50 
House & 
Garden 
WEL- CEO 
I ong Toleration 
-/of a nuisance 
in the home may 
numb one’s sense of 
fitness and promote 
the belief that others 
do not notice what we 
ourselves fail 
to see. 
Loud flushing 
closets are a 
nuisance and a 
source of embar- 
rassment that 
good taste is 
making obsolete. 
THE 
TRENTON POTTERIES COMPANY 
Silent 
Closet 
is now used in so many modern homes, hotels and 
apartments that sensitive people feel the embar¬ 
rassment of a noisy closet more keenly than ever, 
and are inclined to consider its presence a mark 
of poor taste. 
The Si-Wel-Co Closet flushes silently. The entire 
operation is noiseless and cannot be heard out¬ 
side the bathroom. The mechanical construction is 
superior in every respect, being self-cleansing, non- 
corrosive and durable. 
The Si-Wel-Clo Closet is but one fixture in the 
Tepeco Line of All-Clay Plumbing. In point of 
permanence, satisfactory operation and freedom 
from the usual aftermath of plumbing bills, Tepeco 
All-Clay Plumbing is a decided economy. 
Chinese Wall Papers of a Century Ago 
(Continued from page 25) 
show human figures in landscape set- principal room of a residence of the 
tings. These designs represent the times. 
Chinese engaged in the various ac- The paper upon which these decora- 
tivities of their daily life; in the tions were painted is of a fine quality, 
' cultivation of tea, in silk culture, tak- smooth, tough and somewhat translu- 
ing part in fetes and in religious cent. It was built up of three thick- 
processions. These “subject” papers are nesses pasted together one on the top 
in rich colors that are skilfully harmon- of the other, making a strong flexible 
I ized and show the same keen color sense sheet. Owing to the fact that the light 
that is a notable feature of the fine old penetrates the thin layers, the paper has 
i Chinese decorated ceramics. a certain degree of luminosity. It is 
An unusually interesting paper show- frequently spoken of as “rice paper,” 
ing a landscape subject is that in the but is probably composed of the fiber of 
Cadwalader Room in the Metropolitan one of the several plants from which the 
Museum of Art. It was made in China Chinese have made paper from a very 
for the English market probably in the early date. 
time of George I. It is lined with linen Not only were these papers imported 
cloth and interlined with the pages of in considerable numbers up to a hun- 
a Latin book of a religious character dred years ago, but they were copied, 
which is supposed to have reached French and English artists reproduced 
China through the missionaries. them by hand painting and derived ideas 
The technique varies widely in dif- from them for compositions of their 
ferent papers for the design in each in- own. Makers of hand blocked wall 
stance expresses the personality of the papers also brought out designs of this 
artist, his powers of observation, of kind. A notable reproduction of an old 
imagination and of feeling, his respon- Chinese paper is one that was printed 
siveness to the beauty of nature or his by Zuber at Rixheim in the 18th Cen- 
attitude toward life. Notwithstanding tury. It shows trees, flowers and birds 
this individuality, resemblances are in the characteristic bright but well har- 
found among certain of these old papers monized colors on a white ground. The 
that seem to indicate changes of style original wooden blocks from which it 
marking different periods in the develop- was printed were preserved and used in 
ment of the art. In general, the older printing this design by hand up to the 
papers show simpler, firmer and more beginning of the present war. 
careful drawing than those of a later 
date. The tendency toward freedom be- Ineir Modern Use 
came more and more evident until a A great variety of decorative char- 
sketchy style was reached. The draw- acter is seen in old Chinese wall papers, 
ing and composition were consistent at Those that are strong in design and 
each stage of development for the care- rich in coloring are suitable for the 
fully drawn designs are of severe and dining-room or hall, reception-room or 
simple composition, while those of the breakfast-room. 
sketchy type are sympathetic and inti- They may be used all over the wall 
mate interpretations showing a free ar- or in panels according to the conditions 
rangement of the subject matter. met within the room. If used on the 
. whole wall, care should be taken that 
Hanging the Paper the doors and windows do not cut into 
A set usually consisted of twenty-four important parts of the design in an un¬ 
strips, each about 12' high and 4' wide, pleasant way. If the sense of balance 
though sometimes there seem to have in the design is disturbed unavoidably 
been only twenty strips or even fewer, by any of the architectural features of 
Sometimes, too, the strips are of smaller the room this effect may be remedied 
size. The designs carry around the at least to some extent by cutting out 
room continuously, each strip matching suitable motifs, from some part of the 
onto the next one when they are ar- paper that has been removed in fitting, 
ranged in the proper order. No two and applying these motifs where they 
strips of a set are alike in design though will restore balance to the composition, 
they are sufficiently similar in general The papers are now often put up in 
appearance to produce an effect of unity such a way that they can be removed 
when on the wall. Though the motifs from the walls easily without injury, 
are massed irregularly, varying in weight and used again. 
from strip to strip, the composition is These wall papers are historically cor- 
so planned that the whole design gives rect for use with interior woodwork and 
a satisfactory sense of balance. The furniture showing the characteristics of 
freedom from repetition makes these de- the French periods of Louis XIV, Louis 
signs of unending interest. A set of the XV or Louis XVI; the English styles 
dimensions given was sufficient to cover of William and Mary, Queen Anne, or 
the walls of a room measuring 96' in the Early Georgian period; and in 
girth, probably the average size of the rooms in our own Colonial style. 
The War Garden Department 
Write for the Book B-8 “Bathrooms of Character,” a complete 
treatise on bathroom planning, cost of installation, etc., profusely 
illustrated with color plates of sample bathrooms to suit any 
type of house from a $3000 house to a milliomdollar mansion. 
THE TRENTON POTTERIES COMPANY 
TRENTON, NEW JERSEY, U. S. A. 
The World’s Largest Makers of All-Clay Plumbing Fixtures 
(Continued from page 47) 
If fruit is very juicy, use less water 
than the recipe calls for. 
Fruit Juices: Crush the fruit, and 
to every fourteen cups of crushed fruit 
add one cup of water. Cook this over 
a low fire or else in an improvised 
double boiler so that the fruit juices 
will be extracted slowly. Pour the 
stewed fruit into a jelly bag and allow 
juice to drip. Let extracted juice stand 
for several hours so that sediment may 
settle, then carefully pour the juice into 
bottles fitted with corks. Set these 
bottles in a vessel of water deep enough 
to allow it to come within 1 inch of 
the top of the bottle. Bring water to a 
boil and continue boiling for twenty to 
sixty minutes, the time depending on 
the size of the bottles. Press corks 
down firmly after bottles are removed 
from steamer, and then coat the tops 
very liberally with sealing wax. 
Sugar to taste may be added to the 
juice before it is sterilized. Juice that 
is not sweetened, but preserved in this 
manner, may be used for jelly making 
during the winter. 
Dry fruits, such as apples, quinces, 
etc., need more water than the amount 
given above. 
Jelly Making: Select fruit just ripe 
or a little underripe. Wash it, remove 
stems and imperfections, and if neces¬ 
sary cut it into pieces, but use both 
skin and core. With dry fruits, suph 
as apples, quinces and plums, water 
enough to cover the fruit must be added. 
Allow the fruit to simmer slowly to 
extract the juice. Then strain this 
(Continued on page 52) 
