98 
House & Garden 
Live Evergreens For Winter Decorations 
1 
n 
■ 
Blue Soruce without pot 
$1.50 each. 
Plant hardy evergreens in Window Boxes, Pots. Urns, and Tubs just 
as you plant flowers and vines for the warm months. These fragrant 
plants give Holiday cheer to the entire household throughout the long, 
dreary, winter months. 
We ship you the little trees carefully packed in the boxes. You have 
only to remove the cover, fill the box with earth, and plant the trees as 
illustrated in the photograph from which you order. Each box is 3 feet 
long, 7 inches wide, and about 6 inches deep, painted dark green. The 
only care needed is frequent watering. 
Customers may order the plants without the box, deducting 75c for the box. 
Evergreens in Pots, Urns and Jardinieres are beautiful indoors all win¬ 
ter. Baby Spruces, Pines, Arborvitae, and Junipers are charming on tables 
and window sills. 
Our beautiful large Evergreens are much used in hotels and residences 
as decorations for entrances, sun parlors, balconies, etc. 
Arborvitae without 
pot 75c each. 
Charming 
Evergreens from 
Hittl? 
Qlm Smarms 
for Porches, 
Windows, Rooms, 
Tables, Window 
Sills, Entrances, 
Sun Parlors, 
Balconies, etc. 
Delivered 
and Box for $10.00 
at Framingham. Mass. 
10 Arborvitae and Box for $5.00 Delivered to the Express at Framingham. Mass. 
Write for our pamphlet on the uses of live trees for 
e== indoor decorating. 
Our book of Hitttlr (jlffC ifaruts will help you solve 
Hi your outdoor tree and landscape problems. This 
= book sent free on request. 
| Hittle Cree Jfarms (Near Boston) 
Nurseries of 
American Forestry Company 
Dept. K-ll 15 Beacon St., Boston, Mass. 
0IIIIII1IIII1IIIIIII1IIIIIIIIIIIIIIII1 
Pine without pot 40c each = 
French Wall Furniture of the 18th Century 
(Continued Ji 
board and footboard were often of 
about equal height, except when the 
footboard was omitted altogether. 
Canopies were usually suspended above 
the low bedsteads. The bedsteads that 
stood sidewise against the wall generally 
had the hack or wall side built up to 
equal the height of the head and foot 
and were frequently surmounted by 
canopies. Many of the Empire bed¬ 
steads, instead of having feet or legs, 
stood on solid bases and closely re¬ 
sembled sarcophagi in proportions and 
contour. « 
(10) The armoire was a tall piece of 
furniture corresponding to the British 
and American wardrobe. The common¬ 
est type stood on a solid base or on 
feet, and had two full length doors. 
In some instances the base contained 
either one or two tiers of drawers, this 
type being comparable to a press or 
hanging cupboard of Queen Anne pro¬ 
venance. Another variant had no draw¬ 
ers in the base, but small cupboards 
above the tall doors. A fourth style 
was divided into upper and lower sec¬ 
tions, like the contemporary British and 
American press, each section having a 
pair of doors, but the upper taller than 
the lower. 
The Woods Used 
Walnut and oak were the staple 
woods chiefly used when the natural 
surface was exposed to view, during the 
early part of the 18th Century. To 
these must be added mahogany about 
the middle of the century, and its popu¬ 
larity increased more and more during 
the Louis XVI period, while during the 
Empire it was used almost exclusively. 
When the surface was to be painted or 
gilt, “meaner’’ woods were employed 
as a foundation. To these must be 
added satinwood, ebony and all the 
rare or highly colored woods so freely 
employed for veneer and marqueterie. 
Marble for console and commode tops 
was very much in fashion. Especially 
during the latter part of the 18th Cen¬ 
tury well designed but simple furniture 
was often made out of beech, alder and 
other less expensive materials. 
During the Louis XV period the curvi¬ 
linear influence was dominant and was 
not confined to legs but affected the 
body of cabinet work. Swelling, bulg¬ 
ing fronts and elaborately shaped fronts 
and sides appeared everywhere in com¬ 
modes, consoles and cabinets. During 
the Louis XVI and Directoire periods 
there was an abrupt return to severely 
rectilinear principles of structure. In 
both the Louis XV and Louis XVI 
periods the structure was lighter than 
during the preceding years. In the Em¬ 
pire period the structure of cabinet work 
was generally rectilinear. 
