74 
House & Garden 
The Lincoln-Douglas Debate 
The famous debate between Abraham Lincoln 
and Stephen A. Douglas, both campaigning for 
the United States Senatorship from Illinois, 
made the year 1858 ever memorable. The 
Lincoln-Douglas debate brought to a focus the 
varying views on sectional questions which the 
Civil War ultimately settled. 
For every varnish need there’s 
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JERRY BROTHERS 
, World's Largest Makers 
arnishes and Paint Specialties^ 
Detroit. Michigan Walhcrville, Ont 
“1858 is a memorable date for the 
painting craft, too. For it was then 
that Berry Brothers first began the 
manufacture of those varnish pro¬ 
ducts which have since become the 
world’s standard of quality. And 
my granddad tells me they gave the 
same satisfaction then as 
now.” 
Berry Brothers made 
the first Hard Oil Finish 
—now known as LUXE- 
berry Wood Finish. And the 
line developed until it includes a 
varnish for every household and 
industrial use—each the best of 
its kind. Perhaps most famous of 
all is Liquid Granite, which is 
covering floors the world around. 
It’s water-proof, of course; but its 
durability is a marvel to home¬ 
builders and home-owners. 
Then there’s Luxeberry White 
Enamel made in 
pure white and 
the newer shades 
of gray and old 
ivory. 
You will be interested 
in our color booklet 
“ Beautiful Homes. ” 
Sent free on request. 
American Prints and Their Uses 
( Continued, from page 72) 
excellence with esthetic appeal. It may 
be technically good and yet cause no 
emotional thrill in his friends. It is not 
at all necessary that it should cause this 
thrill in them; it is enough that he 
feels it. 
Third—The price must be within his 
reach. This, of course, is out of the 
realm of either esthetics or technique. 
In fact, it is altogether beside art. It is 
inexpressibly vulgar—but necessary. 
Where to Use Them 
There are five places in a house where 
prints are appropriate—in the bedroom, 
in the library, in the living room, in the 
nursery and in hallways. Drawing 
rooms require paintings. Dining rooms 
ought to have something a bit more 
luscious: color prints will do, but black 
and white ones seem out of place. 
In the bedroom the print has its finest 
triumph. Not too many should be used, 
but just enough to balance the wall 
spaces. Landscapes, marines and flower 
pieces in color are most appropriate, and 
the treatment should be delicate. Etch¬ 
ing is the best medium. The prints 
selected for one’s bedroom should reflect 
one’s individual taste in the fullest, 
without a thought to anyone else on 
earth. 
In the library, prints should have 
broadness of treatment and should be 
selected with some thought for decora¬ 
tive mass. The esthetic thrill is not 
quite so compulsory, and can give way 
in some measure to sentimental and in¬ 
tellectual appeal. The latter, of course, 
has nothing to do with art, which is 
purely esthetic, but in a library pure 
art need not necessarily be the sole 
standard. Historical or topographical 
works, such as representations of old 
houses, may have both elements. 
The living room is the only room 
where it is safe to mix prints and paint¬ 
ings, and whichever you use the sole 
standard should be your individual love 
of the picture. If there are to be some 
paintings, it is best that your prints 
should also be in color, either etchings, 
lithographs or wood blocks. 
In the nursery, the mother can em¬ 
ploy a great variety of subjects, from 
childish fantasy to themes that at first 
glance it would seem only a grown-up 
would relish. Here is the very home of 
the esthetic thrill. Children’s sensibili¬ 
ties are not blunted, their emotions are 
keen and they react surprisingly to 
works that have beautiful color and 
beautiful form. Sometimes a simple lit¬ 
tle landscape will have the most poig¬ 
nant appeal to a child—an appeal whose 
influence will greatly aid esthetic enjoy¬ 
ment throughout life. Try to find out 
the pictures that children enjoy, and, 
unless you want to commit a crime, do 
not try to make them like something 
that does not appeal to them, for if 
you do it will inevitably stultify their 
susceptibility to all esthetic appeal. 
