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House & Garden 
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1 
One of the Delightful Things About the 
is That You Feel its Comfort 
Without Feeling its Heat 
Take a cold snappy day in winter. 
Outside, it is 5 below. Inside 72 . 
Coming in from that low outside tem¬ 
perature to one 67 degrees higher, you 
would of course expect to feel its heat 
fairly crowding around you. 
And you do with most heats. 
But you don't with the Kelsey. 
Don’t, because it is exactly the same 
oxygen filled fresh air as is outdoors. 
It only differs in degrees. Not in 
quality. 
You do feel its welcome comfort. 
But you don’t feel its heat. 
Neither do you become “noddy” 
when you sit down to read. Nor do 
your nostrils become dry. Or the 
furniture dry out and pull apart. 
Just why all this we sav is so, is 
told briefly in a booklet called “Some 
Saving Sense on Heating.” Send 
for it. 
New York 
103-K Park Avenue 
Detroit 
Space95-K Builders Exch 
HE 
Felsev 
MR GENERATOR I 
Chicago 
217-K Wesl Lake Street 
Boston 
405-K Post Office Sq. Bldg. 
W E still find some people who are under the impression that we make 
and sell McHughwillow only. We wish to call your attention to 
our splendid display of imported wall papers and old English chintzes, 
special order Furniture and Hand-woven Rugs in large and small sizes. 
JOSEPH P. McHUGH & SON 
The HOUSE 0 / the UNUSUAL „ N ° Q WEST 42 nd STREET, NEW YORK 
Catalogue 
reenheuses 
e ' Lend distinction to your gar¬ 
den by their graceful stately lines, 
yet are always so constructed that 
they furnish ideal conditions for the 
propagation of plant life. Litera¬ 
ture and estimates on request. 
KING CONSTRUCTION COMPANY 
420 King's Road, North Tonawanda, N. Y. 
All the Sunlight All Day Houses 
Branch Offices: 
New York, 1476 Broadway Boston, 113 State Street 
Scranton, 307 Irving Avenue 
Philadelphia, Harrison Bldg., 15th and Market Sts. 
Typical 16i th 
Century tile 
T y p i c a l 18th 
Century tile 
A Delft bell, a 
favorite pattern, 
18 th Century 
Knowing and Collecting Dutch Delft 
(Continued from page 19) 
The Dutch ware made to-day which 
passes with the old name is a glazed 
ware and not, like the old, an enamelled 
ware. In modern so-called Delft one 
can see through the glaze. As I have 
said, old Dutch Delft presents a com¬ 
pletely opaque surface. 
Just here I should say that in some 
of the later sorts of old Dutch Delft a 
glaze was added to the enamelled sur¬ 
face, but as the enamelled coating is 
there, one will readily recognize it be¬ 
neath the glaze. As the clay base of 
old Dutch Delft was so soft and friable 
the surface of a piece was entirely coated 
with the tin-enamel. While not metallic 
in the sense of its having a metallic 
lustre like the maiolica of Deruta or of 
Gubbio, light glinted across the surface 
of a piece of old Delft reveals a tinny 
sheen. While the surface will prove 
smooth to the touch, it will not feel 
glassy as with a glazed ware. 
So friable is old Delft that it is prone 
to chip at the edges, there revealing the 
brown body base of the under clay. A 
drop of strong acid dropped on the body 
clay thus exposed will effervesce, since 
there is carbonate of lime in the under¬ 
structure of old Delft. This body clay is 
so soft that it is easily cut with a knife. 
This cannot be said of the English Lam¬ 
beth Delft, which English ware, though 
inspired by the old Dutch Delft and con¬ 
temporary with much of it, was of a 
much harder body base, denser and more 
glossy than the Dutch clay. The enamel 
lay much more closely and evenly to the 
body base of old Dutch Delft than it did 
with the English Delft. 
Dutch Delft rarely crazed in the kiln; 
English Delft often did so and in con¬ 
sequence its enamelled surface came to 
be glazed to prevent this. 
Then one often finds the colors of the 
decoration of old Dutch Delft to have 
run, but neither under nor over the 
enamel surface,— into the enamel. This 
is because the colors 
were put upon the 
Dutch Delft while the 
enamel was still wet 
and fixed in it during 
the liquefaction and 
fixing of the surface 
coating during the 
firing of the piece in 
the kiln. With such 
pieces of English 
delft as show the col¬ 
ors of their decora¬ 
tion to have run, it 
will be seen distinctly 
that these colors have 
run upon the enamel 
of the surface and 
not into or with it. 
Finally the color of 
the clay body base of 
the Lambeth delft of 
England is buff. 
While Nature has given us a sense of 
blue skies, scientists will tell you that 
she has been overly sparing with this 
color in flowers and in bird-life. The 
Chinese had long placed blue as the 
first of the five colors nominated in their 
popular traditions. To blue they gave a 
symbolism rich and varied. They asso¬ 
ciated it with, the East, for instance, and 
again with wood. It was natural that 
it should have been a favorite color for 
the Chinese keramicist. The palace 
china of some of the early Chinese em¬ 
perors reserved the privilege of blue 
decoration, a blue, as an old Chinese 
writer tells us, as “seen through a rift 
in the clouds after rain.” It was not 
until the 16th Century that the Chinese 
obtained cobalt. This bright and vivid 
blue made speedy headway as against 
the grayer blues that, until then, had 
alone been produced by the Chinese 
keramic artist. Cobalt was introduced 
into China by either the Jesuits or the 
Mohammedans; the Chinese themselves 
named the color “Moslem Blue.” 
The Blue-and-White porcelain of 
China appears to have made a direct 
appeal to the Dutch potters. Blue was 
the earliest color used by them in their 
Delft decoration. Purple followed, and 
after that the green, yellow, brown and 
red of the Polychrome delft pieces that 
we know. 
English Copies 
We do know how popular the Dutch 
Blue-and-White became. Every year 
quantities of it found their way to Eng¬ 
land. Much of it was sold there at the 
Dutch Fair held annually in Yarmouth. 
King Charles II. soon came to fear the 
effect on local potteries of the extended 
importation of Dutch delft into England 
and in consequence issued a proclama¬ 
tion against this commerce, declaring the 
sale of Dutch delft in England as being 
“to the great discouragement of so useful 
a manufacture so late 
found out” at home, 
presumably by the 
potters of Lambeth 
who naturally would 
not be slow in at¬ 
tempting to imitate 
the Dutch ware so 
flourishingly in vogue. 
Probably Dutch pot¬ 
ters had come over to 
work in the English 
ateliers. In the Brit¬ 
ish Museum are in¬ 
teresting examples ot 
English delft, a par¬ 
ticularly interesting 
set of plates having a 
line on each, so that 
when the six are ar¬ 
ranged in proper or¬ 
der they form a little 
five-line verse. 
V 
