[AiafiinqcHonie \f'M fComeli^e A?* iJ I c/J tiand-fyoof^ oi i ways and means of decorating^ and Seaidifijiiicj tfie fiome * * •* dj/^^ Cifeanor Col/yi^ DERRY BROTHERS \_) Varnishes Enamels Stains yj Detroit, Walkerville, Ont. San Francisco COPYRIGHT, BERRY BROTHERS MAKING HOME HOMELIKE J ohn brampton commuted to the city, and it sometimes seemed to him that the daily grind, the living by clockwork, was making him into a machine. Coming home after a particu- larly trying day, he confided to Betty that home was getting to be to him just a sort of filling tank, rest-room, and service station — a place to get food, sleep, and repairs. Betty might have told John to get another manager for his matrimonial garage, but she just waited till thechildren had gone to bed, and drew him over to the faded divan for a good old-fashioned “talk-fest.” Glooin-chiniw’ ' ^ course,” said John, “I’m awfully proud of , ■ , you and the youngsters, but I don’t seem to get time to say it with flowers any more. 1 have to say it with cinders instead ; but any man who commutes twenty-three years for a woman has surely proven his affection. Sometimes, though, as I sit in that old office, figuring and esti- mating on bridges and tunnels for other men to build, I cannot help envying them their adventures. Guess I’m getting to be an old-timer, for life seems to be awfully monotonous.” “I know, dear, ’’said Betty. “Of course, I would not exchange you for any husband ever fabricated, yet sometimes when I have been sitting in Mrs. Carter’s gay sun parlor or Mrs. Summer’s cheery library, our dingy rooms look positively morgue-like to me. I once knew an art student who had a stuffy little bedroom in a cheap boarding house, and she said that her idea of hades was a tiny hall bedroom with gaudy flowered wall paper and stiffly starched coarse lace curtains full of holes. My own idea of hades is a dark, faded place with gloomy walls and mission furniture standing in straight rows. Of course, our house is not like that, but it needs light and sunshine and color. We need some one like Polly King to tell us what to do. She has always had to create beauty out of a slim pocketbook, but she is an authority on color schemes and such things. Polly once told me that she would love to spend a summer here. I’ve a notion to ask her. We surely need some changes made in our environment, or we shall both get to be ‘old-timers.’ ” 2 ] AVERY LIBRARY COLUMBIA UNIVERSIf Because what Pollydid there andwhat the family learned and enjoyed may be helpful in thousands of Polly King Arrives homes needing a fresh outlook and inlook, they shall be set down in this book. “It is a darling house,’’ said Polly the morning after her arrival, “and there are oodles of possibilities here. 1 feel like an Aladdiness, only instead of a magic lamp I am going to use some wonderful enamels and wall finishes. I know a lot about paints and enamels, and if I am to help do things around here, I want them done with something that goes on well, wears well, and is beautiful in color and quality. I know some people who had the inside of their summer home done two years ago. They economized by using ‘cheap’ finishes, and when they opened their cottage last spring their decorations had peeled off like the smallpox. The enamel had cracked on the woodwork and painted furni- ture, and the floors were a sight, for the poor varnish had gotten tacky in the damp, closed house, and you stuck to the floors like a flv to sticky fly-paper. They were awfully discouraged, because the little that they had saved by buying cheap materials had been far overbalanced by the cost of the work. It takes painters much more time to try to do a smooth job with poor finishes than with good ones. They have changed the name of their cot- tage to ‘Learnalot,’ and when they have saved enough to have it done over they will use Berry Brothers’ materials. “However, before we select our finishes or choose Prospecting our color schemes, we must go prospecting, just as miners do before they begin to work a claim. There is a great deal of beauty lying around here, but we want to get it located and then we shall know how to go to work.” So after John had gone to the city, Polly and Betty started out to give the house what Jim, home from his senior year at college, called the “once-over,” and he soon joined them on the plea that few prospecting parties venture forth with- out masculine protection. From this time Jim’s interest in the “ Polly technic ” course greatly increased. [3 To those who had lived there so many years that I [ the house seemed commonplace through famil- iarity, it was a revelation to go around with one who had an entirely new viewpoint, and Polly’s enthusiasm was contagious. The little alcove or cranny, which had been merely a dust-catcher, became in imagination the friendly inglenook or breakfast corner, and the old house fairly beamed with hitherto undreamed-of possibilities. Polly’s criticisms were so apropos and clever that no one could be offended. Passing through the library, which was done in dark brown, she said : “Oh, wasn’t it a crime the way they used to decorate and furnish houses ! Their ideal seemed to be a sort of undertaking establishment de luxe. Nowadays we like happy-looking houses, and this one is going to have smiles and dimples when we get through with it. “These lovely old mahogany pieces only need redressing, and these wicker chairs will lend themselves finely to our beauty treatments, but that old mission furniture is so clumsy that it overbalances all the rest. Let’s sell it to the Board of Education. It would be just right for Board meetings, or perhaps some bank would buy it for their Directors’ Room. Men do not like to be comfortable at business meetings. They luxuriate in agony. It gives them a feeling of nobility to be sitting in uncomfortable chairs when they might be playing golf at the Country Club.” Turning to Mrs. Brampton, Polly said : “I think you are a perfectly wonderful woman to have raised such a jolly family in such dark, sober rooms. It will be simply impossible to keep their spirits down when we get the rooms done over. Even that solemn Dinah in your kitchen will fairly caper with glee.” T a “\es, said Polly, as they stepped from the L he Influence , , , , 1 1 t , . • , . J gloomy library into the red den, this house is going to forget its dark past entirely and to improve its disposition, too, for now the rooms quarrel with each other shamelessly. See the gloomy library scowling at the jazzy den, and the red den glaring at the blue dining room like a Bolshevist eyeing a Boston Bluestocking. “They had a mania for red rooms in the old days, but red is a harassing color when used in large quantities. It is used on the stage to express passion and excitement, but it is a dreadful color for the walls of a home. You might manage to read Balzac’s novels or the Hearst papers in a bright red library, but vou could not read a poem by Edna St. Vincent Millay or the Christian Science Monitor there. Once I was lunching in a house where the dining room was done in red. We were all doing an eating Marathon when the small boy of the family choked and they had to call a doctor. His mother said he had choked on a lish bone, but I knew he choked on a red rug and red wall paper. “ While red is a distressing color to use in large masses in interior decoration, a little spot of brilliant scarlet often fur- nishes just the needed note of color. For instance, that stunning red lacquered Chinese desk is absolutely lost in this riot of red in the den, but it will make a lovely note of color against the quiet tones of the living room later on.” n/ w/ The flowered walls of the bedrooms became the rla/n Walls . . c , . , . t T/ r ^ next object of Polly s attention, i think that Versus Figures • , , , , • - ,, ■ , 6 you will love plain walls m these rooms, in- stead of these pronounced figures. A paper with showy flowers protrudes itself into the room and makes the room look small. The walls of a room should form a background for pictures, book shelves, furniture and draperies, and a figured wall insists on being a foreground. It is very unrestful, too. When I was ill up at Aunt Maria’s home in Maine, they put me in the ‘spare bedchamber’ and I nearly went wild counting the blue roses on the wall. There were four hundred and seven, not counting those that peeped out from behind the framed wax flowers and the enlarged crayon portrait of Uncle Hiram's grandfather. By the end of the summer I felt like a human counting machine.” John Inspects a paving once decided to do the old house over, v , , John determined to use the best materials on the market. Polly was a regular Berry Booster; but he wanted the advice of honest-to-goodness men before doing anything as important as this, so he consulted several business friends who had recently built or remodeled their homes. His first call was at the home of the Jamison Jansons, a new place which expressed the last word in perfection of finish and decoration. Mr. Janson showed him all around the house, and John Brampton noted