82 
House & Garden 
J3eauty of wood-strength of steel 
A dmittedly beds of wood 
are beautiful and in vogue. 
But there were always dust-catch¬ 
ing slats, slots and crevices and, 
with age, creaks and groans to 
banish sleep. All of these faults 
arise from the use of wood side- 
rails. 
In Seng-equipt Beds of Wood 
sinewy steel side- and cross-rails 
replace the offending wood rails. 
These slender steel girders make a 
rigid unit of the beautiful wood 
footboard and headboard. Their 
stalwart strength insures dura¬ 
bility, solacing quiet and perfect 
cleanliness. 
Seng-equipt Beds of Wood defy 
the passing of time, are easily 
moved and may be had in any style 
or wood. 
Over one hundred makers of bedroom 
furniture use Seng-equipment. Seng- 
equipt Beds of Wood may be secured 
wherever good beds are sold. For 
your guidance, the Seng trade-mark is 
stamped on each corner lock. If you 
are interested in 
home decoration, 
write for “The Bed¬ 
room Beautiful” by 
Ruth Angell. 
THE SENG COMPANY 
CHICAGO, ILLINOIS 
world’s largest makers of furniture hardware 
The Evolution of a House Plan 
( Continued, from page 78) 
The one-quarter inch scale roof-plan 
is of obvious value in making sure of 
the exact execution of the complicated 
roof of a rambling, spread-out kind of 
house, and any extra thought which is 
expended upon this very important part 
of a house should be well rewarded 
by results. Mr. Lindeberg, who de¬ 
signed the house shown in the various 
drawings illustrating this article, has 
devoted much thought, and an equal 
amount of natural imagination, to the 
possibilities of the roof; the result is 
apparent in his work. 
The Scale Details 
Progressing, now, beyond the one- 
quarter inch scale drawings (general), 
the next drawings to be made are the 
scale details, which are very important 
as instruments of service in securing 
fine results. 
Scale details are made, in different 
architects’ offices, variously from one- 
half inch equaling one foot, to three 
inches equaling one foot. One-half 
inch to the foot, three-quarter inch and 
one and a half inch are the scales most 
frequently used. 
These are the drawings so frequently 
referred to in the notes on the one- 
quarter inch scale drawings, and their 
purpose is to show with greater ex¬ 
actness than is possible at small scale 
such special pieces of design and con¬ 
struction as stairs, fireplaces, built-in 
bookshelves, window seats, pantry cup¬ 
boards and the like. 
Even these details, however, often 
need to be supplemented by a still 
more exact kind of drawing, which, as 
appears on the drawing, is an “F. S. D.,” 
meaning “Full Size Detail.” These de¬ 
tails are used, primarily, to show the 
actual profiles of moldings, and are 
drawn at identically the same size as 
the work itself is to be executed. Be¬ 
cause of the necessarily fragmentary 
manner in which actual size moldings 
and other details are shown on a sheet 
of “F. S. D.,” it is often difficult for 
the non-architectural mind to grasp 
the meaning of a sheet of moldings and 
other close-ups from the general draw¬ 
ings. 
Full size details are very important 
in that they assure the execution of 
the work in true accordance with the 
architect’s intention. 
All Things Considered 
It will be seen from this very brief 
review of the evolution of a set of 
plans (which aren’t all “plans”) that 
every detail of a house comes under 
consideration in the making of the 
drawings from which it is to be built. 
Certain things may be changed as the 
work proceeds, and many details which 
were roughly suggested in the one- 
quarter inch scale drawings will be 
seen fully developed and worked out 
in the later scale details. 
These are the main facts about ar¬ 
chitects’ drawings, which should be 
thoroughly understood by any pros¬ 
pective builder. No architect but 
would be glad to discover that his 
client could talk with him understand- 
ingly and appreciatively about the suc¬ 
cessive stages of the different drawings 
which come up for approval. 
Period Designs in Musical Instruments 
(Continued from page 47) 
design. And when that is very much 
altered, the instrument is changed. 
The same idea applies to the phono¬ 
graph. Primarily it is created to re¬ 
produce sounds. It cannot be modi¬ 
fied to take some entirely different 
form, to be combined with the lamp or 
concealed in a closet, without impair¬ 
ing its effectiveness. The first consid¬ 
eration in the choice of musical in¬ 
struments is that they be irreproach¬ 
able in their tonal attributes, but from 
that point on the use of one’s discre¬ 
tion and artistic advice is to be re¬ 
commended. 
Louis XVI and Adam 
In models of Louis XVI days, the 
character of the straight lines, with 
the finely elaborated carving, is re¬ 
produced by many excellent manufac¬ 
turers of the pianoforte. In some in¬ 
stances, the craftsman of today has 
so cleverly caught the mood of yester¬ 
day that he has given three pairs of 
supports instead of three legs, each 
pair substantial but of such fashioning 
that they look rather delicate, and each 
pair held together by a typical orna¬ 
mented coupling. Some instruments of 
this period are admirably adorned with 
sunken panels ornamented with florid 
mouldings, legs lined with parallel fret- 
tings, and similar conventions of the 
period. 
Adam pianos and phonographs are 
quite the vogue. They are in the mood 
of those simple, delicate creations of 
Robert and James Adam; they have 
the fine proportions and the hand- 
painted decorations those men loved so 
well. Practically every period has been 
quite faithfully covered by the better 
makers of the phonograph, organ and 
piano. The Georgian epoch with its 
spiral legs and somewhat erratic de¬ 
signing is represented. The Colonial 
days of our country are remembered 
faithfully with an almost Puritan char¬ 
acter of decorativeness, and there are 
the Chinese, the Renaissance, the 
Phyfe and many other types. Chip¬ 
pendale of massive though graceful, 
beautiful quality is represented; Wil¬ 
liam and Mary models with the grilles 
and florid motifs are included ; Heppel- 
white has the delicate, diminutive air; 
the Jacobeans are still the cold, straight 
designs. The noble Umbrian crafts¬ 
men of Italy during the Middle Ages 
have influenced the modern instrument 
makers, and even the Florentine work, 
with the now very popular polychrome 
effects, have found a place in the affec¬ 
tions of the artists of today. 
Phonograph Cases 
If the piano makers have succeeded 
so well in making their instruments such 
accurate art furniture, they have been 
well seconded—and I am inclined to 
say, surpassed—in this respect by some 
of the phonograph manufacturers. 
From the unsightly old instrument with 
the large, cumbersome horn of tin to 
the authentic cabinets of formal period 
type is an important epoch in the popu¬ 
larization of the arts of music and 
decoration. 
(Continued on page 96) 
