N—H—E533—BBBKlt 
62 
House & Garden 
Keeps Out 40 % More 
Cold Air Than Any 
Other Weather Strip 
There are two big reasons for the greater effi¬ 
ciency and economy of Monarch Metal Weather 
Strips. Their floating contact is an exclusive 
principle that can be used in no other weather 
strip. A tube within a tube further distinguishes 
them from the ordinary moulded strip that slides 
in a wooden groove. 
Comparative tests made by scientists have re¬ 
peatedly established the superiority of Monarch 
Metal Weather Strips as over 40% more efficient 
than any other known strip. They are metal tubes 
sliding within a metal tube—no binding or stick¬ 
ing—just like putting ball bearings on a window 
sash. 
The floating contact of Monarch Strips insures a 
constant frictionless contact between sash and 
frame that keeps out wind, water and dust. Every¬ 
one knows that wooden windows shrink and 
swell with the weather. No other strip fol¬ 
lows the sash and keeps up constant, even contact 
as the sash shrinks or warps. Without the Mon¬ 
arch floating contact no strip can maintain con¬ 
stant contact that will keep out the elements un¬ 
der all weather conditions. 
Monarch Metal Weather Strips soon pay for 
themselves in comfort, health and saving in fuel. 
Any Monarch dealer can prove to you that they 
keep out 40% more cold air than 
any other weather strip, no mat¬ 
ter what its cost. Easily, quick¬ 
ly and economically installed 
because they are fitted in the 
factory ready for attachment to 
your windows. 
An illustration of the 
exclusive design of Mon¬ 
arch Metal Weather Strips. 
The tube on the sash jits 
over the tube on the 
frame. The easy-sliding 
and weatherproof contact 
between them floats and is 
kept constant, regardless 
of any shrinking or swell¬ 
ing of wood parts of the 
windows , because of the 
flexible construction of 
the strip on the frame. 
Look up Monarch in the telephone 
book. If you shouldn’t find it, 
write direct to the factory, and 
we’ll mail you full information. 
MONARCH METAL PRODUCTS CO. 
5030 Penrose St., St. Louis, U. S. A. 
Canadian Branch: Canadian Metal Window 
Co., Toronto, Canada. 
MONARCH 
METAL WEATHER STRIPS 
The Story of Old Sheffield Plate 
{Continued from page 27) 
candlesticks were decorated in frank 
imitation of the rococo style then in 
fashion for silverware and there was 
not much in the way of original de¬ 
sign till about 1760. 
During the next period which is 
classified as late Georgian (from 1760 
to 1800) Sheffield plate rose gradually 
to its zenith, and in that wonderful 
decade—’70 to ’80, the art achieved 
perfection: design, construction, crafts¬ 
manship, were all faultless. The makers 
would seem to have assimilated all 
that was best in other branches of art 
and made theirs worthy of a high stand¬ 
ard of taste and culture that prevailed. 
The wine coolers and urns were in per¬ 
fect harmony with the Chippendale 
sideboards they adorned; the classic 
lines and decoration of Robert Adam 
were repeated in epergne and can¬ 
delabra; Josiah Wedgwood’s open¬ 
work china found an echo in cake- 
basket, sugar bowl and cream-pail of 
interlaced wire-work; the pierced work 
shows the influence of Paul de Lamerie 
and direct inspiration was sought from 
Sir William Chambers’ drawings of 
“Antique Classical Figures.” 
With the beginning of the 19th Cen¬ 
tury, almost abruptly, the ornate sim¬ 
plicity of late Georgian style went out 
of fashion. From about 1805 to 1815 
(the so-called Empire period) the taste 
for elaboration which had sprung up 
steadily increased. Larger pieces were 
demanded, with richer and more mas¬ 
sive decoration; the gadroon borders 
became wider and more intricate, em¬ 
bellished with shells, dolphins and 
leaves. Pierced work was superseded 
by a wealth of embossing in high re¬ 
lief, flat chasing and many varieties of 
fluting, and the work was finished with 
a glassy burnish. 
In the Late (or Florid period), from 
1815 to the end, this taste for richness 
increased, the borders became more 
floreated, fruit, flowers and figures were 
introduced, and although the predom¬ 
inating tendency was modified by the 
introduction of an arabesque style with 
long flowing curves ending in a leaf 
or flower, still it cannot be said that 
in the final phase, the prevailing taste 
in design was quite worthy of the 
inimitable craftsmanship which ex¬ 
ecuted and redeemed it. 
