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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..7744556 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68261 (https://www.gutenberg.org/ebooks/68261) diff --git a/old/68261-0.txt b/old/68261-0.txt deleted file mode 100644 index c5dbc97..0000000 --- a/old/68261-0.txt +++ /dev/null @@ -1,1405 +0,0 @@ -The Project Gutenberg eBook of The partnership of paint, by Anonymous - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The partnership of paint - -Author: Anonymous - -Release Date: June 7, 2022 [eBook #68261] - -Language: English - -Produced by: The Online Distributed Proofreading Team at - https://www.pgdp.net (This file was produced from images - generously made available by The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK THE PARTNERSHIP OF -PAINT *** - - - - - - The Partnership - _of_ Paint - - _Published by_ - John W. Masury & Son - _in_ Brooklyn, New York - _at_ Fifty Jay Street - - - - - Copyright, 1920 - JOHN W. MASURY & SON - Brooklyn, N. Y. - - THE DE VINNE PRESS - New York - - - - -_ACKNOWLEDGEMENT_ - - -We wish to express our indebtedness to Mrs. Eda A. Oliver, of New York -City, for the pages on Interiors. Her suggestions are based upon her -wide professional experience and may well be considered the last word -in correctness and good taste. - - JOHN W. MASURY & SON. - - - - -Paint Our Partner - - -Paint as our partner in all the affairs of life may be a new thought, -but it is an old established fact nevertheless. In reality paint is -so interwoven with every turn of the wheel, that it is forever at our -side, like our Siamese Twin. - -Suppose we were to wake up some morning to find that paint in every -form had been eliminated from the world, from our lives! What -consternation, surprise, indignation, and havoc would reign everywhere! -Whether for better or worse, for good or evil, it is part of the very -warp and woof of our every-day existence, and what a pal and benefactor -it really is. Think of our morning train, our motors, our boats, our -houses, as _paintless_! What a queer jumble life would be. But here -stands our partner--paint--ready to jump into any breach, and make -life full of comfort and happiness and cheer, from the building of a -new house, where the painting of every wall, every bit of trim, has to -be carefully planned and decided upon, to the many small things about -the house that can be transformed by the “Magic Touch” of paint. - -The dear old home that has stood in rain, and wind, and snow, for -years, and begins to show its many battles, seems to implore us to -brighten up its faithful face. And so we do. We paint it a soft old -ivory white with fresh green shutters, and it seems to expand with joy -and happiness, and smiles back at us a radiant smile of thanks; and as -we regard it with warm affection, we suddenly realize anew how much -we love it and owe to it, and a feeling of most tender warmth fills -us, and fills our day, and Life takes on a fresh beginning. We return -at night with a new glow of well-being in our hearts. It passes on to -our friends, to whom our radiant newly dressed house also gives joy. -It permeates the very air, and indirectly works its way into unknown -channels for good; for nothing we ever do can remain unto us alone. -Every act, however small, has its immediate reaction, like the circles -made by a pebble, spreading ever wider, far beyond our vision. The -whole community is cheered because of our freshly painted house. - -Take the practical side. Suppose you have a house you want to sell. It -is shabby, down at the heel, forlorn and sad. If you will put it in -condition and paint it inside and out (give it the “Magic Touch”), your -chances for selling it are ten to one in your favor. You present your -house at its best, at its highest possibilities. Everything depends -upon the way a thing is presented. A purchaser immediately sees what it -really looks like. One out of a hundred prospective purchasers has the -imagination to see it in his mind’s eye and realize its possibilities, -if he first beholds it in its downtrodden state. Besides, he isn’t -buying possibilities, he wants to see what he is buying. He sees it, -he likes it, he buys it. The “Magic Touch” has brought it fresh, -beautiful, and living to his recognition. In his mind’s eye he sees his -family installed, happy and cozy, within its cheerful walls. The deed -is done. The house is sold. Then the joy that paint brings into our -lives, the radiance, the color. We all love color, color that Nature -first taught us to love. How can we bring it into our midst, with its -gay vibrant song? By paint, and only by paint. And so again our debt to -paint grows greater with our realization of all that it can mean. - -Paint is so clean. Almost any condition of grubbiness can be made -sanitary and wholesome by paint, and it keeps out and prevents illness -and disorders. - -The use of paint is as old as history. We find it on the mummy cases of -Egypt, on the shores of the leaden, swinging Nile, though the medium -used then was wax mixed with the pigment. The medium has changed, but -it has gone down the ages, steadily at our sides, varying, growing, -developing, never standing still, active, ready for any call of life. -It