70 
House & Garden 
Qustom says “Candles 
for the Dining-room ” 
What modern hostess could even think of illumi¬ 
nating her silver, linen, glassware, her guests or her¬ 
self with other than the kindly glow of candle-light! 
Living-room, library, boudoir, reception hall 
offer no less an opportunity for pleasing effects in 
candle illumination. Each room has its appropriate 
candle, chosen to harmonize in design and color with 
furniture and decorations. Candle-light adds smart¬ 
ness and tone, beauty and refinement, to any room. 
Candles bearing the label “Atlantic ” are superior 
in quality of materials. Each is a masterpiece of art 
and craftsmanship. They give a delightfully steady, 
smokeless, odorless light and burn down evenly with 
a perfect “cup.” 
There is an Atlantic Candle for every purpose 
and occasion—in a variety of styles, colors and sizes. 
You should find them at your dealer’s. Atlantic 
Candles are easily identified by the label on the box 
or the band on the candle. 
THE ATLANTIC REFINING COMPANY 
Philadelphia 
ATLANTIC 
CANDLES 
The Ancestor of the Skylight 
{Continued from page 68) 
Bethlehem, Pa„ the bell-topped open 
louver, surmounted by a wrought iron 
Agnus Dei weathervane, not only pro¬ 
tects a bell but also gives access to the 
balustraded deck which is not far re¬ 
moved in form from the “captain s 
walks” to be seen atop many old Salem 
houses. The intimate connection be¬ 
tween the louver and the ventilator- 
skylight-lookout, that made the central 
feature of the “captain’s walk,” can 
easily be traced. 
How much of the total of its pleas¬ 
ing finish the architects’ office illus¬ 
trated here owes to the exceedingly 
well-designed octagonal louver, with 
copper-covered top and base, set at the 
junction of the roof ridges, the reader 
can readily determine without much 
effort of the imagination. Incidentally, 
this louver acts as a ventilator and an 
auxiliary skylight for the firm’s private 
draughting-room, which extends upward 
the full height of the building. 
There is nothing to be gained by mul¬ 
tiplying instances. The examples shown, 
and those that one may see from time 
to time, are quite sufficient for illus¬ 
trative purposes. The gist of the whole 
matter is this. Ventilators and sky¬ 
lights are just as necessary now as they 
ever were. There is no good reason 
why these utilitarian features should be 
unmitigatedly ugly, as they too often 
are, when by the exercise of a little im¬ 
agination and thought they can be made 
effective items of architectural charm 
and distinction. Derived as both of 
them are from one source, that source 
—the louver—furnishes a wide diver¬ 
sity of forms in which they can be ap¬ 
propriately embodied without suffering 
any diminution of utility. As a detail of 
architecture it would be absurd if not 
useful. 
Furthermore, the louver is not pecul¬ 
iar to any one architectural style. It 
was freely employed in Gothic times; 
some of its most graceful developments 
occurred during the English Renais¬ 
sance ; it was in common use all through 
the Georgian period in both England 
and America; and it was a well recog¬ 
nized practice in the late 18th and early 
19th Centuries, to place skylights, in 
the form of louvers, above the stair 
wells of city houses, a use still in vogue 
where there is no other means of lighting. 
Last of all, the louver is equally as 
pertinent and becoming upon small 
buildings as upon large. It is really an 
architectural crown, and as a finishing 
point of composition, to which the gaze 
is naturally and irresistibly led, it pro¬ 
vides an admirable and legitimate op¬ 
portunity for such treatment that the 
eye of the beholder may be gratified and 
the building upon which it is set prop¬ 
erly graced by its presence. 
COSTEN FlTZ-GlBBON 
How To Group Furniture 
(Continued from page 52) 
serves all purposes of a table, but being 
smaller and lower. We might in cer¬ 
tain cases add a footstool in front of 
the chair. Directly in back of this 
group and in fact forming part of the 
group we have a good space for a fair¬ 
sized bookcase and the effect of a heavy 
piece there will be pleasing as it will 
balance the piano in the opposite corner. 
We still have the two corners of the 
west wall on each side to take care of 
and, as a suggestion we would show a 
desk and desk chair or a cabinet in one 
side and a chair and tabaret in the other. 
If we had a victrola, this corner would 
make a good place for it with a chair 
close by. This still leaves a bare wall 
space on the south just to the right of 
the entrance door. A chair here will 
fill the space, will balance the chair on 
the other side of the doorway, and it 
is near enough to the center of attrac¬ 
tion to complete the circle around the 
fireplace. It also adds to the music 
group by becoming part of that group. 
Permanent Pieces 
Since we are quite satisfied that we 
have determined what pieces of furni¬ 
ture we need to set off our room, a 
brief description of the several pieces 
will help us in making the selection. 
The davenport and table are to be, we 
might say, permanently fixed, that is, 
they are not to be moved about the 
room under ordinary circumstances, and 
therefore may be heavy pieces, the dav¬ 
enport preferably being an overstuffed 
model. The easy chair of the reading 
group would be well to be of the same 
design as the davenport, its position 
also being nearly permanent. The chair 
to the right of the door, in the music 
group would be well to be of lighter 
type, say upholstered seat and back, 
perhaps high back, and wood arms. 
And the chair at the other side of door¬ 
way to be a side chair, perhaps of same 
design as the one used for desk chair. 
No room is complete without one chair 
of this style, as we often want to draw 
an extra chair up to enlarge a group, 
for conversation or cards. 
For Square and Narrow Rooms 
Figure 3 demonstrates a good ar¬ 
rangement of furniture in a room 
18' x 20'—the square type. Notice the 
position of the davenport directly in 
front of fireplace and the table in back. 
Chair (L) takes its place with the 
lounging group, extending welcome to 
come in and sit down as you enter the 
door, without which the first impres¬ 
sion might seem cold, as the back of 
the davenport faces the door. The vic¬ 
trola is omitted. 
Figure 4 demonstrates a good ar¬ 
rangement of furniture in a room 
13' x 24'—the long, narrow type. The 
davenport is placed against the wall 
opposite the mantel, as, in such a nar¬ 
row room, it is near enough to the fire¬ 
place. With the two easy chairs beside 
the hearth it completes the circle 
around the fire. Here we have omitted 
the victrola and bench. Notice the ar¬ 
rangement of furniture along the wall 
to the right of the entrance door, with 
the table in the center, in front of the 
windows, and the side chair at each 
end. (One side chair added K') This 
setting is separate from the groups in 
the rest of the room, as the passage 
from the entrance door to the enclosed 
porch is an important one and must 
not be blocked. Nor would it be proper 
to have any group, such as a reading 
group, at this end, which would neces¬ 
sarily be disturbed by frequent passage. 
An upright piano is shown here instead 
of a grand. 
