72 
Bathrooms of*greater 
beauty and comfort — 
( Book 
Here is a book that will 
give the home lover some 
idea of the remarkable pos¬ 
sibilities for greater beauty 
and comfort in the modern 
bathroom. 
It is practically a text book on a 
subject too often neglected—the 
selection of the right plumbing 
equipment for the home and the 
wonderful effects possible with the 
judicious use of tile. 
It tells you how to secure that de¬ 
lightful thing—a well designed and 
attractive bathroom—and without 
extra cost. 
Mott Plumbing has stood the test 
of time and has not been found 
wanting—it is not an experiment; 
the name itself is a guaranty of per¬ 
fection. 
All that is implied in that much 
abused and hackneyed word “sani¬ 
tary” is embodied in Mott Plumbing 
—and more, there is an excellence of 
design and finish that is inseparable 
from the name. 
Send for your copy now. Address Dept. A 
The J.L.MOTT IRON WORKS, Trenton,<N.J. 
Nlw \ ork. Fifth Avenue and Seventeenth Street 
•Boston 
•Chicago 
•Lincoln, Neb. 
•Jacksonville. Fla. 
•St. Raul, Minn. 
*Des Moines 
•Detroit 
•Toledo 
•Indianapolis 
•Dayton. Ohio 
*st. Louis 
•Kansas City. Mo. 
•Salt Lake City 
Newark. N. J. 
MOTT COMPANY, Limited 
•Montreal, *Toronto, 
Winnipeg. Canada 
MOTT CO. of PENNA. 
•Philadelphia, Pa. 
•Showrooms equipped with 
Pittsburgh 
•Washington. D. C. 
Columbus, O. 
Houston. Texas 
Portland. Ore. 
El Paso. Texas 
•Havana, Cuba 
MOTT SOUTHERN CO. 
•Atlanta. Ga. 
MOTT CO. of CALIFORNIA 
•San Francisco 
Los Angeles 
model bathrooms 
House & Garden 
Collecting Early American Clocks 
(Continued from page 27) 
In Pennsylvania we find David Ritten- 
house (1732-1777); Edward Duffield 
(1720-1801); John Child (1835) the 
most important among that state’s 
clockmakers. 
Of course the collector of early Ameri¬ 
can clocks will come upon hundreds 
whose makers are unknown. He will, 
too, find the shelf-clocks far more com¬ 
mon than other sorts, while the rara 
avis will prove to be an American-made 
wag-on-the-wall clock although hun¬ 
dreds of them must have been made 
prior to 1830. 
It was in 1809 that Eli Terry, Seth 
Thomas and Silas Hoadley formed the 
company of Terry, Thomas & Hoadley, 
and undertook the manufacture of wood 
clocks. In a year’s time Terry sold out 
his interest and gave much attention to 
perfecting the mechanism of the wood 
clock, bringing out one which he con¬ 
sidered satisfactory in all respects in 
1814. This was a thirty-hour clock with 
the dial works placed between the plates 
of the frame instead of between front 
plate and dial. It revolutionized the 
wood clock. The clocks by Terry which 
were of this type were called Pillar 
Scroll-Top Case clocks and their sell¬ 
ing price was then $15. In design there 
were two upright carved pillars at the 
front outside edges framing the sides of 
the clock and supporting a carved 
“Scroll” cap. The year 1814 witnessed 
the superceding of the long-case clocks 
by the shelf clocks as perfected by 
Silas Terry, and the old type of brass 
clock also gave place to the newer 
mechanism of Terry’s wood clocks. 
Chauncey Jerome set about the con¬ 
struction of a brass clock that would 
follow, in general, the plan of the per¬ 
fected wood clocks, and in this he was 
successful. Thenceforward (from 1840) 
the wooden works gave place to those 
of brass. 
The love of old clocks is fascinating 
and there is much collectors may dis¬ 
cover about early American clocks for 
themselves in connection with their col¬ 
lecting browsings. Such volumes as 
“The Old Clock Book” by N. Hudson 
Moore (Frederick A. Stokes & Co., New 
York) are within reach of all and con¬ 
tain much detailed information. 
