116 
House & Garden 
FREE-50c WORTH OF 
JOHNSON’S 
FLOOR VARNISH 
Johnson’s Floor Varnish 
is unexcelled for soft and 
hardwood floors, lino¬ 
leum and oilcloth. It gives 
a beautiful, high lustre— 
is very easy to apply and 
has trood bodv. Dries 
o J 
dust free in two hours 
and hal'd overnight. Has 
great elasticity—is abso¬ 
lutely waterproof and 
very pale in color. Will 
stand all reasonable tests. 
“Made to Walk on” 
Johnson’s Floor Varnish is 
tough and durable. It gives a 
beautiful, high gloss which will 
not chip, check, mar, blister or 
scratch white. Johnson’s Floor 
Varnish is splendid for use on 
tables, chairs, wood-work, trim, 
etc. It will rejuvenate the whole 
interior of your home. Johnson’s 
Floor Varnish is of the same 
high quality as Johnson’s Floor 
Wax. 
OFFER 
Tin's coupon and $1.00 is good for a quart can of Johnson’s Floor 
Varnish. Regular price is $1.50. Take the coupon below to your 
dealer and he will accept it as a 50c credit on a quart, half-gallon or 
gallon of Johnson’s Floor Varnish. Or send it to us with $1.00 
and we will ship you a quart can by return mail—postpaid. 
Are You Building? 
If so, you will find our Book on Wood Finishing particularly inter¬ 
esting and useful, for it tells you to finish inexpensive soft woods 
so they are as beautiful and artistic as hardwood. Tells what ma¬ 
terials to use—includes color card—gives covering capacities, etc. 
Our individual Advice Department will give a prompt and expert 
answer to all questions on interior wood finishing—without cost or 
obligation. 
We will gladly send this book free and postpaid for the name of 
S your best dealer in paints. 
........THIS COUPON IS WORTH 50c. 
Z S. C. JOHNSON & SON, Dept. H.G. 5, Racine, Wis. 
Z “The Wood Finishing Authorities’’ 
Z I enclose $1.00 for which please send me, postpaid, a $1.50 
■ can of Johnson’s Floor Varnish. 
; My Dealer is. 
Z My Name. 
; My Address. 
Z City & State. 
In a country house living 
room this paper with its all- 
over design of blue-green 
leaves would be unusually 
decorative 
A cool paper for a sunny 
living room has a gray 
ground and a design in gray 
and white. From F. & j. 
Emmerich 
Wall Papers fo: 
(Continued fr 
variety of colors, blended in a great 
many different ways. Avoid a perfectly 
plain paper as it will emphasize every 
variation, every bad curve, line and 
color in the furniture. There are some 
softly colored tapestry effects—where 
the color is so exquisitely blended that 
the movement of the pattern is almost 
lost. These often solve the puzzle. 
There is quite a different kind of 
living room to be considered, one where 
the wall paper is of vital importance. 
It is a long room with several fine over¬ 
stuffed chairs and a large davenport. 
Windows on the south and west make 
it warm and sunny all the year. The 
furniture is covered with plain taupe 
mohair woven on a deep orange ground 
which gives a fine bit of variation and 
relieves the monotony of the otherwise 
large plain surfaces. A few Windsor 
chairs and others of similar character 
give the touch of sturdy line necessary. 
A room done entirely in overstuffed 
pieces is boneless and flabby. It needs 
the edges of the wood to sharpen and 
tone up the effect. The rug is a plain 
taupe chenille, with band on the edge 
in two darker tones of the same color. 
The lamp shades are in a soft orange 
yellow silk. What shall the paper be? 
THE QUESTION OF PATTERN 
Shall it be pattern or plain? Marked 
figure, or soft blend? Pattern by all 
means. One more touch of plain sur¬ 
face in that room would ruin the last 
opportunity to bring it to life. Even 
the gayest of curtains and pictures 
could not resurrect it, for they would 
simply stand out unsupported by a 
single color or line in the rest of the 
room and the rest of the room would 
disappear into vacuity. 
So pattern it shall be. The furniture 
is heavy and dignified. It calls for a 
paper with like effect. There are a 
number of possibilities. There are on 
the market reproductions of William 
Morris papers with large dignified scroll 
patterns, beautifully colored and admir¬ 
ably dignified and adapted to go with 
a room of this kind. There are also 
rich tapestry papers, where leaves and 
flowers are massed together in such wise 
as to give a fine feeling of weight and 
substance—sufficient to maintain the 
feeling and character of the furniture. 
A landscape paper is a bit rigid and 
formal—better for the lighter furniture 
r Living Rooms 
om page 114) 
which makes its appeal to us through 
its lines. But there is one more kind 
of paper that fits this room. A finely 
drawn, beautifully balanced bird and 
flower pattern in colors dark enough 
and rich enough to keep the quality of 
the furniture and still form a foil and 
contrast for it. There are some won¬ 
derful papers of this character, as en¬ 
tirely modern in their feeling as the 
rooms into which they go. Often the 
edges of the pattern are so beautifully 
colored that they give the softness of a 
fine velvety texture—perfect for this 
room and the coverings of the furni¬ 
ture. Let it have soft grays and taupes 
in it, deep velvety greens, and fine rich 
mulberry and plum, enough warmth in 
the taupe to grow quite naturally and 
easily out of the taupe upholstery with 
its partially hidden orange glow. Now 
the room begins to assume some char¬ 
acter. Add curtains in one of the rich 
tones of the paper, the plum, for in¬ 
stance, and the room is made, except 
for the casual accents which one picks 
up from time to time, to give it 
individuality. 
PERIOD ROOMS 
For the room that is strictly period, 
the problem is simple. There are many 
excellent reproductions of old papers, 
papers made to fit the character of the 
other furnishings. These may be ob¬ 
tained through any first-class decorator. 
If, however, you are using period fur¬ 
niture and have chosen just a few 
pieces to place in your room without 
desire or intention of having the rooms 
strictly “period”—then you have in 
reality the same problem as the one 
cited in detail above. Simply study 
your furniture for its characteristic 
lines and curves—its covering—decide 
where and how to keep the balance be¬ 
tween pattern and plain and choose 
your paper accordingly. You may feel 
the need of a neat little conventional 
figure, of large dignified formal move¬ 
ment, of stately landscape, classic in 
effect, of fine stripe, of quaint and at¬ 
tractive Chinese spotting and motif or 
of a pictorial Colonial paper. Study 
your room and don’t be afraid of trust¬ 
ing your intuitions. 
Wall papers offer limitless opportu¬ 
nities for unusual and beautiful effects; 
through their use one may have interiors 
individual as well as merely beautiful. 
