66 
House & Garden 
Vjtill or part of window 
Good Air in the Home 
(Continued jrom page 64) 
be had often by hanging up a 
damp sheet and rewetting it as it 
dries. 
4. Fireplaces with small or large fires 
in them cause air current. 
5. In some rooms which have a grated 
air intake cut into the walls near 
the radiators, the air circulation is 
effected easily. 
6. Give the risen hot air a chance to 
get out of the top of room, and 
give the cold air a chance to come 
in at the bottom of room—and 
keep it agitated—this is about the 
best advice for fulfilling the gen¬ 
eral requirements. 
With the new ventilators, cookery 
odors, draughts, smoke, steamy vapors, 
smudges collecting over walls, curtains, 
etc., are obviated because they are all 
dissipated and sent flying to the big out¬ 
doors. Its blowers blow out the bad 
air, and its fans agitate the new air 
which comes in to take its place. The 
apparatus, which is simplicity itself to 
operate, is attached to the ordinary 
lamp socket and placed in effective 
places. The improved motors are en¬ 
cased and almost frictionless in action, 
which means the minimum wear and 
tear and no cost for repairs. Some of 
the motors are self-cooled, which also 
does away with wear and hot-boxes. 
There are various kinds of fans which 
may be used. Those which change their 
direction in process of revolution are 
good. But whatever kind you use, it 
should be so placed as not to make 
draughts. The steady movement of air 
is the only thing necessary. 
In the study where it is necessary to 
have light and air and no draught to 
blow papers away, the ventilator, which 
may be put on the window sill over 
the radiator, thus obviating the uncer¬ 
tain winds coming rashly through the 
open window, will prove a boon to the 
writer or housewife. 
The Art of the Ancient Medalists 
(Continued jrom page 37) 
FREE YOUR HOME from 
Embarrassing Cooking Odors 
How many times have you been embarrassed by 
having visitors find your home permeated with 
the penetrating odors from cooking—that heavy 
“dead" atmosphere that resists even the open 
windows and lingers for hours after. How 
often must you, because of this, deny your family 
their favorite dishes. Keep your home atmos¬ 
phere always as sweet as the outdoor air by 
installing an 
in the window or wall. It quickly draws out the 
strongest odors. Make your kitchen a joy spot to 
work in — feel the stimulation of cooking where 
the air is always thrillingly fresh, clean, sweet — 
free from the unpleasant mixture of cooking odors, 
the oppressive smokey, steamy air and heat. 
Moderate in cost. Connects with any electric 
light socket. Easily installed in part of window 
or simple wall opening. Costs but a cent an hour. 
Fully guaranteed. Go to your hardware or elec¬ 
trical dealer and see the I LG Kitchen Ventilator 
demonstrated: or write us direct for illustrated 
literature. 
The Ilg is the only fully enclosed self-cooled 
ventilating fan — in use in many thousands of 
restaurants, hotels, homes, offices, stores, theatres, 
factories, etc. 
Ilg Electric Ventilating Co. 
160 Whiting Street - Chicago, Illinois 
MU 
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sider what that good gossip Pinkerton 
wrote (and what his good neighbor 
James Dodsley in Pall Mall printed for 
him in 1784): “The principal and most 
legitimate source of pleasure arising 
from the science of medals is their 
workmanship. The motives of delight, 
which owe their origin to the other 
efforts of imitative art, will here likewise 
of course predominate. A philosophic 
enquiry into the prime causes of our 
pleasures arising from art, though it 
would make an admirable subject for 
a treatise, yet were in this place foreign 
and impertinent. . . . 
“The chief and most rational amuse¬ 
ment, therefore, which springs from 
this study, originates from the strength 
and spirit, from the finish and beauty, 
which the engraver had displayed. 
“But besides this, there are many 
other sources of entertainment in the 
science of medals. Such is the personal 
acquaintance which, so to speak, it gives 
us with all the great men of former 
times. Nothing can well be more amus¬ 
ing than to read history, with contem¬ 
porary coins before you. It brings the 
actions, in a manner, before our eyes; 
and we fit, as in a theatre, with the 
actors before us. 
“Portraits have been always very in¬ 
teresting to mankind; and I doubt not 
but the love of them gave rise, not only 
to painting, but to sculpture. Nowhere 
are they to be found so ancient, so 
numerous, so well preserved, as in 
medals. For a knowledge which, though 
unimportant, is yet, to our trifling na¬ 
tures, most interesting, namely, that of 
the form and features of those whose 
virtues and talents almost surpassed hu¬ 
manity, we are indebted to this science 
only. Lawgivers, monarchs, warriors, 
authors, all pass as in a fairy review 
before us. . . . 
“To this satisfaction we may add that 
of beholding, in lively portraiture, the 
various dresses, manners, and customs, 
religious and civil ceremonies; in short, 
the very form and pressure of the times 
of the ancients. Medals almost present 
an history of manners, an article but 
very lately cultivated, yet perhaps the 
most useful and interesting of all the 
provinces of history.” 
Medals vs. Coins 
The coins of ancient and of medieval 
times do, of course, present a wonderful 
field for study and are of absorbing 
interest. So, too, are Renaissance coins, 
and subsequent issues have their de¬ 
votees. But those commemorative pieces, 
struck or cast for extraordinary pur¬ 
poses or occasions (and not in circula¬ 
tion as money), to which we give the 
name medal in contradistinction to the 
name coin, shall here occupy our im¬ 
mediate attention, and particularly those 
medals of the period of the Italian 
Renaissance which have not been sur¬ 
passed in medallic art either for interest 
or artistic quality. 
The very zenith of the art of the 
medal was reached between the middle 
of the ISth Century and the end of the 
16th. Undoubtedly the greatest mas¬ 
ters of the plastic arts in ancient Greece 
applied their talents to medallic design, 
and so, too, did some of the greatest 
Italian masters centuries later. 
Superiority of Italian Medalists 
While medallic art found its heyday 
in the two great schools of the Renais¬ 
sance period—Italian and German (Ger¬ 
many borrowed the art of medal cast¬ 
ing from Italy)—the Italian masters ex¬ 
hibited superior taste and respect for 
the limitations of the circular form of 
the usual medal, developing an artistic 
expression consistent with it. While one 
does not find the Italian medal of the 
Renaissance exhibiting the perfect beauty 
of the finest Greek coins of the ages 
that preceded them, a certain nobility 
and grandeur of conception, relevance 
of subject-matter, fine composition, a 
lack of that foreshortening which Cretan 
engravers, for instance, employed in or¬ 
der to crowd as much as possible within 
the circle, and “Emphasis of purpose,” 
as some one has put it, mark ihe Italian 
medals of the Renaissance as noble 
works of art which deserve more popu¬ 
lar appreciation and study than they 
have as yet received. 
Alberti’s portrait medal of himself 
(in the Dreyfous Collection, Paris), is 
one of the first of Italian medals, if not 
the earliest, probably dating about 1435. 
The German medal begins in 1453, the 
English in 1480, the Spanish in 1503, 
the Dutch in 1566. 
“The first Italian medals,” says War¬ 
wick Wroth, F.S.A., “must, indeed, be 
reckoned as a new artistic product of 
their time: the processes by which they 
are made are not those of the older 
coin or medallion engravers, and they 
are, at first, entirely unofficial in char¬ 
acter. It is only by degrees that the 
medal becomes more or less official, and 
is employed to commemorate public 
events. The earlier specimens of Italian 
workmanship were not intended to com¬ 
memorate events or even to do honor 
to illustrious men after their decease; 
(Continued on page 68) 
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