House & Garden 
A Christmas Suggestion 
that Concerns the 
Family*s Health 
H ERE is a Christmas gift that will be 
welcomed by Mother, Father, the Children 
and even the maid. It brings joy and good cheer 
to the whole family and is a lifetime source of 
health and comfort. 
No longer will cooking odors, steams and 
greasy fumes float through every room and linger 
for hours in spite of open doors and windows. 
Your kitchen will be thoroughly ventilated, every 
trace of cooking odors will be removed and the 
atmosphere will be fresh and invigorating once 
you equip your kitchen with an 
Whether you do your own cooking or not, 
you will share in the comfort and good health bene¬ 
fits of an Ilgair because it ventilates the whole 
house, without affecting the cozy warmth needed 
in winter weather, and prevents your fine interior 
furnishings, woodwork and decorations from be¬ 
coming soiled and smudged with grease laden fumes 
from the kitchen. 
The Ilgair has long been used for ventk 
lating the modern kitchens in famous hotels and 
restaurants. Now it has been perfected for home 
use, and its service is far more important than the 
many electrical appliances you ve bought in the past, 
for it not only reduces housework, but has a direct 
effect upon the health of your entire family. 
Quickly installed in window or wall opening — 
costs less than a cent an hour to operate—the only ventilator made 
with a motor fully enclosed yet correctly cooled. 
Ask your electrical or hardware dealer for a 
demonstration of the ILGAIR, or write us 
direct for literature and name of nearest 
dealer , and make this anILGAIR Christmas. 
:sli 
FOR OFFICES • STORES • 
' FACTORIES • PUBLIC BUILDINGS 
RESTAURANTS -THEATRES ■ HOUSES 
ILG ELECTRIC VENTILATING CO. CHICAGO. 
2867 NORTH CRAWFORt) AVENUE 
Decorations in Camaieu and Grisaille 
(Continued from page 82) 
and Raphael took as models for their 
Vatican logge decorations, both intro¬ 
ducing camaieu and grisaille. Thence 
onward such decorative painting became 
popular with the Italian painters. An¬ 
drea de Sarto (1488-1530) was, perhaps, 
the peer of his contemporaries in this 
style of work, having won renown, in 
his youth with a “Baptism of Christ” 
in grisaille. Old Giorgio Vasari relates 
in his “Lives” that Andrea painted 
scenes in grisaille on the wooden fagade 
designed by Sansovino for the Church 
of S. Maria del Fiore on the occasion 
of the visit of Pope Leo X to- Florence. 
In Rome Polidore Caldara Caravaggio 
(1495-1543) had surpassed all others 
before him in grisaille painting. In 
Flanders and in Germany painting in 
camaieu and in grisaille took strong 
root. Indeed, early painting in color 
had come to employ, more often than 
not, a careful working out of the sub¬ 
ject in grisaille over which the color 
was applied in transparent glazes. 
Naturally, the French Renaissance 
introduced Italian camaieu and grisaille 
work to France. It found place in Fon¬ 
tainebleau and elsewhere. When the 
pompous walls of the period of Louis 
XIV made way for the more intimate 
necessities of the Louis XVI style, there 
seemed less opportunity than ever for 
the imitations of the antique; the fetes 
gallant held sway and also those deco¬ 
rations of which Voltaire hints in his 
verse, 
“J’ai vu ce salon magnifique 
Moitie lure et moitie chinois 
Oil le gout moderne et I’antique 
Sans se nuire, ont suivi leurs Lois.” 
But soon French taste began to tire 
of pastorals; and needed only the work 
of the discoveries at Pompeii to fire the 
return to the antique. From Naples to 
London Pompeii was on the lips of 
everyone with pretensions to culture and 
art appreciation. 
The Louis XV style could not hold 
out long against this new invasion of 
the antique. Indeed, the Louis XVI 
style anticipated by some twelve years 
the accession of Louis XVI to the 
throne. The grisaille by Le Sueur in 
the 17th Century Hotel Lambert in the 
Rue St. Louis, Paris, were now to 
have younger confreres in the Palace at 
Fontainebleau and elsewhere. The dec¬ 
orated walls of the apartments of 
Marie Antoinette at Fontainebleau stand 
forth as perfect examples of the camaieu 
and grisaille painting of the Louis XVI 
Period. While the Empire Period em¬ 
ployed wall panels painted in camaieu, 
the art of camaieu and grisaille paint¬ 
ing lost its importance by the dawn of 
the 19th Century. Delacroix’s grisaille 
paintings in the Palais Bourbon (Cham- 
bre des Deputes) and the grisailles by 
Abel de Pujol and Meynier in the Paris 
Bourse are about the only important 
works of this genre that were to ap¬ 
pear in the 19th Century, although 
passing mention may be made of the 
grisailles by 19th Century painters in 
the Louvre. 
