122 
House ^ Garden 
”The Greatest Treasure House of Linens in America** 
Department No. 44 
Fifth Avenue, 33d & 34th Sts., New York City 
Lovely Linens 
from Fifth Avenue 
WHEREVER you live you may have these charm¬ 
ing things to grace your home. McCutcheon Linens 
will go to you by mail, as painstakingly selected and 
as carefully packed as though you had purchased 
them in person. 
A10—This rich'looking Lunch' 
eon Set is ama2;ingly effective, 
with its broad ornamental border 
etched by hand right through the 
Linen weave. It’s Sicilian punch' 
work, exquisitely done and un' 
usually sturdy. Thirteen pieces; 
a long panel 17 x 52" and twelve 
oblong mats, 12 x 18" at $75.00 
A 
A13 —Irish Linen Towels of superb quality. 
In the plain striped pattern, $ 13.50 a dot;.. 
size 15x24"; $18.00—18x32"; $ 22.50 
•—22 X 38". A12 —The bordered design, 
$12.00 a doz;., size 15x24"; $ 16 . 50 — 
18x32"; $24.00—24x40". AI4 —The 
big box contains a Martex Bath Mat, 2 
Bath Towels, and two Wash Cloths, 
monogrammed in Blue, Pink, 
HelioorGold. Very distinctive, 
$10.00 the set. 
MAIL ORDERS 
Your mail order for any merchan¬ 
dise shown in this advertisement 
will receive immediate and painstak¬ 
ing attention. 
All —The smart card party sets 
its refreshment table in this Italian 
Cloth which devotes one corner to 
a spade, another to a club, and so 
on. Four Napkins follow suit. The 
hand'work is in the heavy corded 
manner; the Linen of a rich natural 
hue. The cloth is 35" square and 
the napkins are 14" square. 
$ 17.50 the set 
A 12 A 13 
In a Jacobean room, or a room heamly 
plastered, color and playfulness are given by 
a carved mantel beam 
A LITTLE CARVING HERE and THERE 
{ContinHcdfrom page 87 ) 
are devoting their supreme efforts to the 
carving of their stalls, altars, canopies and 
screens and the many accessories that 
help to glorify a place of worship, but the 
interiors of houses also demand their 
consideration. 
Wood-carving is being done as well to¬ 
day as in times past, technically speaking, 
but it often lacks the spirit, the surety of 
treatment of the early workmanship, be¬ 
cause the modern carver follows no 
tradition. The under-cutting is done by 
machine and the modern urge for rapid 
production forces the craftsman to confine 
himself to one branch of his work instead 
of allowing him to gain by experience an 
all-round knowledge of his craft. One man 
may devote himself to the carving of flow¬ 
ers and foliage, while another must 
specialize in carved moldings and orna¬ 
ment. This manner of working is hardly 
conducive to the production of great art, 
for if a craftsman is not able to carry a 
piece of work through to its completion, it 
naturally cannot be a reflection of his 
own personality nor reveal the individual¬ 
ity which always distinguishes a work of 
art from a mechanical production. 
Lately we have revived a great interest 
in wood paneling, and in our essays in this 
field, we have found no method happier 
than to follow as closely as we can the 
old traditions and the old patterns. \A'e 
have here in America, a great variety of 
woods to choose from, and though time 
alone can produce the patine—that 
mellowed quality of color and texture that 
comes from long usage and kindly care— 
it is perfectly permissible to try to secure 
the same effect by “antiquing” our walls, 
either by waxing them or by making use 
of any other ingenious method that pre¬ 
sents itself. We wish to avoid as much 
as possible the hard, unyielding look of 
new wood that has not been properly 
treated. 
WHERE PANELS FIT 
It is generally large rooms that we treat 
with paneled walls, and beamed ceilings, 
and the simple rectangular patterns 
copied from the beautiful old English 
homes that we have seen and loved, pro¬ 
vide a background that nothing else can 
excel. The panels themselves are so finely 
decorative and so beautiful in texture, 
that we feel the need of no other em¬ 
bellishment unless it be a distinctive pic¬ 
ture inserted in the space above the man¬ 
tel or the carving of such special architec¬ 
tural features as the mantel, chimney- 
piece, door trims or over-door spaces. 
Color is introduced by the furnishings 
and accessories. In our vision of such a 
room, we feel it needs the dignity that 
belongs to old English, Spanish or Italian 
furniture that flaunts fine old velvets and 
brocades; it needs the glamor of old rugs 
and the luminous glint of beautiful bind¬ 
ings. But there are not many who can 
afford such luxuries, and we must content 
ourselves with good reproductions of 
certain pieces of furniture and make use of 
the luxurious lounges and the deep- 
seated upholstered chairs that modem 
comfort has invented. Old velvets and 
brocades have been copied with such care 
that many of them almost possess the 
evanescent charm of their older proto¬ 
types, and as for the rest, we can give to 
such a room the unmistakable, personal 
air that only a place that is loved and 
lived in can possess. Of course, the most 
sumptuous of all wall treatments are those 
of wood or plaster or stone that are hung 
with tapestry or with panels of old Span¬ 
ish leather, whose volatile color has been 
toned down by age, and yet is dominant 
enough to haunt and illuminate the som¬ 
ber shadows. 
P/UNTED PANELING 
Simpler rooms that require less preten¬ 
tious furnishings have paneled walls in 
which the wood is painted instead of 
being rubbed with wax to bring out the 
natural beauty of the wood, as in the early 
days when richer effects were sought. 
Painting wood, or plastered walls, became 
the vogue in the i8th Century when the 
Brothers Adam and their followers, reviv¬ 
ing classic forms, imported painters and 
artisans from Italy, who, being very effi¬ 
cient in dealing with plaster, introduced 
broad plaster panels with plaster moldings 
that were either painted or frescoed. Thus 
both wood and plaster walls became popu¬ 
lar during this period. Under the manip¬ 
ulation of these foreign workers, wood 
lost much of its original meaning and 
flavor, and was treated more like a plaster 
surface. Sometimes only the wainscoting 
was of wood, the walls above being of 
plaster. 
These ideas took root and were brought 
over by our early settlers, who, when 
building their houses, tried to put into 
permanent form the memories they held 
dear of the homes they had left behind. 
These very early Colonial houses had 
crudely plastered walls with only the 
occasional introduction of broad wood 
panels, but the more impressive houses, 
which were of a later period, were 
founded upon Georgian inspiration and 
paneled walls came into more general use. 
In the hands of the English artisan and 
(Continued on page 126) 
