82 
House & Garden 
Tfirst in tho industry, 
foremost since — 
oremost in making 
the bathroom safe 
for health 
TUST as Thomas Maddock 
J fixtures assure the utmost 
in sanitation for large instal¬ 
lations, so does the Madera- 
Silent Closet, shown above, 
provide the highest degree 
of health protection for the 
home. 
Thomas Maddock plumbing 
equipment is also used in the 
plants of the Federal Rubber 
Company , Cudahy , Wis.; the 
Winchester Repeating Arms 
Company , New Haven , Conn.; 
the Anheuser-Busch Company . 
St Louis, Mo.; and in many 
other well-known manufactur¬ 
ing plants in all parts of the 
country. 
f "' 
.v - • -- 
■- ■ 1 , ; - * •_ 
* ,.«'5 T 
This closet has sanitary fea¬ 
tures that insure a maximum 
in health protection with a 
minimum of cleaning. And, 
because of its structural de¬ 
sign, it is silent in action— 
the sound of flushing cannot 
be heard beyond bathroom 
walls. 
Like all Thomas Maddock 
fixtures, this closet is made 
entirely of glistening, pure 
white, almost unbreakable 
vitreous china—a material 
that is always associated with 
the highest ideals in the 
manufacture of sanitary 
equipment. 
If you are interested in equip¬ 
ping a new home or in re¬ 
modeling an old bathroom, 
write for our booklet, “Bath¬ 
room Individuality.” 
Thomas Maddock’s Sons Company 
Trenton, New Jersey 
The homeof Fisk Tires , Chicopee 
Falls, Mass ., is equipped with 
Thomas Maddock fixtures 
Remember the importance of the plumber in protecting the family’s health 
The Old Silver of Erin 
(i Continued, from page 78) 
nia antedated the grant of the Scotch 
Thistle standard mark by some twenty- 
nine years. 
Hibernia was added to the Harp and 
Letter marks to denote a tax on silver 
of 6d. per ounce, and the King’s Head 
mark as an additional tax of 6d. per 
ounce. These two duty marks were not 
removed until 1890, when silver duties 
were withdrawn. When the tax of 1807 
was imposed, no allowance was made 
for the earlier tax whose payment was 
indicated by the stamping of the Hiber¬ 
nia mark, and so the Hibernia puncheon 
was disregarded although we find it 
with the King’s Head mark accompany¬ 
ing it. 
It is not the writer’s intention here 
to go into the intricacies of the multi¬ 
tude of marks on Irish silver, but it 
may be added that for about a hundred 
and fifty years from the establishment 
of the Goldsmiths Company of Dublin 
the escutcheon on the crowned harp 
puncheon remained practically the same. 
There were different forms of the crown 
from 1700 to 1785, and then from 1785 
till 1972 an oval was adopted for the 
crowned harp, from 1792 till 1800 giv¬ 
ing place again to an oblong escutcheon 
with sharp right-angle corners. Thence 
onward the shield varied little though 
sometimes it exhibited rounded and 
again clipped corners. The same styles 
were followed for the escutcheons of 
the Hibernia mark. 
While the Dublin company controlled 
the Irish silver manufacturers, a gold¬ 
smiths company was formed in Cork as 
early as 1656, adopting as its distin¬ 
guishing mark a large galleon and a 
single castle, both within escutcheons 
following the outlines of their emblems. 
Makers’ initials were added, and at a 
later time the word Sterling sometimes 
also appeared. There were also other 
silver centers in Ireland, notably those 
of Yonghal and of Limerick, but the 
local marks upon these pieces are rare 
and I do not know that they have yet 
been deciphered. Finally mention 
should be made of the Swiss Protestant 
refugees from Geneva who emigrated to 
South Ireland and worked as silver¬ 
smiths near Waterford 1783-1784. Their 
settlement was called New Geneva and 
they were granted certain powers by 
the Crown and an assay office, but dis¬ 
cord having arisen, they fled the coun¬ 
try and I know of no record of any 
plate bearing their marks, which are, I 
believe, confined to watches of their 
fabrication. 
