House & Garden 
G^ll-Clay fixtures 
^ Jt:lumbinq 
Doorway to the 
Meek House, Salem, 
Mass. From The Co¬ 
lonial Architecture 
of Salem 
A ROW of HOUSE & GARDEN BOOKS 
W ERE it possible for you to cut through a 
section of an All-Clay “Tepeco” Porcelain 
Bath you would quickly realize why this product 
is so generally acknowledged to be tbe best and 
most sanitary plumbing fixture material. You 
would see a solid body of clay. You would see 
how the intensity of the firing had caused the 
glaze to seep into and become a part of the clay 
body itself. With what results? 
S CRUB and rub, with any toilet or cleansing 
preparations that you mind to use, you cannot 
wear down the surface of a “Tepeco” Bath. Tt 
will always be just as smooth, just as white, just 
as clean as the day installed. So hard and im¬ 
penetrable is the glaze on an All-Clay “Tepeco” 
Porcelain Bath that a dampened cloth alone will 
remove any trace of stain or soil. And instead of 
having to remove your tub. after a few years, buy 
another, pay the plumher’s labor again, you have 
a permanent investment. 
T HERE’S another point also worthy of men¬ 
tion. Porcelain is a heat resistant material, 
practically a non-conductor of heat or cold. In¬ 
stead of having your nice hot bath become luke¬ 
warm from heat transmission through the sides, 
your “Tepeco” Porcelain Bath helps retain the 
temperature you wished. _ 
“''T'EPECO” Plumhing fixtures lighten house- 
X work, create more sanitary conditions, in¬ 
spire pride of ownership and are ultimately 
economical. Its cost does not increase the total 
plumbing bill more than 10% at the most. There 
is a “Tepeco” Plumbing Fixture for every place 
and purpose. It pays. 
THE TRENTON 
POTTERIES COMPANY 
TRENTON, N. J. 
BOSTON 
NEW YORK 
SAN FRANCISCO 
If you intend to build or renovate 
your plumbing, ivritc for our instruc¬ 
tive book, "Bathrooms of Character.” 
I NTERIOR decoration is one of those 
arts in which an understanding of 
the past is almost as necessary as an 
understanding of the present. Past 
customs created designs. Our present 
endeavor is to adapt those designs to 
the demands of modern life. Conse¬ 
quently no book on decoration can 
wholly ignore the history of furniture 
design, no book is complete unless that 
subject is succinctly explained. “The 
Practical Book of Interior Decoration’’ 
by H. D. Eberlein, Abbot McClure and 
E. S. Holloway, is an example of a com¬ 
plete exposition of the subject, past, 
present and future. It is also unusual 
in that it has written furniture history 
as it never was written before. 
Hitherto we classed furniture designs 
into periods set within definite dates, 
which is the antiquated way of writing 
history. The authors of this book have 
written it according to the great tides 
of influences that flowed through 
France, Italy, Spain, Portugal and Eng¬ 
land and caused furniture design to 
change. These tides were the product 
of changing customs and manners. They 
are known as the Renaissance, the Ba¬ 
roque, the Rococo and the Neo-Classic. 
These four form the basis of all fur¬ 
niture and decoration design. Their 
combination is also the basis for future 
decoration, according to the authors. 
The book falls into three parts: (1) 
Histories of interior decoration in 
France, England, Italy and Spain since 
the 16th Century, showing how the 
Renaissance, Baroque, Rococo and Neo- 
Classic influences were expressed in each 
country; (2) A practical explanation of 
interior decoration for modern homes, 
based on the precedent of the past; (3) 
The decoration of the future—a style 
that adheres to no special period, de¬ 
sign or nation, but combines all of 
them in such measure that harmony and 
livableness result. In each era the 
authors consider the architectural back¬ 
ground of the room, give a summary of 
the principal furniture, hangings, rugs, 
materials, accessories and arrangement. 
In the two practical sections they give a 
very clear explanation of the use of 
color and the making of a color 
scheme; how to select finishes for walls 
and floors; the curtaining of windows; 
rugs; lighting fixtures and their loca¬ 
tion ; and the arrangement of furni¬ 
ture in the room to conform with mod¬ 
ern living requirements. Much of the 
material is tabulated so that the reader, 
having finished the detached explana¬ 
tion, has a chart to follow in applying 
the principles to her own room. 
The final section—the inter-period, 
international style of decoration—-is a 
commendable effort to make for Amer¬ 
ican houses a distinctive style. The 
best of the past is chosen. Its use is 
amply explained. The result is a 
sensible, sane interior, fitting for mod¬ 
ern life and meeting its current needs. 
“The Practical Book of Interior 
Decoration’’ tells the story of furnishing 
in a new way. It is written for the 
layman as well as the professional dec¬ 
orator and architect, and it has accom¬ 
plished what other volumes on the sub¬ 
ject have failed to do—give a complete 
story. A large book, with over four 
hundred text pages and one hundred 
and seventy-three plates of halftone 
and line illustrations, it is a weighty 
volume that should be consulted and 
read well before one attempts decorat¬ 
ing. House & Garden readers will find 
here, in permanent and convenient 
form, much of the furniture history and 
{Continued on page 76) 
An E n glish 
hall. From The 
Practical Book 
of Interior 
Decoration 
