100 
House & Garden 
Beauty ^ Utility^ 
‘TEPECd all-clayplumhii^ 
N O matter how white, and 
clean, and sanitary, a kitchen 
sink looks when first installed, 
you will soon lose all pride in its 
appearance unless it is made of 
Solid Porcelain. No other mate¬ 
rial will withstand kitchen sink 
treatment and retain its smooth, 
white, fresh, pride-inspiring ap¬ 
pearance. 
Consider, too, the factor of sanita¬ 
tion. Where dirt can lodge and 
decay there is bound to result an 
element of danger, for often dishes 
are prepared for the table in the 
base of the sink—vegetables are 
washed in it. 
All-Clay 
“Tepeco” Plumbing 
is clay—through and through— 
covered with a glaze (or enamel) 
and fired or baked to a degree of 
hardness comparable to glass. 
It is this extreme hardness of sur¬ 
face that makes Tepeco All-Clay 
Porcelain Sinks so sanitary. Dirt 
finds no place of lodgment, even 
after years of use. A dampened 
cloth removes any trace of soil. 
Nor can Tepeco Sinks be discol¬ 
ored by vegetable or fruit stains. 
You need never worry about metal 
to rust, for even should the glaze 
become fractured, and it would 
take a very severe blow to cause 
even the smallest chipping, the 
solid clay body lies beneath and 
damage can go no further. 
The same virtues that apply to 
.Tepeco Sinks are equally applica¬ 
ble to the entire line of bathtubs, 
lavatories, laundry tubs, water 
closets, etc. ‘‘Tepeco” ware is the 
most economical plumbing invest¬ 
ment you can make, despite a 
slightly higher initial price. 
If you intend to build or renovate your 
bathroom, be sure to xcrite for our in¬ 
structive book Bathrooms of Charaeter/* 
'^•’“TRENTON POTTERIES CO. 
Trenton, New Jersey 
Makers of the Silent Si-ivel-clo Closet 
SPACE and ARRANGEMENT 
in FURNISHING 
EUGENE CLUTE 
T hat the secret of success in 
making rooms attractive and 
livable lies as much in the way 
the furniture is arranged as in anything 
else is recognized by most homemakers 
and, as a result, the furniture in many 
homes is changed about from time to 
time in the hope that a satisfactory 
arrangement may be hit upon. 
The frequency of these changes is not 
due usually to mere restlessness on the 
part of the homemaker, as some would 
have us believe, but to the fact that 
she is working out her problem more 
or less in the dark. 
Underlying Principles 
It is true that books almost without 
number have been written upon interior 
decoration and upon furniture, but there 
is little if anything about the arrange¬ 
ment of furniture in most of them. 
Many photographs of well arranged 
rooms have been published. Many 
sketches showing suggested arrange¬ 
ments for corners, nooks and for entire 
rooms have been printed. But in order 
that the woman who is endeavoring to 
arrange her rooms in the best possible 
manner may make practical use of the 
suggestions afforded by this mass of 
photographs and sketches, or that she 
may originate a scheme of arrangement 
without a long course of experiment, it 
is necessary for her to have a grasp 
of the big, simple principles that under¬ 
lie good arrangement. Though these 
principles are the same that govern de¬ 
sign in all its branches from architec¬ 
ture down, their application to furniture 
arrangement requires special study. The 
principles involved can best be made 
clear in this connection by the discus¬ 
sion of typical rooms. 
The floor space and the furniture are 
the elements to be worked with—the 
problem is to place the furniture in this 
space to the best advantage, keeping 
always in mind the desirability of com¬ 
fort and convenience as well as the 
good appearance of the room. 
Often the furniture is ill-suited to 
the space both in size and quantity. In 
such cases the unfortunate effect must 
be minimized so far as possible, but 
for the sake of fixing an aim it is well 
to consider what is right, then make 
the best of the circumstances. 
