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62 
HO USE & GARDEN 
Collector’s Department of Antiques and Curios 
(Continued from page 40) 
Fifty such copies were originally 
made for subscribers at fifty guineas 
each, all being disposed of. These 
first copies are among the rarest 
and loveliest examples of Wedg¬ 
wood’s wares. As the original 
moulds survived, recent copies have 
been made with black and also with 
dark blue grounds. While Wedg¬ 
wood’s copies were remarkable cer¬ 
amic achievements, they may seem to 
lack the intrinsic beauty of the orig¬ 
inal material, but they are pleasing 
and fine in themselves. At the sale, 
1786 of the antiques and curios col¬ 
lected by the Duchess of Portland, 
her son, the then Duke, was pres¬ 
ent in the auction room as a bid¬ 
der. Wedgwood was also bidding 
on the vase and the price went soar¬ 
ing up. Finally the Duke discovered 
that Wedgwood’s sole reason for de¬ 
siring the vase was to reproduce it. 
On condition that he was to have one 
of the copies, free of charge, the 
Duke offered to lend Wedgwood the 
vase if Wedgwood would withdraw 
from competing for it and allow the 
Duke to bid it in. This was amicably 
arranged, and the vase was handed 
to Wedgwood to take back for the 
purpose stipulated. Wedgwood him¬ 
self wrote : “I cannot sufficiently ex¬ 
press my obligation to his Grace, the 
Duke of Portland, for entrusting this 
inestimable jewel to my care, and 
continuing it so long —more than 
twelve months — in my hands, without 
which it would have been impossible 
to do any tolerable justice to this rare 
work of art. I have now some rea¬ 
son to flatter myself with the hope 
of producing in a short time a copy 
which will not be unworthy the pub¬ 
lic notice.” Wedgwood himself is 
said to have looked upon his copy 
of the “Portland Vase” as his mas¬ 
terpiece. 
Those who have been fortunate 
enough to see the original vase 
in the British Museum, where, re¬ 
stored, it is now safely guarded in 
the Gem Room, will appreciate how 
much can be accomplished in the 
hands of a skilful mender and re¬ 
storer, and will realize, too, the value 
of “saving the pieces” when accident 
appears to have destroyed a rare 
specimen of pottery, porcelain or 
glass. 
Kitchen Cabinet 
Period Styles in the Modern Room 
The “Royal Ossco’’ Kitchen Cabinet, of electric-weld¬ 
ed steel with heavy coat of white enamel baked on, com¬ 
bines the highest development of the attractive, the 
sanitary, and the practical in this essential luxury of the 
modern kitchen. 
Its graceful proportions and 
splendid finish give it a most 
pleasing appearance. 
Its glistening, non-absorbent 
surfaces are thoroughly proof 
against all stains and odors, and 
immediately betray the least trace 
of dust or dirt. 
It is free from all cracks or 
crevices that harbor insects, and 
can be cleaned just as easily and 
just as thoroughly as china. 
Its doors and drawers never 
stick in any weather. 
It provides a place for every¬ 
thing wanted at the work-table 
within easy arm’s reach. 
The “Royal Ossco” is equipped with glass knobs, padded 
noiseless doors, friction door catches, softly sliding drawers, 
and a disappearing table top of highly polished nickelene or 
opalite (opal glass). As shown it is also furnished with ample 
flour bin, assorted cannisters, rolling pin and board, and other 
convenient accessories. 
In economy of space, durability, sanitation, and service, the 
“Royal Ossco” Kitchen Cabinet is just as much superior to 
the old style racks and “built-ins” as the modern skyscraper 
is to the bulging frame factory buildings rapidly becoming ob¬ 
solete. 
Four styles, at $42, $44, $45 and $48. Booklet on request 
It pays to buy the best. 
^Y /vx&m Home Furnishings 
JEWIS&vqONGEII 45 * h s X an Y d . r tci Avenue 
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Besides the leading Summer and Winter Pleasure Resorts, we have at hand 
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(Continued from page 14) 
used in the design of a room. But, 
on the other hand, every construc¬ 
tional member of a Louis XV chair 
suggests an entirely different ar¬ 
rangement. Its curved lines will 
more easily flow into adjacent lines 
of the composition when placed less 
formally. The curved lines of its 
back would refuse to stay against a 
flat wall surface. They are so full 
of movement that they would lead 
away from the wall. A chair of 
this type is most valuable in con¬ 
necting right angle lines in the 
grouping of furniture. It would 
carry the lines around an angle, if 
they needed softening, in a beauti¬ 
ful manner. Curved lines are indis¬ 
pensable at times, and we must 
know where to look for their best 
expression. 
Before speaking of the quality of 
line, it would be wise to consider 
the curved line when used for sup¬ 
ports in furniture design. The ca¬ 
briole, or the typical leg support of 
the Louis XV and contemporary 
English styles, must be carefully 
used. It is much easier to intro¬ 
duce this line when it is used in chair 
legs than when used as table sup¬ 
ports, because the line would be 
much shorter in the chair, and there¬ 
fore, less exaggerated. Tables with 
cabriole supports are usually more 
successful when placed against a 
wall that has long, unbroken lines or 
panels. This gives a predominance 
of the straight line, the curved line 
being only a graceful note. 
Quality of line is of great import¬ 
ance, as is exemplified by the Gothic. 
The Gothic is one of the most diffi¬ 
cult elements to weave into a design. 
Its significant form must be used 
with reverence. A Gothic note 
brings the imaginative and esthetic 
quality into a room. It neutralizes 
physical bulk of material. A carved 
wood Gothic panel or figure would 
bring a contemplative and rarer at¬ 
mosphere to an arrangement, but 
here is where feeling for the ob¬ 
ject should be most sensitive. 
Gothic and French 
Compare the force that is repre¬ 
sented by the Gothic and the Louis 
XV line. In both, line is dominant. 
The Gothic represents a living en¬ 
ergy, striving for exaltation and 
freedom from its physical material. 
The Louis XV line expresses a 
quality that is like the rhythm of 
dance — impulsive and unrestrained 
gayety. This is a comparison of 
qualities of line expression. These 
forces are so antagonistic that they 
could never be balanced in the esthe¬ 
tic mind. 
It seems clear, then, that we must 
endeavor to see and feel that these 
forces of line, form and color, so 
strongly and sometimes perfectly 
expressed in the historic periods, are, 
the actual materials from which we 
must create a new fabric when we 
use them to express the modern 
room. To appreciate them fully as 
a part of our composition, we should 
forget their label and historic asso¬ 
ciations and draw from them as a 
painter would take the colors from 
his palette. 
Allies 
(Continued from page 25) 
by the nose. It is necessary to un¬ 
derstand this barbarous technique to 
understand the peculiar conforma¬ 
tion of the bulldog, for his fancy 
points, and he has many, are based 
upon the uses of the bull ring. To 
avoid the horns and to induce the 
bull to lower his head, the dog crept 
toward him on his belly. Loose 
shoulders, a wide chest and cut-up 
of loin made this crawling easier. 
When close enough, the dog sprang 
and took a hold on the soft nose. 
Light, but strong hindquarters were 
needed for this spring, for a missed 
grip meant a goring and possibly 
death. Once the hold was secured, 
the dog must hang on to be shook 
and swung and battered about by 
(Continued on page 2) 
