For the Gums today. 
Forhan’s For the Gums is sold by druggists every¬ 
where. Start a good habit today; the habit of 
strict oral hygiene. Go regularly to your dentist 
and brush your teeth twice a day with Forhan’s. 
35c and 60c in tubes. 
FURNISHING A COLONIAL HOME 
{Continued from page 116 ) 
little more in keeping with the e.xcellence 
of the plumbing, the quality of the rugs 
and the kitchen equipment of which we 
are so justly proud. 
But, to continue with our problem! 
To the left of the fireplace is a slender 
six-leg highboy of walnut, with trumpet 
turnings. Around each drawer is the 
double herring-bone inlay that tells 
volumes to the one who knows. And the 
delicate double beads, secret drawer in the 
cornice, and lovely burled wood in the 
centers, all orient this piece as one be¬ 
longing to the choicest of all periods: the 
American Queen Anne. The couch has 
maple ends and arms, like an old wing 
chair, but done inside with thin uphol¬ 
stering and covered in a heavy printed 
cotton like old needlework. The table is 
placed in front of it—long, low and nar¬ 
row, of the stretcher type, with simple 
turnings and rat-tail feet, just the place 
for magazines and convenient for real 
use! It is of mellow maple with butternut 
top. 
LIVING ROOM PIECES 
There is a graceful wing chair of which 
the only wood showing is in the legs, 
which are of mahogany, square and 
fluted on the front and sides with the 
Chippendale double O. G. molding. A 
small oval butterfly table stands between 
it and the desk; this is of maple frame and 
pine or butternut top, for it was originated 
long ago before mahogany was known, 
and it looks particularly well beside the 
mahogany desk. The desk is a secretary 
base, with dove-tail joints showing the 
handwork where the sides are joined to 
the top. The drawer pulls are open-work 
Chippendale, and a mahogany Chippen¬ 
dale desk chair is in front of it. The 
piano and two other upholstered chairs 
complete the room, one of which is a low, 
simple Queen Anne tjqie, with thin up¬ 
holstering, and the other is deep, spring 
upholstered, covered in burnt orange 
uncut mohair. 
Thus the furniture is a small collection 
of pieces, each one of which is chosen for 
its own merits; and the variety of woods 
and the colors in the fabrics bring far 
more interest than stilted matched 
pieces. This serves as a symbol for the 
other rooms of the house. 
The dining room is more formal. We 
have not much sympathy with the clumsy 
refectory table of foreign character. 
Huge bulbous legs and deep aprons that 
bump the knees when one hurdles the 
stretcher that connects the posts! This 
is paying too high a price for originality. 
The effort to be different is too obvious. 
There are tables in plenty, indigenous to 
our land, that are far too interesting to be 
passed by. Adaptations for present re¬ 
quirements can be made from the quaint 
Connecticut tavern tables of maple and 
pine. Wonderful stretcher tables with 
single pedestal ends! A crane gateleg 
table of curly maple, so comfortable for 
the users and so full of real originality! 
And as to chairs, we have a choice heri¬ 
tage. Fiddle backs of curly maple with 
Spanish feet, transition chairs with quaint 
cabriole front legs, comfortable uphol¬ 
stered saddle seats and interlacing design 
in the backs that suggest Chippendale. 
It is not necessary to go outside of our 
own country for a wide choice of great 
interest. 
Sideboards are comparatively modern 
pieces. They belong to the latter half 
of the 18th Century and Hepplewhite 
furnished the best inspiration. But for 
those who love an informal room we can 
turn to the old cupboards of Connecticut 
and the seaport towns. Many of these 
are full of delightful suggestions for pres¬ 
ent-day productions. Things that were 
originally made of pine and painted, 
adapt themselves to soft tones of walnut 
and maple if one wishes relief from the 
classic designs. Cupboard tops can be 
slanted back as they were made by the 
shipwrights for the homes of the old sea 
captains. 
This opens up entire new vistas in 
furniture and decoration for the whole 
room. If the room is small, the walls can 
be left plain with the plaster modeled in 
uneven undulations. Old barns furnish 
hand-hewn beams that are genuinely old, 
and two or three of these beams across a 
ceiling give strength and dignity. 
Furnishing the bedrooms in a way that 
is appropriate for the particular type of 
house we are planning is not easy. Mod¬ 
ern American furniture is not truly fitting, 
as is proved if one thinks of a modem bed¬ 
room group placed in one of the old homes 
of Marblehead. The mahogany is too 
dark and shiny; the veneers are too 
startling and garish in their figure. Too 
little attention has been paid to the tra¬ 
ditions of design to make these pieces 
carry out the same spirit that has ani¬ 
mated the architect in the quaintness 
and charm of the building itself. 
However, all of the furniture described 
above for living and dining rooms is 
being made today, and there are an in¬ 
creasing number of makers who are 
specializing in authentic bedroom furni¬ 
ture as well. The trouble is that the 
average purchaser has the price of com¬ 
mon, commercial things too firmly fixed 
in mind to offer much encouragement to 
the manufacturers in this field. He can¬ 
not give quality and quaintness, tradition 
and correct design for the same money. 
The very time spent in studying good 
models prevents this; and add to this the 
necessity for more careful superintendence 
of the workmen, wood better selected for 
evenness of grain, and many other ele¬ 
ments in joinery to conform to the old 
traditions, and you will see that this type 
of furniture cannot possibly be made and 
sold at the same prices as the commercial 
things even though the latter appear to 
be more expensive because of lavish 
ornament. 
Given three bedrooms to furnish in our 
New England house, one can well be of 
18th Century design in mahogany and 
maple, the second in very early type of 
walnut and maple and the third in some 
quaint color scheme like the old painted 
furniture of New England that is row so 
rare. The second room is more interesting 
to describe because it is the hardest to 
find in furniture made todhy. 
EVOLVING A BEDROOM 
The four-post bed was universal in the 
early days. But we do not want four- 
posters; certainly not for two beds in one 
room. Any book on the subject of an¬ 
tiques will make clear the limitations in 
designs of beds, but the documents are un¬ 
limited for good designs of the other 
pieces. An old Connecticut chest origin¬ 
ally made of oak and pine with raised 
panels contributes quaint squash-ball 
turnings for the feet, pegged joints, and a 
well-formed scalloped apron for the base 
of the beds and bureaus. We go to an old 
Pilgrim settle for the head of the bed and 
employ a little butterfly table of maple 
and pine for the candlestand. A quaint 
chintz-covered rocker of the pre-Reyolu- 
tionary period, and the panels and mirror 
frames outlined in a running design in 
color, taken from an old dower chest, 
on all the other pieces brings an element 
of unity to the whole group that does not 
prevent the atmosphere of a collection 
of pieces rather than a matched “suite”. 
\Adndows hung in chintz, and walls with 
an old-fashioned paper, a solid color 
rug for comfort, and a few braided or 
hooked rugs for charm! 
Space does not permit of a detailed de¬ 
scription of the remaining rooms in our 
problem, but a word of instruction as to 
how to find authentic furniture may be 
helpful. 
In searching for furniture that is cor- 
{Conliniied on page 120 ) 
