60 
House & Garden 
N O matter whether you Keep Out of the Kitchen 
or the Kitchen Keeps you In— 
You should investigate the 
'Double" 
Sterling 
The 40 feature, 2 oven, 2 fuel range 
which makes cooking so much simpler, quicker and pleasanter 
that it helps keep maid or mistress happy— 
Two complete 
ranges in the space 
of one taking only 
49 inches floor 
space. 
► Vcry large top sur¬ 
face. gas and coal, 
all on one level. 
Nine utensils can 
be used at one 
time. Polished top 
requires no black¬ 
ing. 
Seventy years experience in build¬ 
ing stoves and ranges is back of this 
Double Sterling. 
Every successful, scientific princi¬ 
ple. that can conserve heat and apply 
it properly has been used. Every 
convenience that saves time, steps and 
temper and insures perfect results is 
built into this range. 
That's why the “Double Sterling,” 
while saving both fuel and food, 
makes cooking so satisfactory and 
simple that either maid or mistress 
has ample time for other work or 
outside duties. 
If you are interested in making the 
work in your kitchen more easy and 
more attractive no matter who does 
it. send for our handsome free cata¬ 
logue, giving the 40 features of the 
"Double Sterling” in detail. 
Sill Stove Works 
Established 1849 
Rochester - N. Y. 
Makers of Coal Ranges, Combina¬ 
tion Ranges and Warm Air Furnaces 
large ovens. 
Either one big 
e n o u g h for the 
largest turkey that 
grows, side by side 
on one level. 
If you haven't gas 
connection send 
for our book, on 
the 
SterlingRange 
The r a n g e that 
bakes a barrel of 
flour with a single 
hod of coal. 
Using Sculpture in the Home 
(Continued from page 58) 
ture, in which a few, with the new art 
angle, claim to see something funda¬ 
mental and beautiful, down past the 
spiritual grace of the Gothic period and 
the corporeal beauty of the Renaissance, 
to the originality and Americanism of 
out native sculptors, or the complemen¬ 
tary lines of Eli Nadelman, or even, if 
it pleases us to get into the pose of the 
extremest of the extreme and we want 
to feel superior to the world in smart¬ 
ness, we can bolt a piece of steel to a 
piece of wood, mount it and call it 
“The Cosmos.” 
Using Sculpture 
Among the ways in which sculpture is 
used as decorations may be mentioned 
the following: 
First, as ornaments for mantels or 
chests placed against the wall. 
Second, independently, on pedestals in 
hallways or in corners of rooms, in 
which case busts or groups are ap¬ 
propriate. 
Third, on tables, offering a wide va¬ 
riety for selection, from miniature busts 
to small groups and individual figures. 
Fourth, as plaques on walls, which 
may be in either high or low relief. 
Italian majolica plaques figure in this 
group, and are often arranged with vel¬ 
vet backgrounds. 
Fifth, as panels around the lower 
parts of walls. Some of our American 
sculptors have done notable work of 
this sort. 
Sixth, fountains and kindred subjects 
for sun rooms. Here again American 
sculptors have provided a wide and 
original selection. 
Now there is connoisseurship—and 
connoisseurship. Statuary is plentiful 
and it can be bought in many places, 
from the antique shop to the book store 
and the department store—because stat¬ 
uary is “published” in much the same 
manner as prints. For instance, there 
is the rare original, from the hand of 
the sculptor; then the original replicas, 
turned out by the bronze foundry un¬ 
der the direction of the sculptor and 
each one bearing his signature and 
ranging in number from two to, per¬ 
haps, twenty; and after that, when the 
copyright has expired, some firm will 
make countless castings of the object, 
putting them on the market at little 
more than the price of the bronze and 
the labor involved. Some famous pieces 
have been reproduced in metal thou¬ 
sands and thousands of times. 
Being a Connoisseur 
Here is where connoisseurship comes 
in. Endless repetition of sculpture takes 
its charm away, deprives it of all thrill. 
