56 
House & Garden 
The Modern Light 
and Power 
T HE charm of your country home 
can be immeasurably augmented 
by the installation of modern electric 
lights. CJ The Fairbanks-Morse “F” 
plant gives an abundance of steady, 
dependable light with minimum at¬ 
tention for care or repairs. Cfl The 
plant is extremely simple to operate 
—just touch a button to start and 
another to stop. €J The famous “Z” 
engine, which is part of the plant, 
can also be used independently of the 
dynamo to pump water or do other 
work. Your dealer will be glad 
to explain all the details — which 
includes exclusive Fairbanks-Morse 
“F” plant features. 
The “F” Light Plant may also 
be obtained in larger sizes. 
Fairbanks, Morse Gr (8 
• MANUFACTURERS I I CHICAGO 
Where To Use Yellow 
( Continued, front page 49) 
in using yellow, you need not feel that 
you are confined to one, or even two, 
gradations of the color. 
Orange is one of the most decorative 
hues we have, and a bit here and there 
will often work wonders, besides creat¬ 
ing quite a conflagration of pure joyous 
color. 
I shall never forget, in a room of my 
own, the sun striking deep into a bowl 
in which there was an orange. Hur¬ 
riedly I looked to see what caused the 
nimbus of brilliant flame-colored mist 
above the bowl, for that orange was 
shedding rays abroad like a veritable 
tiny sunburst. The whole room was 
actually brightened by it. 
Again I was startled by the effect of 
an orange scarf, but not surprised, re¬ 
membering the orange in my sunlit 
bowl; the scarf made a happy trans¬ 
formation in a room too drab and gray, 
and became a fixture there. 
Such may be the far-reaching effect 
of a deftly placed bit of flame color in 
a living room, hall, or bedroom. 
The Yellow Bedroom 
And in a certain bedroom that made 
history in the neighborhood by reason 
of its beauty, the whole scheme was 
worked out from twelve orange tassels 
in the keeping of an artistic lady per¬ 
turbed by the cheerless one-window 
room paralyzed behind draperies of blue. 
The minute the blue curtains came 
down the north room looked less cheer¬ 
less, and the orange tassels dangling 
vaguely in the coming new scheme 
finally suggested some sort of pale yel¬ 
low for the curtains that were to be. 
For the walls was chosen a saffron cream 
which might best be described as cream 
color transfused by a faint sunrise 
glow; scarcely a color, you see. The 
floor was gray-carpeted; the four-post 
bed was of brown mahogany, matched 
only by a table and a comb-back Wind¬ 
sor chair, not shown in the illustration; 
there was a small yellow chair, deco¬ 
rated and rush-bottomed; an arm chair 
upholstered in dull blue. 
But the orange tassels still vaguely 
dangled. Where could they be used in 
such a scheme ? And then came the 
curtains, solving the matter. A soft 
yellow Japanese crepe was selected and, 
to be used with it, a yellow striped 
crepe showing narrow lines of orange 
and black. Four of the tassels were 
sewed on the valance over the window, 
which was of the striped crepe, cut so 
that the stripes would run vertically, 
and at the top there was an effective 
banding of plain orange crepe. An¬ 
other tassel was tied to a yellow luster 
bowl, four more were used up on the 
four corners of a pillow; and three on 
a tri-cornered lampshade. The dress¬ 
ing table was gaily puffed and flounced 
with the plain and striped yellow com¬ 
bined. The bed showed a yellow coun¬ 
terpane. Orange candles, blue pictures, 
and a gold-framed mirror made an at¬ 
tractive combination over the dressing 
table. There were touches of these 
colors in other parts of this room trans¬ 
formed by just enough yellow to make 
it sunny and gay. 
Yellow in the Living Room 
There is nothing so delightful as 
touches of yellow in the living room. 
Can you not see gray walls, and at the 
tall windows showing all out-of-doors 
through their small panes, printed linen 
done in a sprawly design of deep yellow 
on a gray and cream background ac¬ 
cented in black mahogany furniture, 
with the sofa and chairs upholstered 
in a dark, greenish stone-blue? The 
carpet can be of dark mustard, or near¬ 
ly a brown, but with just enough of 
that green-yellow glint to make it har¬ 
monize with the pale gray walls. And 
dull gold in the pillows and lampshades. 
This room would be equally effective 
done in black, brown, yellow and cream. 
Cream walls and ivory woodwork; a 
noticeable black, bright yellow and 
brown design on a cream-grounded cre¬ 
tonne at the windows; dull yellow pil¬ 
lows and lampshades moss-edged in 
black; a flat-toned, golden brown velour 
for the upholstery; a carpet or rug in 
dark brown and black; an occasional 
black ornament, such as the basalt vases 
on the mantel. 
In the Other Rooms 
A dining room can be transformed by 
the use of plain yellow Japanese china. 
A kitchen that will make working hours 
more pleasant for mistress or maid may 
be artistically evolved through the use 
of orange sash curtains at both upper 
and lower window sashes, and wood¬ 
work of ivory. A playroom might have 
yellow painted furniture. A few pieces 
of yellow wicker would make the sun 
parlor sunny even on cloudy days. And 
bowls of yellow fruit and pots of golden 
flowers are within the reach of any one 
who has a desire to catch the sunlight. 
The Collector Seeks Keys 
(Continued from page 25) 
lock by the introduction of springs for 
pressing down the dropping pins. 
Roman bolts were also smaller, and 
instead of being introduced into the 
bolt, the Roman key was turned in a 
casing, a horizontal extension in the 
keyhole permitting the key to move 
sideways. 
The Key Parts 
The modern latchkey is directly des¬ 
cended from the Roman key through 
mediaeval types, retaining the three 
parts common to the ancient keys,— 
the handle, or bow, the pipe or stem, 
and the wards. Roman keys usually 
had ring-shaped handles, sometimes 
looped ones. They were plain and 
solid, as extant specimens show. More 
often than not the stem was so short 
that the key could be worn on the hand 
as a finger ring. Other Roman keys that 
have come down to us show bows that 
are in the shape of hands. Occasional¬ 
ly one comes across an antique Roman 
key having wards shaped like a rake, 
or with claw-shaped wards. These an¬ 
cient Roman keys were usually of 
bronze, but often of iron. The locks 
to which they belonged have not sur¬ 
vived the ravages of time, but the keys 
lead us to believe that the work of the 
Roman locksmith was worthily carried 
out in design and craftsmanship. There 
are many of these ancient bronze keys 
in the collections of the museums of 
Europe and America. 
Early English Design 
With the early English and the other 
mediaeval locks the dropping pin was 
superseded by the pivoted tumbler. The 
mediaeval keys, such as those shown in 
the Salle du Moyen Age in the Palace 
of the Trocadero, Paris, are of bronze, 
as iron for keys was not again used till 
about the Nth Century. Some anti¬ 
quarian has remarked that the pagan 
appearance of the Roman keys now gave 
way to a pious, ecclesiastical, Christian 
form of design, with cross, trefoil and 
other religious symbols worked into the 
bows. The architects of mediaeval 
(Continued on page 58) 