After the Victorian electro-plate had 
taken the world by storm — with its 
short cuts and simplifications — old 
Sheffield passed through a long term of 
neglect from which it has emerged only 
comparatively recently to the esteem in 
which it is held to-day. Twenty-five 
years ago pieces that now fetch high 
prices could be picked up cheaply 
enough, but although enormous quan¬ 
tities were made, especially of the late 
Georgian and Florid, there is a limit 
and the present demand has created the 
usual ample supply of reproductions 
and fakes. It is not, however, easy to 
imitate the old methods so as to de¬ 
ceive the wary. 
Of the many tests which tell the dif¬ 
ference, borders, edgings and moldings 
are among the surest. These, which 
characterize old Sheffield, were not 
merely added 'as an ornament in the 
modern way, but were necessary to 
strengthen the rims and to» cover the 
joins where otherwise a red line of 
copper might show; they were soldered 
into position with a scientific accuracy 
that is hard to imitate. When the join 
(or seam) was so placed that it could 
not be hidden by an edging, then it 
was soldered and finished so as to be 
almost invisible. But not quite; the 
join is always there, and if, after care¬ 
ful examination, it cannot be found, 
the piece is a modern reproduction or 
an old one that has been electro-plated, 
and spoiled from a collector’s stand¬ 
point. This “join” test is useful to 
ascertain the genuineness of an early 
piece—before the silver shield mounts 
were used, and before marks were gen¬ 
eral. Color and texture and durability 
also tell their tale to the discerning. 
Old Sheffield has a bluish tinge which 
cannot quite be copied in electro, nor 
can the hardness and durability be re¬ 
peated since it was the result of the 
long and steady rolling which tough¬ 
ened and rendered the metal more dense 
in a manner unknown in the imitations. 
Old copper tea-urns made contem¬ 
poraneously with late Georgian Shef¬ 
field and very similar in design are 
sometimes electro-plated and passed off 
'as genuine Sheffield with intent to de¬ 
ceive, and very well they do it (this is 
an interesting and almost worthy kind 
of treatment compared with reproduc¬ 
tions), but the mounts, which are not 
silver, are riveted instead of being 
soldered, and this gives them away as 
antique plate, though for tea-urns in 
the practical sense, they answer the 
purpose well. 
Playing Grounds for Country Places 
(Continued jrom page 40) 
The accompanying plan showing the 
arrangement of the game spaces on a 
property of moderate size will give 
some idea of the way in which these 
various sports may be located without 
detracting from the effectiveness of the 
place as a whole. Here all the needs 
of outdoor suburban life are taken 
care of within a small compass, yet 
there is no very definite feeling of in¬ 
tricacy in the arrangement nor a sense 
of its being overcrowded. The tennis 
court would be, of course, one with a 
turf surface in order that it may serve 
esthetically as a broad open space as 
well as practically as a play area. The 
lines of the clipped hedges should be 
softened wherever possible with clumps 
of solidly growing shrubbery. These 
hedges should be allowed to grow to a 
height of 6' and should be of hornbeam, 
arborvitae or some other just as pli¬ 
able material. Their soft green foliage 
will make an admirable background for 
whatever spaces they may enclose or 
separate, and they will tie the whole 
scheme together without rigidity, but 
with neatness and the least waste of 
valuable room. 
No other element of landscape design 
can equal in simple beauty the long, 
unadorned lines of the alley of a bowl¬ 
ing green if it is bordered with the 
proper sort of enclosure; no other com¬ 
paratively quiet sport can equal the 
game itself. Any treatment that de¬ 
tracts from its inherent simplicity can 
only spoil its effectiveness. Croquet, 
with its white painted wickets, its col¬ 
ored mallets and balls can certainly be 
picturesque, and what other game com¬ 
bines to such a degree skill and leisure¬ 
liness? Could any golfer, addict or 
amateur, resist the temptation to im¬ 
prove his putting on a clock golf green 
in his own back yard? The response 
to tennis is altogether too evident when¬ 
ever there is an opportunity. One thinks 
of it almost as the universal American 
outdoor game where four or two players 
are required. 
Somewhere there must be a place 
for at least one of these games and a 
garden. Properly planned and placed, 
the game space becomes an integral and 
decorative feature of the grounds. 
There is no excuse for its being other¬ 
wise. 
