xmnxi 
64 
Beautiful Lighting Fixtures 
are no longer prohibitive in cost 
By improved methods of manufacture and distribution 
we are now offering through selected dealers lighting 
fixtures of sound construction and the highest artistic 
quality at lower prices than were ever thought possible. 
EDWARD MILLER & CO 
Established 1844 
Meriden, Connecticut 
LIGHTING FIXTURES 
are so designed that they are appropriate both for the 
mansion on the hill and the cottage in the valley—and 
the following prices speak for themselves: 
No. 513, Bracket —1 light, an¬ 
tique bronze finish. $7JO 
West of Rockies. 8.00 
Colonial silver finish.... 9.25 
West of Rockies. 9.75 
No. 53, Electrolier —S light, an¬ 
tique bronze finish. $26.50 
West of Rockies. 27.50 
Colonial silver finish. . . . 31.75 
West of Rockies. 32.75 
{The figure.'! quoted do not include 
lamps or shades.) 
If you will drop 
us a line we will 
give you name of 
the nearest ac¬ 
credited Miller 
dealer. 
J 
House & Garden 
Color Transition Between Rooms 
{Continued from page 62) 
furniture of modified Italian style cov¬ 
ered with Florentine mohair of reseda 
green. A deeper, grayer reseda rug of 
soft pile nearly covers the floor, and on 
the table a scarf of green and dull 
terra cotta provides the needed comple¬ 
mentary touch. 
The plain, light warm gray paper of 
the living room, from which this view 
is taken, and the deeper gray of the 
large rug make a delightful ground for 
the accessory color, Holland blue. The 
plainness of this ground is relieved by 
figured window drapery, an English 
block print linen of formal character in 
which the predominant blue is enriched 
by minor notes of dull green and terra 
cotta. The linen is further employed 
as a slip cover for a fireside chair, while 
a two-toned striped blue fabric is used 
to cover three pieces of the Georgian 
furniture, a Sheraton sofa and two 
chairs. 
The uniformity of background color 
is thus interestingly varied by the tex¬ 
tural difference of the grasscloth and 
the delicate play of tone in the finely 
striped hall paper. .4n harmonious 
transition between the accessory colors 
is effected by the intermingling of both 
in the furnishings of the hall, and the 
placing of the rugs in the doorways fur¬ 
ther helps to unite hall and rooms. 
The Hall as a Center 
Even where a hall is spacious enough 
to receive a treatment similar to that 
of a separate room, there must still ex¬ 
ist a definite relation between the dec¬ 
orative schemes of such a hall and the 
rooms into which it may lead. Though 
different wall colors may well be used, 
they should focus in the decorative 
scheme of the hall. For this reason 
a scenic or rich verdure tapestry paper 
is advisable, as offering cues for a 
group of well-blended schemes. The 
plan illustrates a hallway of this type, 
which on one side opens into a full- 
length living room and on the other 
into a reception and a dining room. In 
this interior of generous dimensions and 
unusually good lighting it was found 
best to evolve a decorative plan in 
deeper and warmer colors. 
The handsome scenic paper used just 
below the stairway is designed in forest 
hues with here and there a suggestion 
of rich blue, and sufficient taupe and 
soft gray in the shadows and highlights 
to warrant the use of these lovely neu¬ 
tral tones on the walls of the other 
rooms. A taupe-and-green striped fab¬ 
ric covers the Empire sofa; the double- 
faced velour portieres are deep taupe 
on the hall side and faced with the ac¬ 
cessory colors of the adjoining rooms. 
In the Other Rooms 
On coming into the hall one enters 
at the right a small, formal reception 
room with a paper of exquisite gray 
delicately embossed in Adam motif, a 
perfect background for hangings and 
upholstery fabrics in soft amaranth. A 
deeper note of this lovely color is 
brought out in a Persian rug; and fur¬ 
niture of Adam design completes the 
charming room. 
The paper used in the long living 
room across the hall has a quiet pattern 
in two shades of taupe, a restful tone 
to live with; and this, with a carpet of 
deeper taupe, is a good foundation for 
a judicious scheme in Oriental hues, 
emphasis being laid on a rich wine color 
which blends with the mahogany wood¬ 
work and Georgian furniture. 
Dull blue and taupe, with a touch of 
old gold, impart a quiet elegance to the 
dining room, where, above brown ma¬ 
hogany paneling is hung a dull blue 
grasscloth with just a glint of gold 
where the light strikes it. A Feraghan 
rug of blue and camel’s hair carries 
along the theme, which is furthered by 
window hangings of heavy ribbed 
taupe silk and portieres of blue-and- 
gold cut-pile velour—the whole a re¬ 
sponsive setting for a Hepplewhite 
suite of gracious and dignified line. 
In any home, large or small, simple 
or elegant, where, consciously or un¬ 
consciously one feels the harmonious 
relation between hall and rooms, a 
study of the separate color schemes will 
always reveal the fact that in the work¬ 
ing out of the whole there has been 
close observance of the fundamental 
principles of color transition. 
The Paint Finish of Walls 
{Continued from page 42) 
least ifd” long. This brush should not 
be used until the paint has been allowed 
to stand long enough to retain the stip¬ 
ple mark or “corn.” The length of time 
necessary for fresh paint to reach the 
stippling condition varies with the brand 
of paint used. 
The flatter the paint, the quicker it 
normally dries, ancl paints of this char¬ 
acter are usually ready for stippling im¬ 
mediately upon application. Usually the 
paint is brushed on by one person and 
stippled by another, as quick follow-up 
work is required. 
The more oil contained in the paint, 
the longer it will be necessary to allow 
it to stand before beginning to stipple. 
For instance, the average oil paint can 
be allowed to stand thirty to fifty min¬ 
utes, depending on drying conditions, 
before the stippler is used. If stippled 
sooner than this, the paint levels up 
and will not retain the figure. 
Other Figure Treatments 
Wall treatments different from straight 
stippling compel the preparation of other 
tools. These can be best and easily 
prepared at home as needed. 
A figured stippling, or one that re¬ 
sembles blotches of color on the walls, 
is easily secured by patting the paint 
with a sponge. 
The figure that looks like a series of 
criss-cross dashes is usually secured by 
the use of a matted cloth which has 
been dipped in boiled linseed oil the 
night before, crushed up in the hand 
and allowed to dry in this matted con¬ 
dition. Then it is used as a “pounce” 
for producing the figure. 
More intricate patterns may be se¬ 
cured through experiment; for instance, 
having two colors on the walls and 
blending them together with the tool 
that produces the desired figure. Sev¬ 
eral years ago a blend of blue and silver 
was very much in vogue for dining¬ 
room walls, and it is indeed beautiful. 
Mottled or clouded effects are secured 
by applying thick blotches of the color 
at various places on the wall with an 
ordinary paint brush, then working the 
color out. In this working-out process 
some decorators prefer to use ordinary 
cotton waste. Light and dark effects 
are secured by the thickness or thinness 
of the paint at different places on the 
wall surface. 
If you desire to try out various blends 
and figures it is better to make your 
experiments on heavy white paper or 
light-weight cardboard. This will save 
messing up the wall, and at the same 
time will give you an idea as to the 
length of time necessary to allow your 
particular brand of wall paint to dry be¬ 
fore stippling or figuring it. 