In the hallway the architectural etch¬ 
ing is particularly at home. It imparts 
a feeling of bigness. Here again the art 
element may be encroached upon some¬ 
what by the purely illustrative element. 
Frames and Mountings 
Having caught your print, it is time 
to frame it. Simple little wood frames 
should always be used. Never, unless 
you are absolutely dead artistically, put 
a heavy carved frame around a print. 
You might as well load your fingers 
down with diamonds. In bedrooms and 
nurseries, either natural wood or white 
or gold is appropriate, while in living 
rooms and hallways it is best to use the 
more positive mahogany, dark oak or 
black frames. 
Prints should be mounted on mats 
that fill quite a considerable space be¬ 
tween the picture and the frame. These 
mats should harmonize in shade with 
their surroundings. They are in reality 
the bridge between the print and the 
wall of the room, and when not white 
should be tinted so as to pull every¬ 
thing together in harmony. If color 
prints are used, the mat should com¬ 
prehend both the color of the picture 
and the hue of the wall. 
The movement in favor of individual 
prints in the home corresponds in a way 
with the arts and crafts tendency in 
America. The latter is a crusade against 
ugly, machine-made utensils of every¬ 
day use, while the latter is an expres¬ 
sion against department store and nov¬ 
elty shop art. Both make for the free 
exercise of individual taste, and this is 
the important thing. There can be no 
general art appreciation among a peo¬ 
ple who buy so-called art because it is 
labelled this, that or the other. Nothing 
is art unless it brings a thrill of esthetic 
pleasure to some one or other. Is your 
home full of thrills? If it is not, see 
if our contemporary artists who make 
prints cannot give you the emotion that 
will tend to make life a little more com¬ 
plete and a little more worth living. 
Seeing Your House Before It Is Built 
(Continued from page 35) 
drawing, so that the best location for 
the house, and the best plan for its 
approaches and gardens can be accurate¬ 
ly determined. 
The house-model itself may be vari¬ 
ously constructed, the work being done 
either by a professional model-maker, or 
by the draughtsmen in the architect’s 
office. The material may be clay, wood, 
or card-board, or a combination of 
these, colored up as artfully and con¬ 
vincingly as the skill and ingenuity of 
the maker may contrive. Some models 
are made rather roughly, especially small 
scale models, while others are made with 
the utmost care for every detail which 
can be shown. Lawns are usually done 
with green paint, gravel walks with glue 
and sand, brick walls with paint, and 
trees and shrubbery with dried sponges 
or seaweed dyed green. 
The reader, by this time, doubtless 
shares the writer’s opinion that it must 
be no end of a lot of fun to make one 
of these models, which, indeed, it is— 
if one enjoys handicraft even a little. 
With the expenditure of a sufficient 
amount of time (and hence money) a 
really beautiful model may be con¬ 
structed. In many cases the makers 
contrive effects in the texture of mate¬ 
rials, and put transparent celluloid in 
the windows for glass. 
Obviously, the making of a scale 
model is an extra piece of work, and 
cannot be called for as a part of the 
architect’s services as embraced in the 
standard form of agreement in accord¬ 
ance with which he works. 
What, exactly, does the scale model 
accomplish? The illustrations of this 
article should, to a large extent, answer 
the question. In several of these photo¬ 
graphs of the scale model of the Armour 
house, of which Harrie T. Lindeberg is 
the architect, it is difficult, at a glance, 
to realize that they are not views of 
the actual house and its immediate 
grounds. 
The scale model accomplishes much, 
not only for the client, but for the 
architect himself. It verifies the ac¬ 
curacy and the esthetic qualities of his 
vision, and often suggests certain subtle 
changes which could become apparent 
only in a three - dimensional study. 
When the model has reached a stage of 
(Continued on page 76) 
