88 
I 
1 L. Hilton-Green's 
| Sunlight Greenhouse 
1 Pensacola, Fla. 
Get Your 
SUNLIGHT” Greenhouse 
Now! 
You should be getting ready right 
Double now t0 & row vegetables and flowers in 
Gl d y° ur own w ' nter garden next winter. 
A Sunlight Double-Glazed Green¬ 
house makes that winter garden possi¬ 
ble and links economy with the pleas¬ 
ure and recreation of gardening. 
The principle of the Sunlight 
Double-Glazed Greenhouse is based 
on two layers of glass—instead of one 
—with a dead air space of f^-inch be¬ 
tween. This forms a transparent 
“blanket” which holds the heat from 
the sun and repels the outside cold. 
This principle obviates the necessity for an 
expensive heating system making the cost of 
growing winter vegetables and flowers small. 
Write Sunlight Double-Glazed Sash used on 
for Hotbeds and Cold Frames need no covering— 
Booklet they are complete in themselves. 
Our Free Illustrated 
Booklet explains everything 
in detail, gives prices and 
valuable information about 
Greenhouse, Hotbed and 
Cold Frame operation. Send 
for a copy—and get your 
order in early. 
Sunlight Double-Glass Sash Co. 
Division of Alfred Struck Co., Inc. 
ESTABLISHED I860 
944 E. Broadway 
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Louisville, Kentucky 
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House & G a r d e n 
Tebbs 
The sun porch, the setting for animated conversation or leisurely 
hours with a hook, should be furnished to meet those needs 
Composition In Decoration 
(Continued from page 86) 
flash from end to end of a long room, 
catching here and there with rhythmic 
recurrence as it goes. The colors of the 
rug, deepened or heightened as the case 
may be, combined with other colors yet 
still present, may climb the wall with 
the draperies and come down again in 
the fabrics which cover the furniture. 
Flowers, also, may carry the color note 
or may serve to introduce contrasting 
color. The blue of the old Delft in 
some rare old cabinet may be the key¬ 
note in a delightful composition, lend¬ 
ing its hue in varied tones and shades 
to the whole room. 
With color, as with line, there must 
be a certain rhythm; the proportion 
must be true in the spaces which sep¬ 
arate the different “spots” of color in 
a room; the balance of colors, as well 
as the balance of mass, must be studied 
as carefully as an artist studies them 
for his canvas. 
What, after all, is a well-planned 
room regarded from the viewpoint of 
appearance only, but a painting in three 
dimensions? 
Admirable use may be made of mir¬ 
rors in the scheme of decoration. A 
tall mirror set in an inside wall may 
change the whole character of a room, 
bringing in the sunshine and the green 
of out-of-doors, reflected from the op¬ 
posite windows. Again, the mirror 
may serve to vary the line of the fur¬ 
niture not only by its own height but 
by the reflection of some tall piece on 
the opposite wall. Colors may be re¬ 
peated by reflection and the illusion of 
air and space may be created in the 
same way. 
In Dining Rooms and Halls 
There is danger, however, in too 
many laws. A room, like a person, 
must avoid rigid conventionality, if it 
is to attain distinction and personal 
charm. In fact, certain rooms have some 
distinctly bad habits which should be 
rigorously suppressed at need. There is 
the dining room, for example, with its 
firm conviction that the middle of the 
room is the one place for the table. 
There are many dining rooms where the 
true place for the table is emphatically 
at one side before a fireplace or at the 
end in front of sunny windows which 
look out upon a garden. It may even 
be that the table belongs in both places 
—before the 1 fire in winter and in the 
sunny curve of the window in spring 
and summer. 
The hall, also, has often been the 
object of much misguided severity in 
the matter of decoration. For many 
years the theory that a hall was merely 
a passageway reduced it to a state of 
intolerable bareness, all Caen stone 
walls and marble floors and little else. 
Today there is something of a reaction, 
and there has come a tendency to rele¬ 
gate severity to the vestibule itself and 
to regard the entrance hall as a sort of 
overture to £he house. 
The hospitable halls of old Colonial 
houses lend their support to this new 
arrangement, while the New York 
house, with its long and narrow hall, 
has developed some interesting arrange¬ 
ments of furniture, which cleverly break 
the long spaces without obstructing the 
passage and take away the air of bare¬ 
ness without creating the atmosphere of 
a living room. The old carved Spanish 
chairs or the high-backed, cane-set 
chairs of Jacobean days or the William 
and Mary period have a severity which 
adapts them well to such use, and the 
mirror may be put to excellent use. 
The Use of Pictures 
Another point where tradition lingers 
in defiance of good sense and new con¬ 
ditions is in the hanging of pictures. 
Many houses have not yet recovered 
from the excessively bad habit, of hang¬ 
ing them with the hooks so low on the 
frame that the picture hangs at an 
angle to the wall, contesting every ar¬ 
chitectural line and every law of the 
eye. More modern dwellings, which 
would scorn such provincialism, yet 
blunder sadly with the problem of pic¬ 
tures against a paneled wall, and it may 
be stated with Irish accuracy that the 
only way to hang a picture against a 
paneled wall is to set it into the panel¬ 
ing. About the framed picture against 
such a wall, there is something so hard 
and so incongruous that the effect can 
never be satisfying to the sensitive eye. 
It is less than hopelessly bad only when 
the picture is hung exactly in the 
middle of a panel of similar shape and 
is hung flat against the paneling by two 
cords—never with a single cord form¬ 
ing a triangle line above it, at variance 
with the structural lines of the house. 
Far better than pictures to give variety 
to paneled walls are tapestries or em¬ 
broidered hangings or the lovely batik 
silk hangings so extensively used by 
decorators at present. 
Most earnestly of all should it be 
urged upon those who compose rooms 
to live in, not to compose them too 
fast nor too firmly. It may take a 
year of experiments to decide the exact 
position in which a table or a chair or 
a grand piano is most effective. 