the exquisitely soft tints and texture of the wall finish, the beautiful quality of the woodwork, and the handsome appearance of the floors, before asking what finishes had been used. “Oh,” said Mr. Janson, “ my decorators would not think of using anything but the Berrv Brothers’ Products. They say they used to try other finishes, but they have found that the Berry Brothers’ materials are the only ones in which they can express their artistic ideas perfectlv and permanently. We have not been here very long, but we use our home more in a year than many families do in a decade. “We entertain constantly, and our floors have withstood the wear and tear of bridge luncheons, Mah Jong parties, dinner dances, and D. A. R. meetings. The hardest test they have had was the Boy Scouts’ meeting. It was a picnic dinner and was to have been eaten out in the grounds, but it poured and the poor kids had to come in and picnic in the drawing-room, the dining room and all over the house. We expected our Luxeberried walls and our Liquid Granited floors would have to be done over, but it never phased them a bit. As for our Berry Enameled wood- work, I guess nothing short of dynamite would crack the finish. ' ’ “I know,” said Mrs. Janson, “ that Mr. Janson will never be satisfied with the golden streets in the next world unless they are finished in Liquid Granite.” “Well, Mary,” said her husband, “let’s show Mr. Brampton our garden, and he will see that there is more than one Berry Booster in this family.” Once out in the lovely garden with its gayfurniture and white pergolas, it w r as indeed Mrs. Janson who expatiated over the way the Berrvcraft Varnish Stains had withstood the weather. “The rains only seem to make them the lovelier,” she said. 6 ] r / , - - ,, Mr. Brampton came away from Tansonia feelin? John Visits u lit- , , 1 r c • j J r • c that there were no liner limshes for new mte- jintmitul Ho/nc r iors than the Berry Brothers’ Products, but lie realized that the Brampton house was a very different propo- sition, so he took Betty up to Yonkers to see an old house that had been restored. “ I’m from Missouri. I have to be shown,” he quoted. “You see, these finishes show up finely on new wood and new walls, but it is quite a different thing to apply them on old wood trim like ours.” The owner of the Yonkers house was Jack Stebbins, another business acquaintance of John’s. “I bought this old place for a song,” he said. “The owner had no idea of its possibilities. It is a crime to let a place go to ruin as this had, for old wood that has not been cared for simply eats up enamel and varnish. I tried several kinds of finishes, but they all sank into the wood like water into a sponge. Just as I was getting thoroughly dis- couraged some one put me on the right track. The transforma- tion was produced with Berry Brothers’ Varnishes and Stains, and I've been a Berry Booster ever since.” John found an expert painter, and when he said : Work Be v/us “Of course, my men can use anyfinishes you de- sire, but I only guarantee results when we use Berry Brothers’ materials,” John turned the matter over to him. Soon the carpenters were busy transforming part of the big attic into a playroom and the den into a sun parlor, and the painters were at work in various rooms, and John and Jim were making themselves useful as helpers. Jim said that from con- stant use of Luxeberry he felt himself evoluting into a regular Luxeberry artist. Unit] trn/ Pa- Poll y had stood in the doorway looking , * n from the front hall through the vista of vari- sonauty in Kooms ■ i , ° , , colored rooms on that prospecting tour through the Brampton house, she had said :“These rooms, each so different from its neighbor in color, remind me of an old-fashioned crazy quilt. Where a house opens up as this one does, with wide arches and doorways, it is as though the whole lower floor were one large room, and we must choose a wall coloring which will be becoming to all of the rooms, as all should have the same general background. There will be plenty of chance for touches of color in hangings, pictures and rugs. Besides, you may vary the tints of the walls in the bedrooms upstairs. “These lower rooms are rather dark, so we shall have to camouflage the darkness into sunshine by the choice of wall coloring, and a lovely soft, rich cream tone of Luxeberry with the woodwork done in white Luxeberry Enamel will transform the rooms. Here in the hall a couple of simple pieces of your old mahogany and a mahogany stair rail will add the right con- trasting color, and one of Grandmother Brampton’s braided rugs will be very correct and modish and will give a touch of personality and come-hitherness which a well-appointed, hos- pitable hall should have.” "Woodman To really appreciate the glimpse of the hall on . L .. the opposite paee you should have seen it in -f the old days, when it was just a commonplace, dark, unlovely room, and when the maple tree outside was in daily fear of being chopped down to give more light. The women of our land have interested themselves in the problem of forest conservation out in the vast wooded lands of the country, yet many a woman has been instrumental in the death of some beautiful tree in her own yard because her rooms seemed dark and she knew of no other way of creating the ap- pearance of lightness. Luxeberry Wall Finish is veritable canned sunshine when one chooses the buffs, tans, or creams. These sunny tones also make rooms seem more spacious and airy. Com- ing into the transformed hall, John Brampton threw back his shoulders and drew a deep breath, saying: “I gave up the trip to the country, but 1 feel as though the country had come to me.” 8 ] ENTRANCE HALL I T may not be possible for city dwellers to have such a rural approach and outlook from the front door as this, but the cozy, welcoming atmosphere of the entrance hall- its real charm — does not depend upon the landscape. There is one exterior feature, however, that is as vital as the outstretched hand to an approaching guest, and that is the appearance of the front door. It should always present a smiling welcome by being well finished. Never let it look shabby. A snowy white front door, such as can be produced with Luxeberry White Enamel, is always in order and gives a handsome, durable finish reminis- cent of colonial times, but a more beautiful white, because high-grade white enamel such as Luxeberry was not known at that time. Oak or other woods, when the natural grain is to be preserved, should be finished with Berryspar, rubbing the last coat down to a semi-gloss surface, which makes a beautiful and appropriate finish for the front door. The attractive and homey look of the hall depends largely upon the finish. Liquid Granite should be used on the floor if it is to be finished in the natural wood ; but, if not, our Lionoil Floor Enamel, made in a number of attractive colors, can be used to advantage and will make a handsome finish. The trim can be treated either with our Luxeberry Enamel, if an enamel finish is wanted, or Luxeberry Wood Finish if the interior is of natural wood. Luxeberry Wall Finish in the right shades for walls and ceilings will contribute in producing an artistic ensemble to an entrance hall that will never lose its charm for host or guest. ‘ [9 A Room that The Brampton living room, when finished, was I a livable, lovable place. One neighbor voiced the impression of all when he said: “This room not only invites you in, but urges you to stay . ’ ’ Polly and Betty, returning from a call at Mrs. Wendling’s ornate home, looked around contentedly at the simplicity of the place. The mellow tone of the Luxeberried walls and the rich brown of the Liquid Granited floors furnished a fine background for the more colorful objects. “Oh,” said Polly, “isn’t it refreshing to get where the colors all live happily with each other? Perhaps the colors at Mrs. Wendling’s do not actually swear at one another, but they surely do use loud slang ! When I sat on that jazzy divan against those futuristic sofa pillows, and looked out over that array of heterogeneous colors, I felt as though I were about to share the fate of the Irishman’s chameleon. They put it on red, and it turned red. They put it on green, and it turned green. They put it on black, and it turned black. Then they put it on Scotch plaid, and it ‘ tee-totally busted.’ “Although there are many colors in these rooms,” Polly continued, “ the walls of uniform tone and the uniform color and finish of the floors lead the eye from room to room without any ocular jolts. Then we have repeated the colors of the ad- joining room. For instance, the green of the furniture in the sun-room is echoed in the cretonne curtains and cushions here and in the green books on the shelves. The little red Chinese stand that looked so unhappy in the old red den is certainly ‘ doing its bit ’ to brighten the corner where it is. “Those book-shelves are very attractive. There is nothing that so adds to the hominess of a room as well-chosen books — well-chosen both as to reading matter and color of bindings, for books may furnish a beautiful mosaic of color against a plain mellow-toncd wall. In the family rooms the books reflect the personality of their owners, but let the shelf in the guest-room provide a variety of read- ing matter from which guests of varying tastes may select. The train newsboy is quite a psychologist in this line. He can furnish all sorts of books for all sorts of people. ’ ’ LIVING ROOM I N the living room the furnishings may be elaborate or simple without disturbing the artistic balance of the interior. The harmonious blending of walls, ceiling and floors with the contents of a room can be as easily accomplished on an economical basis as when the most costly furnishings are installed. The secret lies very largely in the setting or frame of the picture, for every interior is a pic- ture produced by the house owner for private exhibition to the family and friends. It is in the living room that artistic symmetry and the home atmosphere should reach their highest expression, and the above interior is intended to illustrate this truth. Note the simple furnishings and harmonious color treatment of trim, walls and ceiling. It is intended to show an interior treated with Luxeberry Wall Finish in two tints on walls and ceiling, and Luxeberry White Enamel on the trim. The floors of a room of this kind should be finished with Liquid Granite, with an appro- priate rug laid in the center, as indicated. If it is not intended to have a natural wood floor, our Lionoil Floor Enamel of a suitable tint can be used and will make an artistic and satisfactory finish. L 11 Colories versus Calories J4 Many people who would not think of going to a cafeteria because of the noise of the clat- tering dishes, will go to their own homes and sit in a dining room where the colors clash, and clang and jangle, and make loud discords. Others solemnly sit down to a dinner and esti- mate proteins and vitamins necessary to a well- balanced meal, and count calories with the accuracy of human adding machines, but have not the faintest idea of how much a well-balanced color scheme in a dining room means to good health and good digestion. As Polly put it, “A little study of colories would be better than this con- stant harping on calories.” The Brampton dining room responded wonderfully to the magic of the Berry Beauty Treatments. The hardwood floor and fine old furniture had become scarred by years of hard usage, but the beauty of the grain and the color of the wood were brought out to a marvelous degree by the Berry materials. The light creamy tan of the Luxeberried wall gave a feel- ing of space and cheer, and this color was echoed in the chair seats and the tannish inner border of the rug. The rug was a demonstration of one way of obtaining a good color scheme. ‘‘Designers,” said Polly, “often get their color ideas directly from nature. I have seen artists design- ing gowns, textiles and interiors from the combination of colors found on a butterfly, a bird, or an autumn leaf. This bird that I copied in my notebook suggests a fine color scheme for your dining room, and I think the rug weavers can easily combine some of the old carpets and rugs to work out the idea.” When the room was finished, Polly said to Mr. Brampton: “When you bring home unexpected guests to dinner they will not notice if there should be a slight food shortage. The charm of the room will be sufficient. Madame Recamier, so famous for her brilliant conversation, was once giving a dinner and a footman whispered to her, ‘Another story, Madame. We are a little short on the roast.’ 12 ] DINING ROOM I T will be noticed that extravagance in furnishings has been avoided in all the interiors illustrated in this booklet, and personal taste and pocketbook can be deterred to in duplicating the general appearance ot the dining room shown above. The walls and ceiling show a two-tone effect in Luxeberry Wall Finish and the doors and trim indicate treatment with Luxeberry White Enamel. The color indicated on the furniture can easily be produced with our stains and enamels. The color scheme suggested is not arbitrary, as a choice of many har- monious combinations can be had with our Luxeberry Wall Finishes and Enamels. It is also worthy of note how readily old and marred furniture can be beautified and made serviceable at a nominal expense by the use of our finishes. It a natural wood floor is adopted. Liquid Granite should be used. A final coat ot Liquid Granite Dull over a coat ot Liquid Granite will make a finish that will satisfy the most critical, both as to beauty and wear. [13 A Change of Heart Of all the rooms in the Brampton house, none seemed to undergo such a transformation of character as did the den. As Polly expressed it, “ That room has a complete change of heart.” In the old days the red walls and the ponderous furniture had made the room look hot and uncomfortable, like a very fat, red-faced man with the gout ; but with the passing of the scarlet paper and the clumsy furniture there came a feeling of spaciousness and rest- fulness, and when the soft creamy Luxeberry lent its sunshine to the walls the room radiated hospitality. With a faculty for salesmanship which any man might have envied, Polly had sold the heavy mission furniture to be placed in the reception room of the Brindsley Memorial Blind Asylum, where cushions and pads concealed the angular structure and where the eyes of the occupants could not be troubled by the lack of beauty. The Brampton “ den,” now metamorphosed into a sun par- lor, boasted some stunning green willow furniture. It would have taken a veritable Sherlock Holmes to have discovered that this apparently new set of furniture had once been part of the motley array in the old living room, and that it had frequently been threatened with total extermination because of its worn and dingy appearance. S "nnUlicit “Many people,” said Polly, “try to give the ' sun parlor a look of richness and grandeur, and in so doing they belie the very purpose of the room. I think that a sun parlor wearing rich hangings and costly oriental rugs is as incongruous as sport shoes wearing high h eels and jewelled buckles would be. A sun parlor should wear sport clothes and look absolutely comfortable.” A glance at the opposite page will serve to show the reader how the walls and casement curtains seem to be sunshine in tangible form and how the green wicker furniture, so open and airy, gives a feeling of out-of-doors which is heightened by the gay window boxes and the birds. The simple rugs which were used in so many of the rooms were woven from the old carpets and rugs. By selecting and sorting the old materials as to color, it was easy for the weavers to carry out the desired color scheme. In most cases the rugs were kept quite neutral in tone. SUN PARLOR T HIS sun-flooded room makes special demands on the finishing operation, because it is so brightly illuminated that all imperfections are not only glaringly apparent but seem magnified under the merciless light. While there is no rule, a light-colored treatment would seem suitable for the sun room ; every- thing light, airy and graceful. This is why rattan furniture seems so well adapted to the sun room and is so widely adopted for this very popular room. It the furniture you have does not harmonize with the desired color scheme of the room, a coat or two of our Luxeberry Enamel or Berrycraft Enamel will produce the right tint or color on the furniture. Luxeberry White Enamel for the trim and two tones of Luxeberry Wall Finish for the walls and ceiling will be found everything that could be desired tor the decorative treatment. As is customary and proper with all interior deco- rations of this character, the ceiling should be either white or a lighter tone of the same color as the walls : as, for instance, two shades of ivory, cream, gray, pink, or blue. The floors should be of natural wood, such as light oak or maple, and finished with Liquid Granite with a final coat of Liquid Granite Dull, which dries to a smooth satiny finish without rubbing and makes a perfectly ideal floor for the sun room. [15 " Things are in the Saddle and They Ride Mankind were covered When Polly first looked at the bedrooms of the Brampton house she groaned mentally. The rooms themselves were delightful, for the slant- ing gabled roof made all sorts of fascinating al- coves and “surprise corners,” but the walls with figured papers in patterns so conspicuous and vociferous that Polly said to herself : “This wallpaper would interrupt a silent prayer.” The beauty and quaintness of the wall spaces were entirely lost in a maze of birds, butter- flies and flowers, and against these colorful and exciting back- grounds dainty pictures seemed “born to blush unseen.” There were far too many pictures and too much bric-a-brac, but the Bramptons had already learned from the downstairs results that restraint should be used as to filling one’s walls and CD tables. As John had said when he gazed at the walls of the living room, from which quantities of former things had been banished, and with equal