ON HOUSE ® GARDEN’S BOOK SHELF 
D R. G. GRIFFITH LEWIS, 
whose new and fifth edition of 
“The Practical Book of Orien¬ 
tal Rugs’” (J. B. Lippinqott Com¬ 
pany, Philadelphia, Pa.) has ap¬ 
peared, has long been recognized as an 
authority on the subject. Never has 
public interest in fine rugs been greater 
than at the present day. Good orien¬ 
tal rugs are, indeed, scarce enough. 
Dr. Lewis remarks that most of the 
rug-making people of the Orient have 
been annihilated or transported, and 
those left after the war’s ravages have 
eaten their sheep and made their wool 
into clothing. Says he: 
“The family looms of the East are 
silent and broken and there will be 
little or no weaving in the future. It 
is one of the pitiful results of the war, 
for truly there is a wealth of beauty 
and world of sentiment in these magic 
carpets of the Orient.” 
This present-day scarcity of orien¬ 
tal rugs has whetted interest in every¬ 
thing that concerns them, and Dr. 
Lewis’s new edition of “The Practical 
Book of Oriental Rugs” is a most op¬ 
portune addition to the lore of the 
subject. Twenty plates now take the 
place of the ten plates of the earlier 
issue, while a chapter on Chinese rugs 
—one of the best in the book—has 
now been inserted. The systematized 
and tabulated information regarding 
each class of oriental rugs in the mar¬ 
ket makes this volume an invaluable 
reference work. 
Home makers will find absolutely 
dependable hints in Dr. Lewis’s book 
on selecting, purchasing, the care and 
cleaning of rugs as well as for the de¬ 
tection of faked “antique” specimens. 
The book is prolific in full-page color 
plates and double tones, while numerous 
line drawings are included as well as a 
chart showing the distinguishing fea¬ 
tures of the different varieties of orien¬ 
tal rugs and a map of the Orient drawn 
with special reference to the rug-pro¬ 
ducing centers. An extended glossary, 
bibliography and index complete this 
handsome and invaluable book, a work 
that ought to find its way into every 
home that can boast of a collection, 
large or small, of oriental floor cover¬ 
ings. 
W ITHOUT question “French 
Furniture Under Louis XV” 
(Frederick A. Stokes Co., New 
York) by the eminent French author¬ 
ity, Roger de Felice, translated by 
Florence Simmonds, is the best intro¬ 
duction to the subject we have in an 
English text. This volume is issued at 
so moderate a price that it is within 
the reach of everyone and should be 
on the bookshelves of everyone inter¬ 
ested in decoration. 
While this is high praise, it is not 
misplaced enthusiasm, Too few books 
on the subject of furniture combine the 
admirable qualities of style in writing 
and historic accompaniment as en¬ 
dowments of fact. “French Furniture 
Under Louis XV” is delightful read¬ 
ing as well as authoritatively informa¬ 
tive, and the translator has maintained 
the standard of the French original as 
few could. 
“Many persons,” says the author, 
“are inclined to see in the Louis XV 
style only a very sumptuous and pro¬ 
fusely ornamented elegance more in 
keeping with the pleasures of roues 
than with the simple family life of 
sober business folks like the majority of 
us. . . It is, however, hardly necessary 
to point out that these examples no more 
represent the sum of Louis XV furniture 
than the King, his favorites, and his 
boon companions represent the sum of 
French society, or Van Loo, Boucher and 
Nattier the sum of French painting.” 
M. de Felice makes clear to the 
reader just what forms of furniture are 
characteristic of this period which fell 
in what has been called “at once the 
most frivolous and the most serious of 
centuries.” 
Some hundred finely printed halftone 
plates fully illustrate the text and enrich 
the appearance of the book. 
