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"To-morrow’s fate, though thou be wise 
Thou canst not tell, nor yet surmise; 
Pass, therefore, not to-day in vain 
For it will never come again." 
—Omar Khayyam 
HAT an endless variety of things 
you are going to do to-morrow. 
And in waiting for to-morrow, 
which never comes, how many of your 
choicest plans fail of fruition. 
The home you are going to build, 
that satisfies your taste and expresses your 
individuality, with its greenhouse in which 
you are going to grow the flowers and 
fruits that you delight in: why let the 
to-morrow habit longer deprive you of 
these things? 
And as to greenhouses, we’ve a 
wonderful collection of photographs to 
show you, for suggestions, and we will work 
out with you the plans for the particular 
kind of a greenhouse you have been want¬ 
ing; one that harmonizes with its surround¬ 
ings, so well constructed and so efficient in 
performance that its possession will be a 
source of lasting satisfaction. 
Come in and talk it over, or tell 
us when to call on you. 
WI LLI AM 
51S FIFTH AVENUE 
LU TT O N C OMPANY 
NEW YOR,K 
House & G a r d en \ 
Beginning With Bohemian Glass ; 
{Continued from page 74) \ 
of Bohemia, equally fine work of the 
sort was produced by the glass-cutters 
of Nuremberg and of Regensburg. 
The Decadence of Cutting 
In the beginning of the 18th Century 
a decadence in the art of cutting glass 
took place. After the separation of 
Silesia from Bohemia, the glass-industry 
suffered from the regulations of the 
Prussian regime. Johann Kunckel 
(1638-1702), who, at the time of his 
death, which occurred in Sweden, was 
known as Baron Ldwenstjern, already 
referred to as the inventor of ruby- 
colored glass, was led to his discoveries 
during his researches upon the trans¬ 
formation of matter. He read Agri¬ 
cola’s mention of the “aurum quo Aingi- 
tur vitrum rubro colore’’ and also An¬ 
tonio Neri’s reference to the red tint 
derived from gold, published in 1612, 
Englished by Merret in 1662. In his 
own Ars Vitraria Experimentalis, pub¬ 
lished in 1679, a work that is merely 
a German translation of Merret’s edition 
of Neri of some seventeen years earlier, 
Kunckel does not disclose the secret of 
his ruby-colored glass. His rival Or- 
schall, in Sol sine Veste (1684) gives a 
hint of the process in a reference to 
“the ruby color of the glass containing 
gold.” Kunckel’s glasses brought high 
prices in his lifetime. The Bohemian 
glass workers were not long in obtain¬ 
ing the ruby color secrets as we have 
seen, either Kunckel’s or those resulting 
from independent researches. 
The drinking-mugs, decanters, goblets, 
bottles, wine sets, bowls, etc., of Bo¬ 
hemian glass vary in color from ruby- 
red and wine-color to pink, green, blue, 
amber and white. The gem-like qual¬ 
ity of the glass has caused it to be held 
in high esteem. In the early Victorian 
period it was exceedingly popular and 
again it has come into vogue. In the 
ordinary Bohemian glass the color is ob¬ 
tained by a stain brushed on and fired, 
although some Bohemian is colored 
throughout. The finest Bohemian glass 
is much heavier and more deeply cut i 
that is the case with the more ordinary 
and later pieces. The edges of Bo¬ 
hemian glass are trimmed on the cut¬ 
ter’s wheel, a distinguishing feature by 
imitators whose productions lack the 
sharper edges of the original glass of 
quality. While the engraved decoration 
is mainly intaglio, some of it is occa¬ 
sionally found cut cameo, or in relief. 
Very lovely are the cut designs in clear¬ 
est crystal-like glass, with the undeco¬ 
rated surfaces stained, often combined 
with the opaque whites. Of course, the 
ruby-colored Bohemian glass is the sort 
most sought by collectors and where 
its character is known it commands 
high prices. The pure pink Bohemian 
glass is also much sought for. 
The modern Bohemian glass is pure 
in quality, light and agreeable to the 
touch, but it lacks the brilliancy of 
fine French glass and will “yellow” 
somewhat with time. As the edges are 
cut, they are more apt to chip than 
the edges of other European glass. 
The French Supremacy 
Until 1837 Bohemia held the mon¬ 
opoly of glass coloring. It was then 
that M. de Fontenoy and M. Bontemps 
won the French prizes offered for col¬ 
oring processes, since when the colored 
glass of France has taken so high a place 
in art and commerce. In 1736 Dr. 
Pococke, who was then travelling in 
Germany, wrote of Bohemian glass as 
being “thick and strong, almost as good 
as English.” 
Collectors of today who turn their 
attention to Bohemian glass may be 
able to pick up some interesting pieces 
of it, for when it went out of fashion 
some years ago quantities of it found 
their way into hands of antiquarians 
who did not, perhaps, even anticipate 
that it would “come back” as now it has 
done. It is said that German manu¬ 
facturers are planning to flood the mar¬ 
ket with new Bohemian glass, if the 
opportunity occurs. 
The High Cost of Rugging 
(Continued from page 20) 
a few dealers have it, in all sorts of 
shades and, when put down, with a 
heavy lining, I know of nothing bet¬ 
ter in the market. It sets off small 
rugs admirably, wears well, does not 
fade, and gives to a room the cheeri¬ 
ness that is always lacking in an un¬ 
carpeted floor. Where one has a few 
small Orientals that look like nothing 
at all when put on a bare floor of a 
large room, use an ingrain carpet as a 
ground, for it tends to pull the rugs to¬ 
gether and “furnish” the room. 
A country house morning room or bed¬ 
room with an ingrain in blue or green 
and hooked rugs placed upon it, has a 
sense of snugness and comfort. A par- 
{Contmued on page 78) 
The marble floor can be approximated by painting black and 
white squares on the wood or, as in this library, using a rug 
of large black and white squares. Arthur T. Little, architect 