satisfaction at a pile of bric-a-brac which was to be cheerfully donated to a rummage sale: “The proper place for that junk is in some other man's house.” Grandmother Brampton’s room had always v 1 ' been a gathering place for the younger genera- (jnnjorl Reigns tion, and the old carpet was worn threadbare; but when the carpet was taken up the floor was found to be in good condition, and when painted with Lionoil Floor Enamel it was an effective background for rag rug and old-time furniture. The walls, in their new dress of Light Green Luxeberry Wall Finish trimmed with White Luxeberry Enamel, looked refreshing and restful; and when Polly conceived the idea of curtaining off the alcove and using it for a day-bed where grandmother could take her afternoon nap in quiet and com- fort, it added just the right touch. As to color, Grandmother Brampton only knew that the soft greenish and pinkish tones looked very pretty and made her happy, but Polly explained to Betty that the combination of color was what decorators term a “complementary harmony.” “Some day,” she said, “I will tell you many interesting things about making beautiful color schemes;” and she did, as you will learn later in this little book. GRANDMOTHER S ROOM W7 E are illustrating several bedrooms in this booklet to show how easy it is ’ ’ to produce artistic results at a nominal expense. Many articles of discarded furniture have a legitimate comeback if you care to take advantage of it. Old chairs, tables and odds and ends that made their exit long ago can be returned to service with the fresh charm of a young society debutante. At first sight this bedroom might appear a trifle more elaborate than the facts warrant. The chintz-covered chair and attractive bed in the alcove may be a bit deceiving, an artistic value being given to the general effect by inexpensive draperies. The bric-a-brac shelves and the little spindle-leg table might well be old relics, repaired maybe with a little glue and nails and then beautified with Berrycraft Enamels or Berrycraft Varnish Stains. The utility and ease of appli- cation of these useful Finishes in interior decoration and refinishing operations is unlimited. A modified green is indicated for both walls and ceiling, such as can be pro- duced easily with our Luxeberry Wall Finishes. The rag rug is artistic and appro- priate, although optional ; and the border of bare floor should be treated with Liquid Granite if the wood is to be in the natural color, or Lionoil Floor Enamel if a harmonizing color is wanted. [17 Adventures in When J ohn Brampton gave up v , his vacation in the Maine t,UOt 1 ni & woods in favor of remodeling his home, he little dreamed how interesting the latter would prove, but as he and Jim worked with the painters they began to experience the joys of creating beauty. One important thing that they learned was that when woodwork is to be painted, en- ameled, or restored, it must be carefully pre- pared if one desires a perfect finish. Greasy or rough woodwork cannot be camouflaged into beauty by a coat of finish, and the time spent in washing it with soap and water and rubbing it with fine sandpaper, or in removing a poor finish with a coat of Varnish Remover, is time well spent. They also learned that it is poor economy to work with cheap brushes. “ It is strange,” said the old painter, “ but a man who will pay sixty dollars for a fishing reel often hates to pay one dollar for a paint brush, and a man who spends a small fortune to have his appendix removed counts it a waste of money to have old varnish removed. A man who would not think of going without an overcoat because he already had a Tuxedo, gets mighty economical when told that his woodwork needs another coat of finish.” Betty, who had always thought that beauty depended upon a bulging purse, was astonished at the effective results to be obtained with inexpensive materials. “ It’s the know-how that counts,” said Polly. “ These simple unbleached spreads with the bands of pink gingham stitched on are more attractive and suitable than the gorgeous silk and gold creations one some- times finds in costly rooms. These are easily laundered, and freshness is as necessary to the charm of a bedroom as to that of a woman’s dress. ’ ’ A California sketch from Polly ’s notebook furnished a suggestion for the color scheme of the room on the opposite page. Although the tints are much lighter in the room than in the landscape, it is not hard to see how the latter fur- nished color inspiration for the charming, restful room. BEDROOM H ERE is another example of what home talent can do in producing an artistic bedroom interior at a nominal expense. The dressing table probably came from the cellar and is or might be an old packing case trimmed up as shown. The chest of drawers suggests a dismantled bureau and is strongly reminiscent of the attic, as also are the chairs. The twin beds, which are about as simple as army cots, might easily be discarded old-timers. The mirrors suggest part of the origi- nal equipment of old bureaus removed from the fixtures in which they used to swing. One of the frames has been enameled, and the others are concealed with Huffy ruffles to match the window trim. The two color tones on walls and ceiling are easily produced with our Luxeberry Wall Finishes, and Luxeberry White Enamel is indicated on the doors and trim. The color shown on the furniture can be given either with our Luxeberry Enamel, or Berrycraft Enamel in the white, tinted with green to the desired shade. A floor treated with Liquid Granite is indicated, but if a solid color is wanted Lionoil Floor Enamel of the desired shade is entirely suitable. [19 Heat Control by Evelyn’s bedroom had always been a source of .. } disappointment to Betty Brampton. She wished it to look cool and restful despite the fact that it was a sunny south room directly under the eaves. Her first mistake was when she allowed Evelyn to copy the coloring which her chum had in her shady north room. This chum had spent a winter in a Santa Barbara hotel where a pinkish orange is much in evidence. Used judiciously, and in a suitable place, the color was most effective, but it sent the temperature of Evelyn’s room up to the boiling point. That mistake was followed by another. Pink is a lovely color and roses are lovely flowers, but gay pink roses on the wall paper, with chintz curtains to match, made the room look small and oppressive. One was almost overpowered by the scent of the multitudinous roses, and the effect was that of a cheap but showy funeral where the “floral offerings were most generous. ’ ’ To Polly’s trained eyes this was the worst room in the house, but full of possibilities, and she said : “When we get this room done in soft gray-green Luxeberry, it will seem as though you were stepping into one of Corot's pictures — so cool and re- freshing. Little touches of pinkish lavender in the rag rug and in some of the accessories will make a lovely note of color, too. ’ ’ To appreciate the picture in which Evelyn’s room is shown in its third and very pleasing incarnation, you should have seen it when it sweltered beneath its warm pinky-orange decorations or gasped beneath its weight of roses. Were it possible, we should picture the other bedrooms. Jim’s sunny walls were done in Fawn Brown Luxeberry with woodwork in Rich Cream Luxeberry Enamel, making a suitable background for his athletic trophies, heavy shelves of books. The twins’ room had quaint enameled furniture with jolly little decorations done in gay colors, and in this environment Teddy bears and dolls roamed merry and rampant. The guest chamber was lovely in Light Blue Luxeberry and white enamel, and one guest, impressed by its atmosphere of rest, softly quoted : “And the name of that room was Peace.’’ 