Many of these old-time clocks keep 
excellent time—at least, in their own 
fashion. Not long ago one came the 
writer’s way which seemed unduly ob¬ 
streperous until, picking up Charles 
Dickens’ “Dombey and Son” his eyes 
fell upon a passage which led to a solu¬ 
tion of the clock’s regulation—“Wal’r— 
a parting gift, my lad. Put it back 
half an hour every morning, and about 
another quarter towards the afternoon, 
and it’s a watch that’ll do you credit”! 
The Hall of Stars 
(Continued from page 47) 
door, a meaningless space which had 
been formed by bringing the vesti¬ 
bule into the body of the hall. The 
awkward rectangle thus obtained was 
outlined with huge, dumpy pillars and 
pilasters, and was lighted by a window 
screened with an ugly wrought iron 
grill. The vestibule, which was exactly 
centered in the hall space, was doubly 
screened and darkened by iron grills, 
and so the light which finally managed 
to penetrate the hall was very inade¬ 
quate. So, having little daylight to 
begin with, I decided to sacrifice it en¬ 
tirely, and to depend on white paint 
and electric light. Deliberate artifice is 
often more sensible than making the 
best of things, and a heavy white silk 
curtain over a dim window is more 
pleasing than some airy thin stuff which 
accents an ugly iron grill pattern and 
seems to try pathetically to hide iron 
bars. 
In order to reduce the too-great space 
of the hall I had two dressing rooms 
built in, one on the left of the front 
door, which took in the left alcove and 
ran straight into the exaggerated stair¬ 
case. This made it necessary to turn 
the lower steps so that the direct path 
idea was destroyed, and the staircase 
seemed incidental and accidental, and 
not so compelling. The other dressing 
room was placed at the extreme end of 
the hall, adjoining the small service hall. 
These two dressing rooms furnished the 
hall with two extra doors, which added 
to its interest, and also made it pos¬ 
sible for guests to leave their wraps as 
they entered, and to do their primping 
before ascending to the drawing room 
floor above. 
The alcove on the right of the en¬ 
trance door had been an unfortunate, 
vacant affair holding a lone bench, and 
this I decided to fill somehow with 
green plants with at least the effect of a 
fountain. This was accomplished by 
sacrificing a little space, and making the 
recess circular instead of square. Within 
the circle was another circle, a black 
marble curb, which was designed to hold 
flower pots and some stone or marble 
figure. This curbed space had a drain, 
but no play of water, as my intention 
was to have a mass of flowers around 
some tall object of lead or stone. And 
so the Chinese element came into the 
scheme of the hall, for the perfect figure 
was a yellow stone Chinese lady of 
great and tranquil beauty. 
Until I reached this point of planning 
I had never conceived the idea of using 
Empire and Chinese things together. 
Certainly up to this point my plan had 
been absolutely Empire, because the thing 
I wanted most in the world to do was 
to make a black marble floor spotted 
with gold stars. I had but recently re¬ 
turned from Italy, where I was so 
thrilled by the beautiful pagan floors of 
the Sienna cathedral, and as I found it 
absolutely impossible to do a floor with 
white bulls and swans and sphinxes in¬ 
laid in black marble, I compromised on 
this simple floor of black terazzo regu¬ 
larly spotted with gold stars. 
Terazzo,_ as one uses the term in 
America, is a floor made of marble 
chips mixed with cement, poured and 
polished. The usual effect is too peanut- 
brittly for distinction, but by using 
black marble chips, and coloring the 
stuff in which they are mixed, we got a 
beautiful soft blackish gray which be¬ 
came lustrous black with oiling. The 
stars and the narrow band which fol¬ 
lows the contours of the room, are of 
brass, and of course had to be set be¬ 
fore the terazzo was poured. Having 
accomplished this lovely floor, we made 
a mantel of plain black marble. First 
we put on a few brass mounts on the 
mantel, but they seemed to add nothing 
to the beauty of the plain marble, so 
we took them off again. 
The walls of the hall were paneled 
most carefully and discreetly with the 
smallest and flattest possible moldings, 
and a plaster frieze of a simple repeated 
Empire motif was used. The baseboard 
was of plain black marble. The lighting 
fixtures were reproductions of Empire 
ones, lyre shaped, in dark green paint 
and gilt. 
The door into the vestibule and the 
window in the alcove necessarily had 
iron grills protecting them, grills of 
very ordinary design, and to screen the 
(Continued on page 74) 
