The Lighting of Dreamwold Hall 
daylight iridescence in 
the glass recalls the actual 
soap bubble, while at 
night they are artistic 
fixtures pure and simple. 
Even here the real bulb 
is inside the bubble. 
The Viennese lamp is 
an illustration of how a 
most excellent fixture 
can be hurt by its shade 
and by the exposed bulb. 
Here we have a figure of 
a dull bluish green at 
the base, turning to gold 
at the arms and head— 
a masterly composition 
that fulfils its functions 
perfectly, but the shade 
is too formal and would 
be better if it were a 
great sea leaf, or a clus¬ 
tering armful of drooping 
blossoms that would hide 
the too prominent bulb. 
1 he organ lamp is a 
bit of sculpture almost 
worthy of Rodin, but 
again the shade should 
have some relation to the 
straining figure. Glass spun into a whirlwind 
or a great breaking wave would be better. 
The long and graceful polished iron support 
for the library reading lamp is hurt by the 
prosaic shade. A little bell blossom that 
would seem to have grown out of the slender 
stalk would have been better. 1 be 1 iffany 
shell lamp 
is better, 
and when 
the shell 
form is 
made of a 
real shell, 
then we 
have an 
ideal fix¬ 
ture. 
The Jap¬ 
anese lan¬ 
tern and 
lamps shown 
Japanese Lamp in Living-room 1,1 the lllllS- 
Dining-room Chandelier 
trations are just as'they 
should be. They were 
carefully combined and 
adapted by Hermann 
Murphy, and show elec¬ 
tric lamp lighting at its 
best. 
The Osaka lantern in 
the conservatory is of 
gold bronze and subdued 
tones of cloisonne in or¬ 
ange reds, blue greens 
and grey whites. It is 
lined with silk fibre pa¬ 
per toned with water 
color to repeat the color 
of the Grueby tile on 
the walls. 
The lamps were plan¬ 
ned to carry out the col¬ 
or scheme of the rooms 
for which they were in¬ 
tended. The large lamp 
in the hall has a base 
of dark green bronze 
made by Johei who lived 
in Kioto about 1800. It 
lias a beautifully mod¬ 
eled Hoo bird on each 
side. This bird is the 
Japanese Phoenix and is the forerunner of 
peace. I he shade of this lamp is half of a 
Japanese ball lantern, made of thin brass 
cut and engraved with a design of the 
chrysanthemum and kiri, which symbolizes 
the imperial coat of arms. This was also 
made in Kioto. The brass is toned to a 
deep rich 
gold tone. 
As the light 
coming 
through the 
perforations 
would be 
too bright 
and not be 
concentra¬ 
ted on the 
table as de¬ 
sired, tbe 
shade was 
lined with a 
deep drag- Japanese I .amp in Hall 
206 