The true collector can get more pleasure 
out of one original by a mediocre artist 
than he can out of the best reproduc¬ 
tion of the finest piece of sculpture in 
the world. A copy of a painting, how¬ 
ever well done, can never cause the 
pleasure that comes from an original, 
and the same thing is true of statuary. 
To take a concrete example. Before 
the war a so-called Barye bronze could 
be bought for $50 or $75. In sub¬ 
stance it was the same as the original— 
at least it had the silhouette. How¬ 
ever, to the eye of the real amateur 
something was missing—the individual 
touch which Barye put in the original 
numbered replicas, which could not be 
had for less than $800 or $900. By 
the occult method of selection, the feel¬ 
ing that a Barye original gives a room 
may make it a precious spot to the 
owner, whereas a mere “reproduction” 
would fail in its mission and leave a 
disquieting sense of mediocrity. 
In other words, we can really come 
to love an original piece of sculpture, 
and make it a part of ourselves; where¬ 
as it is very difficult to have the same 
feeling regarding a mere representation 
of a work of art which a hundred or a 
thousand others may have at the same 
time. 
The Mistake of Profusion 
A mistake which the beginner some¬ 
times makes is in the direction of pro¬ 
fusion. A home should not be a mu¬ 
seum of sculpture—unless the owner is 
a simon-pure collector and derives his 
chief pleasure in the possession of 
precious objects without regard to their 
use as decorations. If he is the latter, 
then he can fill his home from cellar to 
garret and it will be a Heaven for him 
•—each object will be a divinity which 
he will enjoy for its own intrinsic beauty 
without a thought as to whether it is 
properly staged or not. 
But for the purpose of home mak¬ 
ing, profusion is confusing. In decora¬ 
tion sculpture can be dangerous, and the 
temptation to use it wrongly can be 
very strong. There is need for intelli¬ 
gent and artistic selection, and it is 
better to have none at all than to have 
pieces that throw out of key a whole 
scheme. Only a few years ago it was 
the style in this country to bring to¬ 
gether a veritable hodge-podge of ob¬ 
jects. But we have learned better and 
the tendency now is toward simplicity 
and contrast. 
Silhouettes and Shadows 
As regards a piece of sculpture itself, 
there are a few fundamental things 
which, if we will bear them in mind, 
will greatly help us in making a selec¬ 
tion, and afterwards in arranging them 
properly. A sculptor in “talking shop” 
will speak of the “silhouette” and the 
“shapes of the shadows,” and he will 
tell you that besides the outline of the 
object as it stands up against some¬ 
thing of contrasting color, “an area of 
hill casts an area of shadow” and that 
this is the only way in which he is 
able to impart form and color. 
This must be borne in mind in se¬ 
lecting sculpture and in placing it in 
a room. Know where you want to 
put it. You must be certain there is 
contrast so as to display its silhouette, 
and that the light must fall in such a 
way so as to cause the “areas of hill” 
to cast their “areas of shadow” and 
thus express the artist’s message. 
The color of the sculpture must be 
managed also. Bronze has its patina. 
This patina is supposed to come with 
age, but as a matter of fact it is ob¬ 
tained in new sculpture by means of 
certain kinds and combinations of acids 
placed on the metal and then burned 
by means of flame and bellows. This 
patina is of various colors, some yellow, 
some of glaring green. There is danger 
of discord, as the sculpture is placed in 
juxtaposition to other objects and its 
background. Sometimes a piece of vel¬ 
vet or other textile in the background 
can be deftly used to bring out the 
best that is in statuary. Sculpture has 
to be staged, but it must be naturally 
done. 
America has passed through its stilted 
period of Victorian art, and has gained 
knowledge from the controversies and 
animosities of the moderns, all the while 
steadily growing in appreciation of real 
beauty and true art value. More and 
more in the future, with the accretion 
of good taste, will American homes 
grow to express what is best in Ameri¬ 
can life, and sculpture, rightly used, 
will be one of the most satisfying means 
of such expression. 