20 ] The Other Bedrooms in the Brampton Home desk, and many AVERY LIBRARY x COLUMBIA UNIVERSITY BEDROO M 1\ /T OST attics harbor a miscellaneous collection of discarded or unused furniture ■*-* * closely akin to the examples shown in this room. The most elaborate and costly furnishings would not produce a more artistic and homey look to a room than a judicious selection ot these same castaways when refinished and rein- stalled. This bedroom has apparently nothing in it but odds and ends. The little dressing table, the simple mirror, the rush-bottom chairs, the little table by the bedside, and even the bed itself:, might all be wails and strays cleaned up and treated with a coat or two ol Berrycralt Enamel or Berrycraft Varnish Stain. The walls and ceiling ol this attractive room owe their simple beauty to Luxeberry Wall Finishes, and Luxeberry White Enamel is indicated in the window trim. Floor margins ol natural wood should be treated with Liquid Granite, but il a solid color is preferred use Lionoil Floor Enamel of the right shade. [ 21 In visiting the famous old palaces of France, one is impressed by the crudity of the arrange- ments for the common decencies of life. The Quai D’Orsay Palace, where France entertains her high official visitors, has only recently installed its first bathroom. The shop-girl of modern New York would turn up her calcimined nose were the bathroom in her parents’ flat as crude as that in which Queen Marie Antoinette bathed. One reads of the splendor of the ancient baths of Pompeii and Rome, but on visiting those places he is tempted to para- phrase Van Dyke’s poem something after this fashion: It’s great to see the ruins of the Roman baths of old, Enriched by time and history and with sculpture and with gold, But the ghosts of bygone emperors may have their baths at Rome, For we are quite contented with our bathrooms here at home. The Bramptons, like many other Americans in moderate circumstances, had gotten on all these years with only one bathroom. It was so Two Rooms from One large that one felt as small as one of the nymphs on Corot’s canvas, “The Bathers,” and the old-fashioned tub, standing on four clumsy legs, left space beneath for the accumulation of dust and dirt. Jim proposed that this big room might easily be made into two smaller ones. When these twin bathrooms were completed, he said: “What’s that old saying about blessings on the head of the man who makes two blades of grass grow where only one grew before? There must be a special double- headed blessing for the man who makes two bathrooms where only one existed before.” John Brampton had the walls finished in tiled wall board painted with white Luxeberry Enamel, giving the effect, dura- bility, and sanitary cleanliness of porcelain tiles, with far less expense. As for the floors, by this time the Bramptons needed not the affidavit of the Berry painter to know that the Liquid Granite which beautified and preserved the wood would with stand the ravages of the Brampton twins, the shower baths of the elders, and the fervid and muscular cleanings to which Black Dinah would subject them. BATH ROOM O UTSIDE of the fixtures, the bathroom here indicated is one that can be pro- duced very economically and with the highest artistic value. The imitation tile effect on the walls can be cheaply installed by the use of one of the wood pulp wall boards marked for tiles that can be bought in sheets or sections. This pulp-board can be treated in the same manner as a surface of wood and the finish- ing process is easy. Luxeberry Enamel in white is here shown on the trim and Luxeberry Wall Finish is indicated on the walls. The ceiling should be also treated with the same finish, either in white or a lighter shade of the same color as the walls. The floor indicates the use of Liquid Granite, which produces an artistic, smooth, water- proof finish, and completes a bathroom that will satisfy completely, not only from an artistic standpoint, but from the economical angle. [23 In the old Puritan days the kitchen was the most artistic room in the house, but we should be loath to discard our modern gas and electric stoves for the more picturesque fireplace ovens of our ancestors, and our granite and aluminum cooking utensils for the quaint copper and earthenware of the olden days. We have learned, however, that a kitchen may be a really delightful room, a sort of culinary studio or workshop. The Brampton kitchen, in its pre-Polly days, was done in such dark tones that it was almost a complete camouflage for Dinah, who melted into its shadows so as to be almost indis- tinguishable, yet when Pollv suggested doing it in buffs and creams she encountered the first opposition she had met. “It would show dirt so easily.” “It would be impossible to keep it clean.” “You know we have only one servant.” These are only a few of the objections raised against the pro- posed innovation ; but Polly knew how easily the Luxeberried walls and Luxeberry enameled woodwork could be washed, and how a floor covered with linoleum and finished in Liquid Granite would save Dinah’s time. “It will be as good as mak- ing Dinah into twins,” said she, “for she will be able to do the kitchen work so much faster. Besides, you will save on your electricity, for Dinah will not have to keep the lights on as she does now. The light walls will be as good as another window. Kitchens used to be dark and dreary places, where the cooks had to grope their way around like tourists in the catacombs; but, as the cartoonist says, ‘Them days is gone forever.’ " The Kitchen Becomes Enlightened Dinah ’Shn w t r ^ e en< -^ Polly’s arguments won the day, and II ^ j, now, when John and Betty, with just pride, show their friends through their rejuvenated rooms they never fail to exhibit their “model kitchen.” Black Dinah, who keeps the woodwork in the whole house as “white as de purley gates,” says: “Lan’ sakes, Mis’ Bramp- ton, if evah one of dem mikerobes should get onto dat wood- work, he’d jest nacherally skid off an’ tu’n turtle an’ die a nacheral death. An’ I sho dos depreciate d is heah Licked Grannit floor. I washes it every day jest fer ’musement.” KITCHEN M AYBE it is the more or less arduous routine in the culinary department that sometimes causes the kitchen to be referred to as a necessary evil. It is often a case of nerves; the drab, commonplace surroundings create depression and a pessimistic attitude. There is no place for gloom in a kitchen like the one illustrated, although the only difference between it and some other kitchens is, it is properly finished. It shows a light treatment, such as can easily be produced with our Luxeberry Wall Finishes on walls and ceiling, and a Luxeberry Enamel Finish in white on the trim, which may be kept spotless with a damp cloth and is very wear-resist- ing. Luxeberry Enamels are made in several delicate tints in addition to white, and any of which would be quite suitable for the kitchen. A linoleum-covered floor is shown here, although many prefer varnished floors, which are both handsome and sanitary. Liquid Granite Floor Varnish is waterproof, wear-resisting, and easily kept in good condition with a floor mop. Try it on your kitchen floor, whether it is in the natural wood or covered with oilcloth or linoleum. [25 TheAtticEvolutes into a Playroom don’t want one of those dressy nurseries where the children have to wear white gloves for fear of soiling the furniture,” said Polly. ‘‘Once I was calling at a house and the little boy timidly asked his mother if he might go up to the play- room. She replied with more stress than was becoming to one who was sitting in a formal period room: ‘I should say not! If you dare to go up there and mess things up, I’ll spank you. ’ “ Neither shall it be one of those cold-storage rooms where children feel out of their element. I know a hotel where they fitted up some playrooms for children, though I never saw but two children in them. Once I saw a blase poor little rich girl sitting in the Japanese room, and looking as listless as a wilted salad. Another time I saw them lead an active little Denver boy into the ‘ Boy Scout Room,’ where an immaculately groomed tent lent a formal stiffness that would have done credit to a refrigerating plant. ‘ If you think I can have fun here,’ said the incensed boy, ‘ you must think I’m a wooden Indian in a cigar store.’ “What those twins want is a room of their very own, where they can play, and romp, and imagine things to their hearts’ content. If you will put in a beaver-board partition to separate the children’s room from the storeroom, we can make a play- room that is a winner. “We do not wish any definite color scheme up there, but the colors must play together in orderly fashion, and not just jump wildly around like a lot of boys escaped from a reform school and out for a day of riotous noise.” That the room was a winner is shown on the opposite page, and the Berry Painter tells exactly how it was done. The attic fascinated Polly, and her idea of par- titioning off a part of it as a playroom for the twins vreatlv pleased the Bramptons. “We PLAY ROOM T HE nursery should not only be a room in which to keep the children’s toys and where the youngsters may romp and play, but its finishing treatment should be as carefully and wisely chosen as for grown-ups. Not only should the room be light and cheerful, but the finish must be wear-resisting to withstand the stirring activities of the future men and women. A wall finish should be used that can be washed when necessary, and that will be quite often if any part ol the walls is within reach of the kiddies’ little hands. The trim should also be treated with a washable finish, and, in addition to this, the finish in the nursery should be pleasing and harmonious in its color treatment. The above illustration shows a nursery treated in harmonizing tones of brown, such as may be produced by our Luxeberry Wall Finishes, and the trim is finished with Luxeberry White Enamel. If the room has a beam ceiling as in the picture, the beams should be stained to match the general color tone as indicated, and we can supply stains for this purpose. Varnished floors are the most desirable and sanitary for the nursery, and Liquid Granite Floor Varnish will give splendid service because of its great immunity to wear and tear under severe conditions. [27 It seemed to Betty as though a new world Cut a paper triangle and use it on this spec- trum, to find triads as suggested by Polly on page 30. Analogous had been opened to her — the world of color. She had loved color with a sort of greedy hun- ger before, but she was learning to love it with the discriminating zest of an epicure. When she thought of the way she had gorged herself and the family on color, she wondered that they had not died of coloritis. “ I have often heard you speak of analogous harmonies, complementary colors, and triads,” said Betty to Polly one day, as Polly’s time of departure drew near. “Do you believe you could make me understand such things?” “Surely,” said Polly. “ They are very simple. It is the technical-sounding name that makes them sound so hard to assimilate. It reminds me of the boy whose aunt offered him a piece of johnnycake. ‘ No,’ said he, ‘ mother will not let me eat cake, but if you call it corn-bread I can eat it all right.’ “Analogous colors are just happy families of colors. There is a family resemblance between them. Look at this little spec- trum and pick out any group of several adjoining colors, and you have an analogous harmony. Look at that orange-brown bowl of nasturtiums, where the flowers range from yellow to orange and then to scarlet, and you see a fine example of an analogous harmony. Many lovely rooms are based on this prin- ciple. A golden brown floor, a buff wall, and a creamy ceiling, the furniture in browns and soft dull orange tones, and with no notes of contrasting colors, would be an analogous harmony. Personally, I like a note of contrast, so these Brampton rooms are not based on that particular meth- od of obtaining a color harmony.” ^ , / . “ Tell me about Complementary , / , ■ , complementarv ( 0 i ) I h//i p een a joy to see t } le 0 ]j house shed its mantle of gloom and put on the garments of happiness. She hated to leave it all. Jim saw nothing but a dreary waste of desert in life unless Polly would consent to transform it into a garden. Polly loved him, but there were three years of difference in their ages, and Polly, at the ripe old age of twenty-six, told Jim that she might be old and decrepit before he reached his prime. Next week Jim was to begin work in the Brainard factory, in a position which held a splendid future for him, and he only asked Polly to wait a couple of years till he could get started. She was putting the last strokes on some Luxeberried furni- ture for the breakfast alcove. “I think,” said Polly, ‘'that this complementary color harmony has worked out stunningly on this furniture, and no one would dream that your mother’s brown pickle jar could change into this lovely green vase.” Jim, looking at her auburn hair and deep blue-violet eyes, said: “And I think that you yourself furnish the best comple- mentary color scheme of all; and when you get to be Mrs. James Brampton and are all dolled up in the things you deserve to have, no one will believe that you once wore an old gingham smock all daubed with Luxeberry in all colors of the rain- bow.” Polly, looking at this fine manly fellow, forgot the awful chasm of years which separated them and, paraphrasing the old Bible verse, said: “I guess it is going to be a case of where thou goest I will go, and where thou lodgest I will lodge, and there will I be Luxeberried.” FACTS THAT EVERY HOME BUILDER SHOULD KNOW ABOUT VARNISH AND WOOD FINISHING A Necessary Preliminary E VEN though your finishing operations are in competent hands, there are many fundamentals concerning the treatment of woods that you should be in touch with. There are three main causes for a poor or unsatis- factory finish on the woodwork, and they are Incompetence, Carelessness, Poor Materials. You can overcome all these handicaps if you will take a little active per- sonal interest in the wood finishing, and be guided by the hints and informa- tion briefly given herein. It is of the utmost importance to have a clean, smooth sur- face if a first-class finish is desired. To this end all finishing operations in natural woods should be commenced by sand- papering the surface to be finished until it is perfectly smooth. A smooth sur- face is just as necessary whether the job is to be varnished or not. The fine appearance of both dull and gloss finishes, whether produced with varnish, enamel, wax, or any other material or method, depends very largely upon a proper finishing surface. Another desirable and even necessary condition for a first- class job of varnishing is the temperature. The proper tem- perature in which to spread varnish is about 70 degrees F. and if you demand a first-class finish you should see that the necessary heat is supplied. Varnish is very susceptible to atmospheric conditions, and cannot dry properly in a cold room. If varnish has been exposed to a low temperature long enough to cause it to become thick, it should be allowed to stand in a warm room until it regains its normal consistency. Reducing with turpentine is sometimes resorted to, but, although this may be a quicker way to prepare varnish for the brush, it creates unnatural conditions and injures the lustre. A nice egg-shell gloss, or rubbed finish demands two coats of varnish — Luxeberrv Wood Finish will give a handsome finish with two coats. If you have any finishing to do that requires a high polish, three coats of varnish should be used. The cause of many an unsatisfactory job of finishing may be traced to hurried work. The allowance of sufficient time between coats is a rule that cannot be broken without injury to the finish. It is the inevitable tendency of all woods to grow darker with age, hut when it is desired to preserve the natural color of the wood as long as possible, apply a thin coat of white Shellac direct to the wood, and then proceed with the filling The reason for this is that oil (which is present in both How Many Coats Why Woods Turn Dark , and I loir to Defer It and varnishing. Filler and Varnish) when applied directly to the wood causes it to turn dark. 32 ] Bv commencing with a thin coat of Shellac as suggested, the oil in the Filler and varnish cannot penetrate the pores of the wood which, consequently, retains its natural color longer than it otherwise would. The Shellac treatment only defers the darkening of the wood, however, as the action of the light will darken all woods in time. It will be understood that the foregoing suggestions apply mainly to woods finished in the natural color; when woods are stained, the darkening is not so observable, although a deeper tone will be acquired in time. I ^ , n Whenever a coat of Shellac is given it should be applied ‘ n“-'r) thin and then sanded down so that no film remains on the surface, as a heavy coat of Shellac might cause the varnish coats to crack. Confer with Your Painter STAINS AND STAINING , , , When woods are to be stained, the first operation in the fin- // B re 11 ’ 7 ashing process is the staining. Whether the wood is open or ‘ lC ‘ close grained, the stain should be applied direct to the wood. The same stain will not produce precisely the same color on all woods. There , ,, will be a variation according to the wood. Soft woods absorb ,, p , .. more stain than hard close grain woods, so that the color ■ r ° Ain t' JW j effects would be darker in tone. Then, again, hard woods Coloron AllW oocls , , , • • j-nr with pronounced grain or markings will take stain in differ- ent manner from woods showing no grain. The reason for this is that the stain penetrates more deeply into the open or spongy portions of the wood, while the harder parts of the wood — the grain or markings — are much less absorbent and, consequently, show up lighter in color, changing the general color effect. It is well to remember this when you have any wood stain- ing under wav, and talk the matter over carefully with your painter, having in mind the color or effect desired and the kind of wood to be treated. Either water, oil, or acid stains can be used for wood staining operations. r . Water or acid stains produce bright and transparent color Comparative a , • riuii- j - i 1 1 'urk in ' / / effects, but require careful handling to avoid raising the grain ' A, u of the wood. If these stains are well rubbed into the wood with a bunch of cheesecloth, there will be less danger of grain raising, as the cloth will absorb the surplus moisture and at the same time make an even color tone. If, however, water stains are applied and allowed to soak in without wiping, the excess moisture will cause the wood to swell and raise the grain. Oil stains also produce beautiful color effects, but a trifle less bright than water stains. Oil stains are often preferred because thev do not need quite such careful handling and will not raise the grain of the wood. They are not quite so transparent as water stains, although they do not obscure the grain of the wood to any marked extent. It is well to remember that water or acid stains cannot be safely shipped during the winter months, as they freeze when exposed to a low temperature. [33 Staining Old Work In refinishing an old job, always use Oil Stains. The reason