70 
House &“ Garden 
I Wall 
Pap e 
- — 
6 ^^ 
The really beautiful 
homes of today are 
planned as a whole 
and the loveliest 
papers, regardless of 
cost, are always 
specified. 
T h i b a u t Wall 
Papers represent the 
best in modern de¬ 
sign—they set the 
style of the nation. 
Send for our 
“Home Service 
Chart” and let our 
Interior Decorator 
submit samples suit¬ 
able for every room 
in your home. Ask 
for edition 3629. 
T H I B A U T 
WALL PAPERS 
DECORATE 
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BRONX 
48S Willis Avenue 
WASHINGTON HEIGHTS BROOKLYN 
(New York City) 3621 Broadway Flatbush & DeKalb Aves. 
BOSTON NEWARK 
96-98 Federal Street 141 Halsey Street 
The proper place for fixtures is in the stiles or spaces between the 
moldings. Both these views show the right position applied to two 
paneled rooms of different character—a living room and a boudoir 
How Paneling Is Designed 
(Continued from page 68) 
to the room. We want to make the 
breast to show one large panel above 
the shelf. (Fig. 3.) After this has 
been decided, the* principle of subordi¬ 
nation comes up directly to prove that 
our scheme so far is all right. By fea¬ 
turing our mantel breast it is readily 
seen that no other panels in the room 
must be larger than it, lest they take 
away from the importance of the breast. 
To be sure, we must balance this with 
one on the opposite wall (Wall B) of 
the same size in width, even larger in 
area; but this wall is flat and does not 
project into the room as does the man¬ 
tel breast, so that the panel above the 
mantel appears larger and more im¬ 
portant, and is emphasized by the orna¬ 
mental mantel below, which, being the 
only break in the wall decoration, estab¬ 
lishes itself and the panel above as the 
feature, making all other panels and 
moldings subordinate to it. 
Shadows and High-Lights 
This completes our study of design by 
line. We now proceed to the principle 
of dark and light—first in its relation to 
proportion. This naturally concerns the 
details, such as the projections of the 
moldings. Starting with the cornice, we 
plan the projection on the ceiling to 
graduate the ceiling surface into the wall, 
and detail the molding to cast shadows 
giving the cornice the importance it de¬ 
serves. (Fig. 4.) On our wall panels we 
plan the projection of the moldings so 
that they shall stand out. Our chair 
rail now seems lost and flat, so we de¬ 
tail that to project, casting its shadow 
below. The baseboard, as the cor¬ 
nice, must project, for it merges the 
wall surface into the floor and there¬ 
fore we must not emphasize it. 
Our ne.xt principle—repetition in re¬ 
lation to dark and light—here simply 
means repeating the shadows formed 
in proportion to the light surfaces on 
the opposite walls. 
Subordination in relation to dark and 
light centers again on the mantel breast, 
our feature, as in relation to line. In 
order to give the mantel its important 
place in the design of the room, we 
project the shelf so that a deep shadow 
is cast below, and the heavy shadow 
cast by the fireplace opening tends to 
emphasize the important part of the 
mantel. Also the shadow to the right 
of the mantel breast cast by the pro¬ 
jection from the wall, brings out more 
prominently the whole breast and its 
design. 
This brings us to the final stage of 
color in design. Suffice to say, the 
same ideas of arrangement and selec¬ 
tion of colors in proportion to wall 
spaces, repeating a note of color taken 
from one part of the room into an¬ 
other part, an(^ featuring a certain 
factor and making other color treat¬ 
ments, subordinate in harmonious tones 
—this will illustrate the principles of 
proportion, repetition and subordina¬ 
tion in relation to color. The color 
proposition is a subject on which we 
all have our own individual views and 
cannot be decided by any set rules. 
In order to prove the practicability 
of the preceding paragraphs, it would 
now be interesting to lay out the walls 
of our model room in a different scheme 
by increasing or diminishing the height 
of the chair rail, showing three panels 
over the mantel, or any other way, 
and then applying the principles of de¬ 
sign, as explained, to the results ob¬ 
tained. 
Should the subject of placing wall 
lights come up for discussion, it may 
be interesting to take up that question 
in relation to our model 'room. The 
first point is to decide how many fix¬ 
tures are required properly to light a 
room of this size—in this case we be¬ 
lieve four or possibly six. In paneled 
rooms it is best to hang wall brackets 
in stiles or in the center of narrow 
panels. A wall bracket looks lost in 
a large panel just as a small picture 
placed on a large wall space looks out 
of all proportion. 
Lights and the Mantel 
Should we decide on placing two 
lights over our mantel, it would be best 
to repeat them on the opposite wall to 
“balance”. But it is a question whether ! 
these four lights being so close together i 
in the center of the room would give ^ 
sufficient light to the ends of the walls. 
So we would suggest placing a bracket 
in the stile on either side of the door 
openings of tha end walls, and one 
in each stile outside the large panel ^ 
over the mantel, making six brackets in [ 
all. 
Very often, if the mantel breast is 
wide enough to allow it, we place a nar- i 
row panel, say 8" or 9" wide, on i 
either side of the large center panel i 
above the mantel, and locate a wall 
bracket in center of these small panels. 
This effect tends to make the mantel 
breast—our feature—more prominent 
and is very pleasing. 
