130 
House & Garden 
Pattern No. 2714 (pictured here) is 
the McKinney Ball Tip, a loose- 
pin butt of ■wrought steel, with 
non-rising pins. Made in stand¬ 
ard sizes and in any desired 
color — bronze, antique copper, 
bright or oxidized brass, bright 
or dull nickel, silver, etc. 
_ 41 L l 
' * ; 2 _“. ; 
- 
"■ T ~ n 
,ai; I't-I 
•mm 
-j 
The Tireless Sinews 
of Every Door 
H INGES stay forever on duty, even on a door seldom used. 
These little metal servitors must hold doors true, alertly 
ready with mute response to the lightest touch. Only some weak¬ 
ling hinge is guilty when any door opens hard or closes squeakily. 
Choose hinges of a pedigreed family—the McKinney clan of 
hinges, for certainty of satisfaction. Hinges thus certified have 
proved their door-ability since 1865. 
McKinney Hinges meet the need in looks, as in vital strength 
and fine precision. Color, design, range of choice, fitness for use 
with this finish or that—all these are considered in the book, “Sug¬ 
gestions for the Home-Builder.” It tells an interesting story of 
hinges, and has much additional data useful in planning the home. 
This book, and another which shows new ideas in garage-door de¬ 
sign, will be cheerfully sent without charge. Please address: 
McKinney manufacturing company 
Pittsburgh, Pa. 
Western Office: Wrigley Building, Chicago 
M c KINNEY 
Hindes and Butts 
and Hardware 
Oarage hardware, door hangers and track, door bolts and latches, shelf 
brackets, window and screen hardware, steel door mats and wrought specialties. 
Bradley & Merrill 
An allover foliage paper in 
light grays will make a small 
hall seem larger. By cour¬ 
tesy of F. J. Emmerich 
Papers with vistas in should 
be used in narrow halls as 
they create the effect of space. 
Above is one in gray and tan 
Wall Papers for a Variety of Hallways 
(Continued from page 126) 
isn't really plain. Look at it closely, tial. Use light colors. Let yellow domi- 
Always there are little flecks of light nate. Use pattern which shows enough 
and dark, a suggestion of some woven movement to suggest space, 
fabric, a little fine line pattern, criss- There are patterns not landscapes, 
cross up and down, or heavy emboss- patterns with flowing figures and lines, 
ing which makes a raised pattern of its where the eye travels unerringly and 
own into which the carefully blended easily on and on, which in lesser degree 
colors rise and fall pleasantly. Long increase the size effect. Sometimes they 
experience has taught the manufactur- come in large figured tapestries with 
ers of wall paper that people cannot big palm leaves or bunches of foliage, 
live with paper that is perfectly flat, sometimes in large formal figures where 
It is too monotonous. Consequently, the motives are so intertwined that 
the so-called plain papers have just you stop—nowhere—yet the movement 
enough variation in color to give a feel- is easy and graceful, thoroughly de- 
ing of substance, texture, interest, which lightful. 
gives a varied effect and throws the There is one more point, and a point 
light back into the room pleasantly, which applies to all halls, large or small 
and unexpectedly. when the wall spaces are fairly un- 
So it is a question of pattern from broken. It’s dreary walking down a 
the so-called plain up to the ornate long corridor where there is nothing to 
scroll and the dignified classic panel, look at. How much pleasanter to have 
through all the intermediates of blends, the space broken by something genuine- 
tapestries, and formal figures. There ly entertaining and attractive. Some- 
has always been discussion over the ad- thing interesting, something to break up 
visability of using patterned papers in the big monotonous spaces, designs go- 
a narrow, dark hall. Let us go out of ing on and on, up and up. To one who 
doors for a moment, into the fields, has not played with these pattern pos- 
Everywhere stretches wide, open coun- sibilities, who has not seen the trans- 
try. The greens slope off in long hori- formations from dullness, dreariness, 
zontal stretches, the trees reach up dark drabness to interest, pleasure and 
against a light sky they never seem to brightness, this may all sound far- 
be able to reach; the sky limitless al- fetched and impossible. But once the 
ways in its boundless lightness. The satisfactory paper is placed in the hall, 
changing intensities of the very bright once the right color and pattern are 
dark notes near at hand and the al- found, it speaks for itself and is a con- 
ways grayer receding notes in the dis- vincing argument for all time, 
tance carry one farther and farther There is another kind of hall with 
afield. The whole aspect is one of depth, wall spaces cut up by doors and win- 
Apply this same 
principle, for it is a 
principle, to the deco¬ 
ration of a narrow 
dark hall. Use a pat¬ 
tern, perhaps a land¬ 
scape which suggests 
wide vistas which 
gives an alternation 
of darker tones near 
you, lighter ones in 
the distance, reaching 
off into limitless 
space, the sky. It 
doesn’t actually move 
your wall an inch. 
But it does make the 
whole space seem to 
spread out. You for¬ 
get its limitations. 
The mere movement 
of the alternating 
planes spreads the 
space, makes you 
forget the wall. 
This is the answer 
for all of our halls 
where light and 
movement are essen- 
A paper, Chinese in feeling, 
has a bright yellow ground 
and a design in blue, rose and 
black. From F. J. Emmerich 
dows. In this case, 
there is usually only 
one corner, the wall, 
and the side of the 
stairs to paper, the 
wall space enclosing 
the stairs being oc¬ 
cupied by a door 
leading to the cellar 
stairs. There is only 
one thing to do here: 
keep the few spaces 
as plain and un¬ 
broken as possible in 
order to help unify 
the effect. The lines 
of doors, windows 
and banisters tend to 
offer distraction in 
their limited quarters 
and need something 
to pull them together, 
not something to add 
more variety. This is 
for the plain paper. 
Tone it in color and 
lightness so as to 
present as little 
( Cont. on page 132) 