The Large Room 
If a room is large—and the living 
room often is large nowadays even in 
houses that are of moderate size—the 
floor space needs to be broken up, in 
order that the room may not have a 
barren, unfriendly appearance. This is 
too often attempted by placing a large 
heavy table at or near the center of 
the floor. A large table is chosen, 
probably, because it is impressive and 
because it is thought to be in scale 
with the room. In the first place a 
table of this kind, often a long refectory 
table, is not usually suited to the use 
of the room. It is not needed to hold 
a lamp or two and a bowl of flowers; 
these can be supported very well by 
small tables. In the second place, its 
effect on the scale of the room is more 
often unfortunate than otherwise, for 
its size and massiveness force the scale 
of the room, something that does not 
need to be done in a room of good 
size. If this idea is carried out by the 
almost exclusive use of massive furniture 
pieces, the effect is likely to be oppres¬ 
sive, while the open floor spaces will 
look barren. A big room does need 
big masses, but it is much better if 
these masses are not single pieces but 
groups of furniture. Each of these 
groups may well consist of a large or 
rather large piece or two with smaller 
articles of furniture related by use and 
arranged to compose well. The smaller 
pieces should not, however, be smaller 
in scale, that is weak or diminutive in 
appearance in comparison with the 
larger pieces, but should be just as ro¬ 
bust and sturdy in effect despite their 
smaller size. This does not mean, of 
course, that a small stand placed next 
to a heavy sofa need be of heavy con¬ 
struction, for one feels immediately that 
the comparatively 'slender construction 
of the small stand affords sufficient 
support for the light load such a piece 
of furniture is intended to carry. The 
contrast between a heavy and light 
piece of furniture and. between a solid 
mass, for instance an upholstered sofa, 
and the open slenderness of a smaller 
piece of furniture, such as a stand, is 
enlivening. But the scale must be 
maintained. 
When small pieces of furniture are 
grouped with a larger piece the former 
should be so placed that they seem 
attached to the large piece, very much 
as the wings and porches of a house 
compose with the dominating main mass 
of the building. 
Fireplace Groupings 
A group of furniture is likely to be 
formed in front of the fireplace in a 
large room, where it has the best of 
reason for being—usefulness. Sometimes 
two settees or large chairs face one 
another on opposite sides of the fire¬ 
place. The mantel then becomes the 
main feature and the settees are second¬ 
ary and are tied to it by their placing. 
Often there are small tables conveniently 
placed near by to hold reading lamps 
and sometimes there is a stool that may 
be used as a leg-rest or drawn up as 
a seat close beside one of the big chairs. 
These minor pieces all take their places 
in the group as subordinate to the 
larger pieces. 
Farther down the room a second 
center of interest is often formed by 
chairs grouped about a table that holds 
books, magazines and a reading lamp. 
The piano naturally becomes the focus 
of its own group of smaller furniture 
pieces. Over by a window that com¬ 
mands a pleasant view easy chairs may 
be grouped. Some times a big sofa 
is well placed facing a row of mul- 
lioned windows, or with its back against 
the wall under massed windows, a sofa 
may become a pleasant place to read, 
for the light comes over one’s shoulder. 
The groups of furniture formed in 
this way should not only be well com¬ 
posed individually but should be re¬ 
lated to each other in a composition 
that takes in the whole arrangement 
of the room. This is most successfully 
accomplished by making one of the 
groups dominate the scheme. Very often 
the group in front of the fireplace 
is the principal one, and the others 
are subordinate. 
The groups should be so spaced that 
it seems easy to pass between them, 
at the same time they should not seem 
too much detached. This group idea 
is one of great flexibility in its applica¬ 
tion, and it can be worked out differ¬ 
ently in each room. It provides a 
logical system by which original fur¬ 
niture arrangements may be made to 
meet the conditions. 
In Small Rooms 
Though the principles of grouping 
furniture already discussed hold good 
for small rooms as well as for large 
rooms, their application is different. If 
a room is .small—and in apartments as 
well as in many houses small rooms 
are the rule—the floor space needs to 
{Continued on page 102) 
