92 
House & Garden 
Hot Water! Instantly! 
A Cinderella Room and Some Others 
{Continued from page 90) 
Two other rooms in the same house pink and red roses and huge green leaves, 
were papered in imitation of paneling. The dining room is papered with the 
One ot these, a bedroom, had plain beige same beige colored paper, but this room 
colored paper on the walls and ceiling. I wanted to suggest a classic, rather 
The wall spaces were papered with a than a whimsical, artifice, so its panels 
two-inch paper “molding” of light were formed of two-inch molding of 
brown and deep green, in panels as care- pale blue and gray, in a Greek Key 
fully drawn as if they had been of pattern. This room has a mixture of 
wooden moldings on a wooden wall, furniture, mainly a huge oblong walnut 
On the ceiling, circling the space where table and rather heavy white and gold 
a light was dropped, I made a wreath Italian peasant chairs, and a bare floor 
of wall paper flowers and applied it. of waxed boards. There are no pic- 
The floor of this room was painted in tures on the plain walls, but one heavy 
imitation of a Directoire Aubusson car- gilt mirror hangs over the mantel, and 
pet, in pale biscuit brown, with white a small table in the corner holds a dozen 
stars at irregular intervals all over it, pots of flowers, and a length of peach 
and a three-inch border of dark brown colored brocade is used on the table be- 
following the wall. This floor was given tween meals, so that there is color a- 
several coats of shellac, and is a hard and plenty. But the restraint of the pale 
lovely background to a few small bor- tan walls and the cool blue and gray 
dered rugs. The curtains in the room borderings is very desirable in a coun- 
are of brown glazed chintz covered with try house dining room. 
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CITY 
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J 
“THE COLONIAL ARCHITECTURE 
OF PHILADELPHIA” 
By Frank Cousins and Phil. M. Riley. 
Little, Brown and Company, Boston. 
T HERE has long been need of just 
such a book as the admirable vol¬ 
ume on “The Colonial Architec¬ 
ture of Philadelphia,” with text by Phil. 
M. Riley and copious illustrations from 
photographs by Frank Cousins. It is a 
layman’s book as well as a book for the 
architect. 
We have, in the past, had many books 
touching upon early Philadelphia archi¬ 
tecture, but these volumes have devoted 
themselves, primarily, to the lore of 
Colonial days in the old city, in which 
the surviving edifices had been con¬ 
cerned, rather than to the architecture 
of the first capitol of the United States 
as a main theme. The present book 
follows the latter plan and the pros¬ 
pective home builder and his architect 
will welcome it; nor can the visitor to 
Philadelphia help finding an interest in 
the Quaker City enhanced by a study 
of these clearly written and beautifully 
illustrated pages. 
In their foreword the authors say, 
“Interesting as was the provincial life 
of this community; absorbing as are 
the reminiscences attached to its well- 
kniown early buildings; important as 
were the activities of those who made 
them part and parcel of our national 
life, the Colonial architecture of this 
vicinity is in itself a priceless heritage— 
extensive, meritorious, substantial, dis¬ 
tinctive. It is a heritage not only of 
local but of national interest, deserving 
detailed description, analysis and com¬ 
parison in a book which includes his¬ 
toric facts only to lend true local color 
and impart human interest to the nar¬ 
rative, to indicate the sources of af¬ 
fluence and culture which aided so ma¬ 
terially in developing this architecture, 
and to describe life and manners of the 
time which determined its design and 
arrangement.” The authors have suc¬ 
ceeded in presenting such a volume. 
The first of the chapters in the book 
is an outline of Philadelphia architecture 
in general, followed by chapters on 
Georgian brick country houses, brick city 
residences, ledge-stone country houses, 
plastered stone country houses, hewn 
stone country houses, doorways and 
porches, windows and shutters, halls and 
staircases, mantels and chimney-pieces, 
interior wood finish and public build¬ 
ings. Fortunately the Philadelphia of 
today has not only a distinctive archi¬ 
tecture in its brick, stone and wood¬ 
work, but a diversified architecture em¬ 
bracing both the city and country types 
of design and construction, a priceless 
heritage which makes it, in extent, 
unique among American cities. 
The illustrations are unusually fine. 
Their clearness and sharp focus reveal 
the detail essential to the student and 
every one of the ninety-five plates is 
interesting and a valuable record. The 
volume’s index is carefully worked out, 
one of the most useful and satisfactory 
among the architectural books that have 
come the reviewer’s way this season. 
OLD BRISTOL POTTERIES 
By W. J. Pountney. 
An import by E. P. Dutton & Com¬ 
pany, New York 
T HE appearance of W. J. Pountney’s 
“Old Bristol Potteries” will fill the 
hearts of collectors and connois¬ 
seurs of pottery and porcelain with de¬ 
light. This new work is truly a monu¬ 
mental one and it will supersede Hugh 
Owen's “Two Centuries of Ceramic Art 
in Bristol,” published in 1873, excel¬ 
lent as that pioneer work is, for Mr. 
Pountney supplements as well as covers 
the field of the earlier work. 
It has long been regretted that more 
excavations have not been undertaken—- 
often this has not been possible—on the 
sites of the early English potteries. For¬ 
tunately Mr. Pountney has been led 
both by his enthusiasm and his scholarly 
instinct to examine and make excava¬ 
tions on the sites of the old Bristol 
potteries, with gratifying results, as 
noted in this book. The author like¬ 
wise appears to have dug into his¬ 
torical archives as assiduously, and a 
wealth of material discovered in conse¬ 
quence is embodied in these chapters. 
As Bernard Rackham points out in a 
foreword which he has contributed to 
the volume, the wares of the early 
Bristol potteries were by no means easy 
to distinguish from some of those of 
their Dutch fellow-craftsmen of the 
period who were then- employing the 
same technical methods, including the 
yellow lead-glaze on the back of dishes 
as a means of economy in tin, and very 
similar formal designs, down to the blue 
dashes on the rim, a feature which prob¬ 
ably was introduced from Italy. Mr. 
Rackham says: “A pattern which the 
men of Bristol seem to have made pecu¬ 
liarly their own, and perhaps their most 
effective one, is that of tulips, fritillaries 
and other flowers springing from the 
lower edge of the dish or arranged in a 
vase, a theme unknown on the Con¬ 
tinent, and probably not certainly to be 
associated with any other English pot¬ 
teries.” Bristol delft ware enjoyed a 
wide and international popularity at the 
zenith of its manufacture. Notwith- 
{Continued on page 96) 
