106 
House & Garden 
IS 
IDIRECTORYd/DECORATION & FINE ARTS 
HR 
Every Mary Lucy Banks Basket 
Beautifies The Home 
Mfv _ r,ie lovely twisted handle gives this graceful basket a peculiar distinction. 
, °' If the basket is in pastel shades with sprays of flowers as illustrated, the 
handle is black. It is also very smart painted black with a bright band of conventional de¬ 
sign, the handle in bright Blue. Kose, Green, Orange to harmonize. Price $6.50 prepaid. 
N/% fil S_A Refreshment Basket with spaces for ten tumblers, and for pitcher or 
Sandwich plate in center. Coloring, Blue, Yellow, or Rose with Black 
handle and rim. Price $10.00 prepaid. 
The Second Wedding Anniversary is “Straw” A MAR Y L UC Y BA NKS BASKET 
mattes an appropriate gift . 
MARY LUCY BANKS 
196-200 Ninety-First Ave. Hollis, L. I., N. Y. 
STUDY 
INTERIOR 
DECORATION 
Complete instruction in the 
use of period styles, color 
harmony, composition, tex¬ 
tiles, curtains, wall treat¬ 
ments, furniture arrange¬ 
ment, etc. RESIDENT and 
HOME STUDY courses. 
Enroll now. Send for Catalog H-6 
Zke NEW YORK SCHOOL of 
INTERIOR DECORATION^ 
IOI PARK. AVE - NEW YORK. CITY 
Antique Oriental 
Rug Certainty 
Because Persia is exhausted 
and other sources nearly so, 
resulting in importers not re¬ 
ceiving 1% of former supply 
of antiques, and BECAUSE: 
through foresight based upon 
consular reports, I own a large 
stock of thick antiques, in¬ 
cluding Persians, you are 
invited to know these glories 
by writing for new descriptive 
list, prices at the low. 
Read the list, note the 
credentials, indicate your 
preferences. I adhere to your 
requirements and pay express 
on approval, thus, making 
your final selections free of 
hypnotic salesmanship. My 
books show that my custom¬ 
ers invariably buy more than 
they anticipated. 
L. B. Lawton, Skaneateles, N. Y. 
HIGHEST QUALITY—BUT NOT HIGHEST PRICED 
IRc REED SHOP. Inc. 
9 EAST 57TH STREET, NEW YORK 
“Suggestions in Reed Furniture” forwarded on receipt of 25c postage. 
SPECIALISTS IN SUN-PARLOR FURNISHINGS 
Our Distinctive Importations of Decorative Fabrics offer 
every advantage to those desiring to avoid the commonplace. 
Qenuine 
Sfceecl^u/Tiifiire 
Luxurious Comfort is the 
only term that adequately 
describes the Charming New 
Model here illustrated. This 
Design is also obtainable in 
a complete Suite. 
Our Personal Service in 
aiding patrons to secure just 
the Design and Coloring that 
appeals to their individual 
taste is an advantage not 
found in the average store 
where selection is usually 
confined to the stock on hand. 
Over seven hundred years ago, Venice was mak¬ 
ing decorative fragile glass. The ornamental 
amber colored pieces above are reproductions of 
old designs. From Ovfngton Brothers 
V enetian Glass 
(Continued from page 104) 
yards and olive gardens” in his “Venice 
and Venetia”, a book of intense 
adoration of old Venice, and fierce de¬ 
nunciation of the modern city, tourist- 
ridden as it was just before the War. 
But even Hutton approves of the 
modern glass factories with their clouds 
of smoke as a symbol of an ancient 
craft that still flourishes, or rather was 
flourishing, up to the time of the War. 
He describes the old aspect of the “is¬ 
land of glass”, which possessed fine 
churches and rich convents; the latter 
had gardens where beautiful ladies 
walked, arrayed in silken robes trim¬ 
med with the fine Venetian laces 
(convents were not entirely devotional 
in those days) and bold patricians 
gained admission to make secret love 
to these ladies “while the waters lapped 
the walls.” Romance, hovering always 
about the canals and the lagoons, was 
not absent from Murano. Marion 
Crawford laid the scene of his historical 
novel “Marietta a Maid of Venice” 
there, and made the heroine the daugh¬ 
ter of one of the most 
famous masters of glass 
making, Angelo Berovieri, 
and one of her lovers an¬ 
other real character, Zorzi 
Ballarin, a Dalmatian ap¬ 
prentice who, as a for¬ 
eigner, was forbidden by 
law to work in Murano, 
but was given special 
privileges by the Council. 
The other suitor, an aris¬ 
tocrat bearing the famous 
name of Contarini, might 
easily have been real too, 
as the daughters of wealthy 
glass-makers were permit¬ 
ted by law to marry patri¬ 
cians and their children 
regarded as noble. The 
novel pictures in much de¬ 
tail the life of Murano 
and its relations with the 
Venetian commonwealth 
in the 15th Century. 
Already in the 15th 
Century some of the or¬ 
namental processes used 
to this day were known, 
although the culminating 
point in the development 
of Venetian glass was not 
reached until about the 
middle of the 16th Cen¬ 
tury, and many of the best examples 
in Museums belong to this period, or 
somewhat later. Authentic examples 
before 1500 are rare, and earlier than 
1400 almost unknown. In Dillon’s 
book on glass, two beakers in the Brit¬ 
ish Museum are illustrated and de¬ 
scribed which are given the date 
of 1300, but the author says they 
may be either Venetian, or Franco- 
Syrian. Authorities give the recorded 
tradition that graceful objects of glass 
were borne in procession upon the ac¬ 
cession of the Doge Lorenzo Tiepolo 
in the 13th Century. In the treasury 
of San Marco are examples of glass 
which are part of the plunder taken 
by the Crusadors from Constantinople 
in 1204, which have influenced Italian 
craftsmen. 
All of the very old glass, whether 
of a cloudy greenish, or light yellowish 
hue, or the blue glass that was often 
ornamented with enamel, has imper¬ 
fections, sometimes a slight irregularity 
of shape, or little specks in the compo¬ 
sition—perfection did not 
come at once, and never in 
the sense of modern me¬ 
chanical regularity and 
brilliancy of finish. Vene¬ 
tian glass depends upon 
other more intangible 
qualities for its artistic ap¬ 
peal and fascination. 
Enameling was a pro¬ 
cess that probably came 
from Syria directly, al¬ 
though the designs used 
were Italian in style, 
sometimes elaborate, with 
figures and medallion 
heads. The shapes of 
early glass cups and gob¬ 
lets adorned with colored 
enamel and gilding seem 
to be derived from late 
Gothic models in metal. 
On some of these the 
enamel is applied thickly, 
so that the original 
material shows but little. 
Examples of coats of 
arms in colored enamel 
lightly applied to trans¬ 
parent glass are to be 
found in museums. 
These early enameled 
pieces show a triumph 
over technical difficulties 
(Continued on page 108) 
A tall slim vase of 
modern Venetian glass 
comes either amber or 
del blue 