The earliest pieces of Irish silver ap¬ 
pear to have been communion plates, 
alms-dishes, flagons, bowls, salvers, 
covered cups, maces and the like. Then 
there are the great massive tankards, 
pieces of great beauty, such as the pair 
bearing the date 1680, now owned by 
the Merchant Taylors Company of 
London, to which guild it came upon 
the dissolution of the Dublic Merchant 
Taylors Guild. Later domestic silver 
was produced in quantities. Among 
these pieces the Irish silver potato 
rings, 18th Century circular stands for 
the wooden bowls in which potatoes 
were brought to the table, are eagerly 
sought by the collector. Those marked 
with the initals C. T. were made by the 
Carden Terrys, father and son, famous 
for pieces of this sort, and fortunate in¬ 
deed is the collector who chances upon 
a piece from their hands. 
Fortunately for the love of old silver 
we have in our American public collec¬ 
tions some exceptionally fine pieces 
which can there be studied. The Irish 
silver in the Metropolitan Museum of 
Art presents an unusually fine group of 
examples and the writer is indebted to 
this Museum for the courtesy of the 
accompanying reproductions. 
How to Make Livable Rooms of Green 
(Continued from page 72) 
of yellow freesias, on the table a pewter 
bowl of fruit. Mealtime in such a room 
would be far from a horror, but rather 
as refreshing as a woods in spring. 
Unless one has a certain sort of a 
house, or a certain sort of taste, one 
should refrain from the green living 
room, for unintentionally it is apt to 
grow into the repp, velours and tapes¬ 
try dullard that breeds a morbid mind. 
But granting a sunny out-of-town liv¬ 
ing room, or a city room with a view 
of a river, or up near the clouds, one 
may go as far as one likes in this new 
treatment of green. 
Quite the talk of the town was this 
unusually pretty living room of a low- 
eaved Dutch Colonial house. The walls 
and woodwork were a tone no darker 
than ivory, but grayer and softer; the 
floor was painted a dark leaf green, 
with plenty of gray in the mixing so 
that it would avoid either an olive or 
bottle green effect; and on this leaf 
green floor there was an oval braided 
rag rug in gray, green and black, with 
a faint picking of ivory. So far, noth¬ 
ing unspringlike in the setting, you see. 
Then in this room the furniture was 
green, but with what a difference! The 
tallboy was in two tones, with two other 
pieces matching it in this particular, the 
table and settee, but the tallboy was the 
only piece that was decorated with 
flowers; these were done in rose, yellow 
and green, with baskets of dull gold and 
gray, and the drop handles on the draw¬ 
ers were of silver, matching the wall 
sconces holding their three orange can¬ 
dles. The green of the furniture was as 
nearly as possible the color of a lilac 
leaf, and every one knows what a beau¬ 
tiful green that is, and how the front 
and the back sides are slightly different 
tones, which had been duplicated for the 
two tones of this lovely green furniture. 
At the windows and at the doorway 
there were hung curtains of green 
grounded cretonne, with flowers of rose, 
orange and yellow with black leaves; 
the glass curtains were of a delicate sun¬ 
set-colored silk gauze. One chair, the 
wing, was upholstered in a soft-finished 
linen canvas embroidered in wool; the 
other upholstered one was done in green 
linen with appliqued bands of the cre¬ 
tonne; the legs of both chairs were 
painted the lighter tone of green used 
on the painted furniture; the green- 
painted stool has a cushion of orange 
velveteen in a burnt tone; the cushions 
on the settee were respectively yellow, 
jade green, rose and black; the cushion 
on the linen chair was of black with an 
edge of yellow and a flower of rose. 
The lamp, with its gray base, had a 
shade of dull yellow with Chinese em¬ 
broidery panels; the books on the table 
had dull rose leather bindings tooled in 
gold; the bonbon box was peacock blue, 
and the flower bowl was of orange 
luster. 
How long, I wonder, has green been 
considered a fitting accompaniment to 
ponderous furniture, to scroll mahogany 
sofas and Empire chairs, to bulbous 
overstuffs and the company room! But 
now one always chooses a slender and 
graceful chair for the covering of green, 
a table of dainty proportions to interpret 
this color, a tallboy of elegant line; one 
(Continued on page 84) 
