136 
House df Garden 
The Aristocrat 
of the Kitchen 
Y ou will get a fresh idea of what an oil stove can be 
when you see this new Florence Range with the 
built-in oven. It makes the whole kitchen live up to its 
beauty and efficiency. 
Merely touch a match to the Asbestos Kindler, and in 
a few moments you have an intensely hot, blue flame close 
up under the cooking. It is a gas flame from 
kerosene vapor. It is not a wick flame. 
A turn of the lever regulates the heat to 
any degree. There is a small burner just 
for simmering. You can cook every dish, 
from soup to dessert, quickly and well. 
The Big Burner 
T'he flame in the 
big burners is close 
under the cooking. 
The heat is easily 
regulated. 
The Florence 
Leveler 
On each leg so the 
sto've can be set 
lenjel on an un-‘ 
enjen foor. 
It will keep its good looks 
The built-in oven has the 
“baker’s arch’’ and our pat¬ 
ented heat distributor, to 
assure even cooking. It will 
accommodate the largest-sized roasting- 
pan. This modern range is made of heavy 
steel plates and is finished in sunny white 
porcelain enamel, with nickel trimmings 
and black enameled frame. It will keep 
its good looks for years. 
If the store (hardware, department, or furniture store) 
has not yet received this newest Florence 
model, write us and we will see that 
you are supplied. The price is ^ 110 , plus 
freight charges from our nearest ware¬ 
housing point. 
Write for interesting booklet 
Please send us your name so that we can 
mail you a copy of our booklet, “Pointing 
the way to a cool kitchen.’’ 
CENTRAL OIL c&. GAS STOVE CO., Dept. 540, Gardner, Mass. 
More Heat—Less Care 
FLORENCE 
OIL RANGE 
The ceiling beams in this room are not a conspicuous 
part of its design, but serve to add incident and char¬ 
acter to the room 
THE TIMBERED ROOM 
{Coniinued frmn page 134) 
part of it revealing the beauty of genuine 
craftsmanship. It needed no wall cover¬ 
ing to conceal loose jointing or defective 
construction, but served as the final 
finish of the completed room. It is true 
that the timber was generally roughly 
hewn, the builder making no pretense of 
attempting a fine finish but therein again 
lay its charm, for it looked just what it 
really was, an expression of honest work¬ 
manship that was both virile and strong. 
The very texture of the wood was inter¬ 
esting because it was hewn by hand and 
possessed all the delightful inac'uracies 
of individual handling, and with the help 
of time, the natural beauty of the grain 
and the varied colors inherent in the 
wood, became more and more pronounced. 
With such a perfected framework to 
start with, our early builders then occu¬ 
pied themselves with simply inclosing 
one room from the other, and then sealing 
the whole structure from the wind ard 
cold of out-of-doors. This consisted in 
laying floors and in plastering the e( c- 
tions between the uprights of the walls. 
The interdependent relation between 
architecture and decoration of these early 
rooms is so apparent, because it grew out 
of the spontaneous need of the architec¬ 
ture itself. At first, it confined itself to 
the contrast in texture and color of the 
flooring and ceiling with the frame, and 
in the strong contrast of the plastered 
walls with the dark values of all the wood. 
Later on, in the further development of 
the style, wood paneling was used to 
sheath the plaster, and cornices and man¬ 
tels and other details fashioned from 
wood, gave opportunity to the wood 
carver to show his skill; to the worker in 
metals to create appropriate hardware, 
lighting fixtures and fire-place furnishings, 
to the weavers for making suitable fabrics, 
and to the cabinet-maker to display his 
ingenuity as a furniture designer. We find 
that the art of decoration then existed 
only as an essential part of architecture 
and that it was never detached, nor stood 
as a thing apart, from its environment. 
Unfortunately, today, the building of 
a house is not such a simple affair as it 
was in the past. Materials and work¬ 
manship have soared to unbelievable 
heights and yet a plea can be made for 
retaining hor.esty of purpose and a respect 
for those fine traditional things in build¬ 
ing which will ever call forth our deep 
admiration. Why debase a particular 
style that is founded upon certain struc¬ 
tural principles by employing flimsy, 
pasteboard, or other equally poor imita¬ 
tions? We will find that the original 
meaning and the character of the whole 
structure will fail of its real mission. 
IModern living requires modern building, 
and we cannot slavishly reproduce an 
{Coniinued on page 138) 
For a room udlh boarded side walls, a wooden ceiling is almost 
a necessity from the standpoint of appropriateness 