During the Louis XV and Louis XVI 
periods every conceivable decorative 
process was made use of to embellish 
'om page 96) 
cabinet work, with the one exception 
that the Boule process passed out of 
fashion. Carving and turning played 
important parts, but owing to the mul¬ 
tiplicity of other resources introduced, 
their vogue was not so extensive as at 
some other epochs. There was a strong 
appreciation of plain surfaces as oppor¬ 
tunities for decoration and to this end 
liberal use was made of lacquer and of 
the vernis Martin akin to it, of paint¬ 
ing or painting and parcel gilding; of 
inlay; of marqueterie, frequently of the 
most elaborate kind; and of veneer so 
parquetted that the grain and shapes of 
the pieces used made chequerings, dia¬ 
monds and various other diverting pat¬ 
terns. In the Empire period the deco¬ 
ration consisted almost wholly of 
applying elaborate cast, chiselled or en¬ 
graved metal embellishments on smooth 
mahogany surfaces. As an alternative 
to this process, designs were also done 
in gilt on the mahogany ground. In 
conjunction with these devices carving 
of a somewhat bold and heavy char¬ 
acter was employed to a moderate ex¬ 
tent. 
The decorative devices of the Louis 
XV period included shells, reticulated 
diaperings, pastoral and mythological 
subjects, rockwork, Chinese motifs, 
singeries or ape motifs, flowers, gar¬ 
lands, ribbons, birds, human figures, 
arabesques, and spidery vegetable forms. 
In the Louis XVI period shells, spidery 
foliage, singeries and rockwork disap¬ 
peared, while along with the other items 
just noted we have a large influx of 
Classic devices such as urns, vases, oval 
and square paterae, swags and drops, 
imbricated foliage, and medallions with 
chastely designed figure motifs from 
Classic mythology. There were also 
sundry rustic devices, agricultural, horti¬ 
cultural and musical attributes. During 
the short Directoire episode all the de¬ 
vices were severely Classic. In the Em¬ 
pire period the motifs were Classic and 
in addition to those already noted we 
have many griffins, sphinxes and a great 
array of military attributes. 
The Hardware 
During the whole period the mounts 
were of the greatest consequence and in 
the Louis XV epoch the use of elabo¬ 
rate cast, chiselled and engraved metal 
embellishments reached the highest point 
of artistic excellence. In the reign of 
Louis XVI the metal mounts furnished 
an important consideration and were 
much in evidence in the shape of deli¬ 
cately wrought galleries or rims. How 
metal was decoratively used in the Em¬ 
pire period has already been noted. 
During the 18th Century it became 
the fashion to finish cabinet work with 
a high polish and this practice continued 
throughout the Empire period. It was 
the age of that finish known as French 
polish. 
JSsSas. Indoor Closet 
For Homes, Schools, Factories. Churches, Stores, Offices 
Comfort, convenience, health. Sewage tank, installed beneath the 
bowl and under floor, holds 127 gallons. One charge of chemical 
lasts six months, kills germs and destroys odor. One pull of the 
agitator daily is only attention required. Tank drains simply and 
easily, contents seeping away from building. A turn of a valve 
empties tank. 
NO ODOR—ABSOLUTELY GUARANTEED 
Each Ro-San Outfit guaranteed absolutely odorless. Endorsed by 
health officials and health boards everywhere. We furnish single 
and multiple installations. Each outfit complete—no extras to buy. 
Always sold on 30 days’ trial—ask for catalog. 
Rowe Sanitary Mfg. Co., 1094 6th St., Detroit, Mich. 
Manufacturers of Ro-San Rolling Bath Tubs and Washstands — 
No Plumbing Required. 
Old Flower Paintings in Decoration 
(Continued from page 92) 
the Dutch tradition, among the latter 
being two painters who rank almost 
among the moderns, Jan van Os (1744- 
1805) and Gerard van Spaendouch 
(1746-1822). 
In Italy and France 
Flower painting in Italy, and to a 
less extent in France, is a reflex of the 
art in Holland and Flanders; so much 
so, in fact, that the expert is often puz¬ 
zled to know whether a work was pro¬ 
duced by an Italian or a Flemish artist, 
unless the flowers themselves give the 
clew as to where they were painted. 
Jean-Baptiste Monnoyer (1636-1699) 
and Jean-Baptiste Oudry (1686-1755) 
head a list of illustrious French flower 
painters, and they had contemporaries 
and followers who have painted flowers 
down almost to the present day, as wit¬ 
ness the work of Louis Sicard (1807- 
1881) and Antoine Vollon (1833-1900), 
the latter a productive artist whose pic¬ 
tures are familiar to all art lovers. 
And so the home builder can hand 
himself a bouquet that will be a deco- 
ralive joy. 