for this is that other stains perform their work by absorp- tion, and in old work the porous properties of the wood are either destroyed or impaired by the previous finishing, so that the stain can- not penetrate. FILLING The Filling Operation Must Re Thorough In finishing open grain woods such as oak, chestnut, mahog- any, etc., the operation of filling is a very important one, as it is the foundation of the finish. The fibre or grain of the wood must be filled with a good paste filler, rubbed well in across the gram, so as to fill up all the interstices and level up the surface. This is a process that is sometimes slighted, and when it is, the finish will show it by numerous tiny depressions where the filler did not penetrate. An imperfectly filled job will never make a perfect finish, no matter how manv coats of varnish may be given to cover up the defective filling. A poor job of filling is sometimes caused by using the filler too thin. The filler as it comes in the can should be reduced for use in the proportion of from 6 to 9 lbs. to the gallon, according to the open grain of the wood. Very open grain woods require the heavier filler. It is also essential to apply the filler liberally, and allow it to remain on the surface long enough to set a little before wiping off. If wiped off too soon, or if the filler is too thin, the open grain of the wood will not be properly filled and the finishing surface will be imperfect. The thinner the filler is, the more quickly it is wiped off, and the easier the operation is. When the filler is of the right consistency, and it has been allowed to stand a short time after applying, it is much harder to work, and this is one reason why the operation of filing is sometimes slighted. Among the open grain woods — all of which require filing with paste flier — are Oak, Ash, Chestnut, Mahogany, Wal- nut, Prima Vera, Butternut, etc. These are not all the open grained woods employed for interior trim, but they are among those most commonly used. Among the close grained woods are Pine, Maple, Cherry, Birch, Cypress, Redwood, Gumwood, Sycamore, Whitewood, Beech, etc. These woods and others like them do not need filing. LIQUID FILLERS Liquid Fillers are not fliers in the strict sense of the word, but are “first coaters,” and could not be used to fill the open grain of such woods as Oak, Ash, Chestnut, etc. Liquid Fillers have their uses as first coaters on various finishing operations, but they are not intended for fine jobs of natural wood finishing, and we do not encourage their use for nice operations of interior trim. Do not use Liquid Fillers for floor finishing under any circumstances. 34 ] Uses and Limitations of Liquid Fillers Necessity for Cure in i 'se of Shellac THE USE OF SHELLAC Shellac is very commonly used as a first coat in wood finish- ing operations, and makes a hard non-porous foundation that is ideal as a finishing surface. It must be remembered, however, that Shellac is a quick-drying Spirit Varnish, and while it makes a hard surface, it is non-elastic. It is desirable, therefore, that the Shellac coat shall be applied very thin, or sanded down thoroughly so that no film is left on the surface. This prevents any possibility of the varnish cracking as it might over a heavy coat of Shellac. I ( yy. ij a A thin coat of Shellac over the Stain Coat develops the color Sp trine ! i and is desirable, although not necessary. A light coat of Shellac over the filler coat on open grained woods is also good, care being taken to sand it down close, so that while the Shellac re- mains in the pores of the wood, none remains on the surface. Shellac is especially useful as a first coat on sappy woods, such as Yellow Pine and Cypress. The Shellac coat keeps the sap from oozing out and marring the finish, but it should be sanded down as suggested. If the woods are to be stained, the Shellac coat should follow the staining. The use of Shellac should he avoided for first coats on floors that are to be varnished. WOODS BEST ADAPTED FOR ENAMELING \ Vfr// . f llV Qjr Some woods are better adapted for a white enamel finish m Select!!’* Wood r h ;in others, and the most satisfactory effect depends largely upon the selection of the wood. It is best to choose woods that are the most neutral in the matter of color, grain, and markings. Open grained woods, such as Oak, Chestnut, Ash, etc., should be avoided, if possible. The ideal enamel finish shows a surface as smooth as a sheet of celluloid or ivory. It may either be brilliant or dull, and pure white or a tint as may be preferred, but perfect smooth- ness without a hint of grain or roughness is essential in a first-class job of enameling. To get this result, however, you must use a suitable wood, the right enamel, and see that every step of the finishing process is carefully done. Among the woods most suit- able for finishing in enamel are whitewood, white pine and white maple. Birch and gumwood are also good, although the color is darker and both these woods are sometimes marked with dark, sappy streaks, that are objectionable. Care should be taken, therefore, to select the wood and reject sappy boards, retain- ing only those that are the most uniform in color. Yellow Pine is sometimes used for enameling, but, although it is a close grained wood, the broad mark- ings sometimes raise during the process of finishing, which gives a ridgy effect and destroys the smooth appearance of the finish. An Absolutely Smooth Job of Enameling Defends Largely Upon the Wood A RUBBED FINISH The beauty of the smooth velvety finish known as an “egg shell gloss” is well known and always admired. It is pro- duced by rubbing the final coat of varnish when perfectly hard with pulverized pumice stone and raw linseed oil, or [35 Oil Rubbed and W ater Rubbed Finishes crude oil applied with a piece of thick felt or flannel. Sometimes water is used for the lubricant instead of oil, and this makes a smooth finish similar to the egg shell gloss, but a little more dull. The rubbing process is the most expensive operation in wood finishing, and is sometimes dispensed with for reasons of economy. If a really good varnish is used such as our Luxeberrv Wood Finish, or Liquid Granite, it is not neces- sary to go to the expense of rubbing as soon as the varnishing is done. The operation of rubbing may be deferred for a year or two and the effect will be just as handsome as if the finish had been completed when the varnish was applied. This lapse of time between varnishing and rubbing is not feasible, however, when a poor or unsuitable finish has been used on the woodwork, only a high grade and appropriate varnish will stand this treatment. A handsome rubbed effect without the expense of rubbing can be given with a final coat of Luxeberrv Wood Finish Dull, which dries naturally to a smooth dull surface. POLISHED FINISH Dry Cleaning with a Dust Cloth This is the smooth, brilliant finish usually seen on pianos, but it is very sel- dom adopted for the interior trim in house finishing. It is produced by giving the rubbed finish described above a further rubbing with pulverized rotten stone and Berrykristal polish applied with a piece of soft felt. GLOSS FINISH This means that the last coat of varnish is allowed to remain in the natural gloss — an unrubbed finish. CARE OF VARNISHED WOODWORK Interior trim that has been properly varnished or enameled is easily taken care of. It needs practicallv no attention, but an ordinary dusting the same as furniture receives, and dust accumulates very slowly on upright surfaces like interior trim. Wiping occasionally with a damp cloth and rubbing dry with a piece of soft cotton or cheese cloth will keep the finish in perfect order. A too vig- orous cleaning by an over-zealous maid will do more harm than good to a varnished surface. Even if the finish should become badly smeared or soiled by juvenile hands, a wet cloth will repair the damage. A little pure soap — castile for choice — and cold or tepid water will not hurt good varnish, although it is seldom necessary to use them on the interior trim. yy y y r Should any portion of the interior trim become badly soiled , \ 1 p , , by much handling, and the finish need brightening up, use a ,nni an <> /i p tt ] e Berrykristal polish. Apply it sparingly, and rub it off thoroughly, the same as on a piece of furniture. Never use washing powders or fluids, or other cleansing preparations on fine varnished surfaces, as many of these contain sufficient alkali to injure the finish. No amount of care will prolong the life of a poor varnish, and that is why we would again emphasize the ultimate economy of using good and appro- priate finishes on the woodwork. 