106 
House 
& 
Garden 
Hathaway Furniture 
Expresses an Ideal 
, Hi 
m 
II ATHAWAY’S is more than 
* * a place to buy Furniture. 
It is an institution devoted 
to serving a patronage that is at 
once discriminating and ap¬ 
preciative. 
Our pleasurable task, as we see it, is to 
interpret the preferences of this pat¬ 
ronage in terms of Good Furniture and 
the lowest cost consistent with the re¬ 
quired standards of character; and fur¬ 
ther, to safeguard in every way the 
satisfaction of Hathaway customers. 
Their fast-increasing number is evi¬ 
dence not only of our own success in 
attaining this ideal, hut of a growing 
appreciation of Furniture excellence, 
fair prices and a sincere desire to serve. 
The Walnut Dining Suite, from which 
the above illustration is taken, is a splen¬ 
did example of the Elizabethan treatment 
at its best. It has all the dignity, strength 
of contour and fineness of detail charac¬ 
teristic of the style. 
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WAHATHAWffif 
♦ COMPANY • 
& 
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62 'WEST -4r\TH STREET 
NEW c J ~ 
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Decorating the H 
(Continued 
the chimney-face, or in the panels be¬ 
tween the windows. These tiles can 
be in soft or brilliant colors, in patterns, 
or in just a frieze of one color. 
The charm of stucco both as a build¬ 
ing material and as a power for 
interesting decorative detail has been 
known for centuries. The Persians and 
the Moors realized its great possibili¬ 
ties, as did ancient Greece and Rome. 
The stucco of the early days in Europe, 
especially that which is so much ad¬ 
mired today in the French and Italian 
villas was made with lime; but for our 
colder climate here, we find the intro¬ 
duction of Portland cement essential. 
Frequently today stucco panels, in or¬ 
namental form, are used in connection 
with brick work. The entire front of a 
building may have the decoration in 
terra cotta. The varieties of beauti¬ 
ful effects which can be obtained by the 
architectural decorative detail of these 
materials is almost beyond belief. One 
may remember Rodin studios in New 
York with that splendid succession of 
Gothic windows reaching from doorway 
to roof, entirely developed in terra 
cotta. 
If there is any doubt as to the pos¬ 
sible beauty and durability of ornamen¬ 
tal terra cotta, remember your first 
glimpse of the Palazzo Communale in 
Bologna, the gentle Virgin and Child 
set in the rich frame under the pro¬ 
tecting hood a bit of decorative de¬ 
tail dating from the 15th Century. Or 
the delicate terra cotta arches of the 
Cestosa of Pavia, at least eight hun¬ 
dred years old. And then realize that 
whatever rich structure and fine orna¬ 
ment was accomplished in terra cotta 
or plaster six hundred years ago can 
be repeated by the manufacturers to¬ 
day, and our homes made as lovely 
by the use of architectural detail as 
these old palaces and dwelling houses 
we are so accustomed to think of as 
unique. Some very splendid examples 
of this sort of decorative ornament 
date back at least two thousand years; 
but fine as these are, it is more to the 
Renaissance use of terra cotta and plas¬ 
ter that we turn for inspiration. 
ouse from Without 
from page 76) 
Many architects have long ceased to 
use the old designs as models. They 
design the ornamental detail for their 
own houses and so far as possible have 
it incorporated in the construction. As 
a rule this decoration has no color. It 
is the same material as the house and 
is apt to be low relief though not in¬ 
evitably so. If one is seeking for color 
there is a preference today for tiles and 
a very simple dwelling can be immensely 
enriched with a sufficient variety and 
number of brilliant tiles, arranged es¬ 
sentially as ornament. 
Of course architectural ornament of 
almost every description, metal, tile, 
plaster, terra cotta, wood can be had in 
stock designs, which greatly lessens the 
expense; and if used with imagination 
and skill can add vastly to the beauty 
of almost any type of modern house. 
It goes without saying that ornament in 
stucco or terra cotta would not be used 
ordinarily on a house with half timber 
construction or on a stone house. Its 
value is limited to houses needing just 
such decoration and profiting by it. 
All through California you see the 
very simplest stucco houses with walls 
as plain as the material can be laid on, 
but with here and there an intensely 
ornamental note in brilliant tiles, not 
only in the exterior of the house but in 
the garden walls and over the gates. 
The effect is extraordinarily beautiful, 
especially if adequate planting has been 
gained and the tiles seem to peer 
through green draperies. 
Of course, no architectural disaster 
could be greater than the over use of 
ornament or the wrong use of it. It 
must be appropriate to the construction, 
in color, design and placing. When 
once incorporated it must seem an 
actual part of the construction and it 
must never for one moment interfere 
with the beauty of the original form of 
the house. If any of these rules are 
defied, architectural ornamental de¬ 
tail would better be entirely ignored. 
While to handle it with wisdom, experi¬ 
ence and appreciation is greatly to in¬ 
crease the attractiveness of modern 
domestic architecture. 
HOW TO CARE FOR FLOORS 
OTHIXG so quickly mars the ap- 
-1-^pearance of an otherwise attrac¬ 
tive room as an ill-kept shabby 
floor. How often we see a beautiful rug 
surrounded by wood streaked and 
chipped, lovely furniture placed on un¬ 
sightly floors, the result not so much of 
neglect as improper care. 
When we tire of our curtains it is a 
simple matter to renew them. Furniture 
is constantly moving about and the en¬ 
tire character of the room can be 
changed by a new wall paper. But 
floors are permanent and should be of 
the best materials procurable, well laid 
in the beginning and finally well cared 
for. A cheap floor is very poor 
economy. 
As varnish is easy to apply and keep 
clean, it is used to finish the majority 
of floors. The parts of the floor that 
receive the hardest wear soon become 
shabby in appearance and no successive 
coats can quite repair the damage. For 
this reason small rugs should be used in 
halls, in front of doors and windows 
spots that receive the greatest amount 
of usage. 
Varnished floors keep their color long¬ 
er if no water is used on them. If very 
dirty, however, warm water and a good 
soap may be used if the floor is wiped 
dry immediately and then polished with 
an oiled cloth. Do not use ammonia in 
I the water, as it destroys the varnish and 
eventually darkens the wood. Other¬ 
wise a soft brush or mop will be suf¬ 
ficient. If a broom is used it should be 
covered with a piece of flannel. After 
this the floor may be polished with a 
soft cloth moistened with kerosene or 
a good floor oil. Care should be taken 
that very little oil is used, as too much 
is apt to darken the wood. A good 
floor oil that can be easily mixed at 
home consists of boiled linseed oil 
thinned with three parts turpentine. 
Scratches and spots can be removed 
with kerosene and very worn spots may 
be somewhat improved by this treat¬ 
ment. When worn right down to the 
wood, however, a fresh coat of varnish 
is imperative. 
For painted floors the treatment is 
much the same. They can be kept clean 
with a soft brush or broom wrapped in 
flannel and then polished with a cloth 
or mop slightly moistened with oil. 
They may be wiped up occasionally 
with a damp cloth if dried immediately 
afterwards. Very little water should be 
used and any violent scrubbing with a 
brush will scratch and chip the paint. 
In other words, use very little water 
and no strong soaps or powders on a 
painted floor. 
Wax—that loveliest of all finishes— 
requires quite a different treatment from 
either a painted or varnished floor. 
(Continued on page 108) 
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