36 ] REFINISHING OPERATIONS In doing a job of refinishing, there are so many points to he considered, and conditions vary so widely, that no exact formula can be given. Sometimes it is necessary to remove the old finish right down to the wood and completely refinish, commencing with stain, as on a new job. For removing old varnish coats cleanly and quickly, there is nothing better than our Apex Varnish and Paint Remover. When a different style or color of finish is wanted, there is no other way to produce a satisfactory job except by completely removing the old finish. If it is simply desired to apply another coat over an old var- nished surface, and the undercoats are in fair condition, care should be taken before applying the varnish that the surface is perfectly clean and free from grease. If the finish is checked or cracked, it must be remembered that varnish is transparent and when applied over such imperfections will not hide them. Sometimes an old varnished surface can be given a good cleaning and then a coat of our Liquid Granite Dull, which dries to an artistic dull finish, and makes a very nice ap- pearance. Every operation of refinishing woodwork is an individual problem that must be decided upon its own merits, and it is sometimes best to consult a reliable painter who understands wood finishing. There is one point the house owner should always bear in mind, and that is, the question of refinish- ing is one that arises very seldom when the original finish is properly done with the right materials. Well finished woodwork retains its beauty for many years, and refinishing is unnecessary unless the owner wants something different. The front door is an exception. This should be given a coat of Berryspar every year. The expense is trifling, and is more than justified both from an artistic and a practical standpoint. CONDENSED FINISHING FACTS When you are definitely considering the treatment of your interior, two questions will arise, — what finish to use; how many coats are necessary to produce a satisfactory result. The treatments suggested will produce entirely satisfactory results. FOR A RUBBED FINISH ( Open Grained Woods ) Stain, fill with paste filler, one thin coat of Shellac, and two coats of Luxe- berrv Wood Finish. Rub last coat when hard with pulverized pumice stone and oil or water. Staining is a matter of individual taste, and can be omitted, but all open grain woods must be filled with paste filler. If Luxeberry Wood Finish is used, the rubbing process can be deferred indefinitely. [37 FOR A GLOSS FINISH ( Open Grained Woods ) Follow the above directions, but omit the rubbing. RUBBED EFFECT WITHOUT RUBBING ( Open Grained Woods') Stain, fill, one thin coat of Shellac, one coat Luxeberry Wood Finish, one coat Luxeberry Wood Finish — Dull, which dries with an excellent rubbed effect when applied over a gloss coat, and saves the cost of rubbing. WAX FINISH ( Open Grained Woods ) Stain, fill, and give one or two coats of Berry Brothers’ Floor Wax applied according to directions on the can. WAX EFFECT WITHOUT WAX ( Open Grained Woods) Stain, fill, one coat of Shellac, and one coat of Liquid Granite Dull. FLOOR FINISHING ( Open Grained Woods) Fill with light or dark paste filler, and apply two thin coats of Liquid Granite. The last coat can be rubbed or allowed to remain in the natural gloss as may be preferred. A handsome rubbed effect without the expense of rubbing can be given with a final coat of Liquid Granite Dull, which dries naturally to a smooth dull surface. CLOSE GRAINED WOODS Proceed in the same way as for open grained woods, but omit the Filler. A final coat of Liquid Granite Dull, which dries naturally to a smooth dull finish, will produce a handsome rubbed effect. ENAMEL FINISH Two coats of Luxeberry White Primer and two coats of Luxeberry White Enamel will make a handsome finish over a smooth and suitable surface. It is essential that the priming coats make a solid white surface before applying the finishing coats of enamel, therefore a coat of good white lead paint should be applied directly to the wood. WALL FINISHING One coat of Luxeberry Wall Size, and two coats of Luxeberry Wall Finish of the desired color. It is understood that the wall must be properly surfaced up before finishing. The treatment indicated applies to both walls and ceilings. SHINGLES Dip two-thirds their length before laying, and give one brush coat after laying. If laid before staining, give two brush coats. 38 ] BASEMENT FLOORS See that the surface is dry and clean, and give two coats of Luxeberry Cement Coating applied according to the simple directions on the package. COVERING CAPACITIES ( One Coat) A gallon of varnish will cover about 600 square feet. A gallon of Shellac will cover from 500 to 750 square feet according to its body — or consistency. A gallon of Water Stain or Acid Stain will cover from 500 to 600 square feet on hard woods. It will cover more surface on close grain hard woods than on the open grain varieties. On soft woods the covering capacity will be from too to zoo feet less to the gallon, as soft woods absorb the stain more readily. A gallon of Oil Stain will cover from 500 to 600 square feet on all woods. A gallon of Paste Filler as reduced for use covers about 300 square feet; and from 6 to 9 pounds of paste filler are required to make a gallon. A gallon of Shingletint covers about 160 feet if brushed on; il 2 gallons covers the same surface, two coats. From zj 4 to gallons will dip 1,000 shingles and another gallon is enough for a brush coat in addition after the shingles are laid. A gallon of Lacklustre will cover from 500 to 600 square feet. A gallon of Luxeberry Wall Finish covers from 600 to 800 square feet, according to the nature of the surface on which it is used. A gallon of Luxeberry White Enamel covers about 600 square feet when used over a suitable surface. While the above figures are not entirely arbitrary, they will serve as a reli- able basis upon which to estimate quantities of material required for a given surface. OPEN AND CLOSE GRAIN WOODS Elsewhere we refer to the fact that woods with an open grain require filling with a paste filler, and that close grain woods do not. We give below a list of woods embracing those most commonly used for interior trim, indicating to which class they belong — • OPEN GRAIN WOODS CLOSE GRAIN WOODS (requiring the use of a paste filler ) (requiring no filler ) Oak Walnut Pine Gumwooi Ash Prima Vera Maple Cypress Chestnut Butternut Cherry Sycamore Mahogany Birch Whitewood Redwood Hemlock Beech [39 THE PROPER CARE OF LEFT-OVER VARNISH Simple Rules for Keeping Varnish in Good Condition Cans of varnish that have been opened and the contents not entirely used should be carefully corked up so as to exclude the air and prevent evaporation. If the cork does not fit the nozzle opening tightly, wrap a cloth or piece of paper around the cork, for if there is the slightest air hole the varnish will become heavier in body as the solvents slowly evaporate. Varnish that has not become too heavy may be reduced with Turpentine, but it is much better and easier to avoid the necessity for reducing by taking care that cans are securely sealed. When reducing, do the mixing slowly and stir thoroughly during the operation, so as to effect a perfect union between the varnish and the turpentine. If the varnish is chilled, place it in a warm room long enough to become of normal temperature before mixing. This same precaution should also be ob- served in handling Turpentine when it is to be used as a reducer for varnish. FINAL REMARKS AND SUGGESTIONS I T will be noticed that in this booklet only simple finishing operations are illustrated and described, and none of them are beyond ordinary skill. Only three or four finishes are involved — “Luxeberry” or "Berrvcraft" Enamels, Luxeberrv Wall Finishes and Liquid Granite Floor Varnish, and all of the artistic finishing treatments shown and described can be easily pro- duced with them. In enameling old varnished surfaces, commence with a coat or two of Flat White (Luxeberry Enamel Undercoat) to make a solid white ground, and follow with a coat or two of Luxeberry Enamel or Berrvcraft Enamel of the desired color. If the old surface is in bad condition — cracked, checked, peel- ing, etc. — it should be completely removed with Apex Varnish and Paint Remover, given a light sanding with fine sandpaper, and then finished as above directed. New work is finished in the same way, but commence with a coat of good Lead and Oil Paint and then finish as above. By tinting the white or blending other colors, any shade can be produced with our Enamels. In finishing plaster walls, cracks should be filled with plaster of paris and then shellacked over. If walls have been papered, the paper must be com- pletely removed and the walls well washed to remove the glue. One coat of Luxeberry Wall Size and two coats of Luxeberry Wall Finish will make an excellent finish over a proper surface. Special shades can be made by tinting the white or blending regular colors. On natural-wood floors, linoleum and oilcloth, Liquid Granite should be used. On pine and other floors that are old or discolored, Berrycraft Varnish Stains ana Lionoil Floor Enamels are well adapted. On furniture and bric-a-brac, either "Luxeberry” Enamels or "Berrycraft" Enamels can be used, and we have color folders giving full descriptions and directions, which you will find useful. Write for them. 40 ] AVERY LIBRARY v COLUMBIA UNIVERSITY