went into the Service, holding off the iron rain of shell on the -painted dust-colored helmets of our boys, thus eliminating the target -they would otherwise have made; camouflaging our ships, our trains, -our tanks, and our trucks. It helped in all the campaigns. What would -we have done without the posters, the banners, the inspiration offered -by paint on every hand? We couldn’t have done anything without it, -without its magic. It is part of life and a very serious part of it. It -transforms; it brings joy and gladness in its train. It is sanitary, it -is practical, it is most constructive; only good follows in its wake. - -Paint is historical, and teaches us much. Take the characteristic -painting of the Norse countries. The furniture used in the peasants’ -houses is painted in flat, hard, brilliant colors, expressive of the -climate. It is a record of what people see and feel, and so translate -into their lives and surroundings. The subtle, inscrutable, complicated -civilization of the East is expressed in the Oriental painting of -every description, meticulous as it is, detailed, and filled with most -exquisite color of every possible nuance, the most delicate shades and -tones. - -Paint is pigment, or color, and a medium, whether it be oil or wax, or -something else by which it is applied, but it has its own far reaching -psychology. It is inspirational, and really spiritual in its reaction -on mankind. We may paint a house for the most practical of reasons, -to preserve it from the weather, but we are carried, in spite of -ourselves, beyond the point of hard fact, to a certain positive feeling -of pleasure and satisfaction and joy it gives us. - -Back of all seeming hard, cold facts lies the truth of Life: it is -Inspiration. For that reason our debt to Paint mounts higher and -higher, as we think about it and realize that it is in very close -association with everything about us, a very vital part of our -human existence, and that we could not, at the present stage of our -development, possibly be comfortable, or clean, or happy without the -“Magic Touch,” the Miracle of the wonderful “Partnership of Paint.” - - - - -Nature and Color - - -Nature is unerring in her choice and use of color. She is the mistress -of color, always in good taste and the greatest respecter of the -fitness of things. In the main, her dress is green and brown and grey -in a frame of blue and white. To relieve the monotony, she punctuates -her work with spots of brightness that stand out in harmonious -contrasts. - -From earliest Spring days she operates a kaleidoscope which brings -changes to the eye and keeps it interested and unwearied of the -transitions which gain in attractiveness as she touches time with her -wand and carries us unwittingly through a maze of hueful glory. - -In her scheme of things, she uses gold and pink, lilac and amethyst, -crimson and green, blue and purple, yellow and brown, orange, buff and -neutral silvers and drab. Go where you will in the flower months and -you cannot get away from her combinations of colors. - -In March she brings the trailing arbutus into blossom with its delicate -pink flowers nestling in a bed of green. April comes with her lap -filled with wild honeysuckle, with its red spurs that seem to be a -reception committee to balmy days and renewed life. So it goes as the -season advances. Nature is never violent in her selections of color. -From the departure of snow to the turning of the leaves in Autumn, she -teaches us the use of color, and never once going wrong. With May comes -the beautiful wild lady’s slipper, followed in June by the grass-pink. -The spring season is a pink and green season, and with the warmer days, -meadow and roadside, woods and swamps become dotted with stronger -colors until in September the golden-rod and Jo Pye weed vie with each -other in the carnival of beauty. - -So, if we would put harmony in the surroundings which make home, we -will do well to follow the order and the skill of this scheme of -universal decoration. - -Let us consider, if you please, the spirit of home-making as nature -herself and the home and the rooms within it as nature and the seasons -passing in review. It is the purpose of this book to treat of the -home in its entirety and of all the elements that go to make it. For -inasmuch as all things are relative, it becomes imperative to consider -the details as well as the project of general requirements. - -Let us picture and see the home from the outside and the inside points -of view. Let us see the physical structure and its uses. Let us not -only make walls but a place to live, ready for its owner to walk into, -sink into an easy-chair and meet eye rest and mental satisfaction, -called comfort. - - - - -Choosing the Site - - -Let us assume that this home is to be built in the country, or at least -in a suburb where there is still enough of nature’s garb to give proper -setting. There is nothing so good for a background as nature-made -landscape; and if we cannot dwell in a home that is a part of it, we -can choose a spot where some of its elements have been spared the axe -of over-zealous man. - -See to it that your site has trees that may be permitted to remain if -this is possible. And see to it too that their roots are not mutilated -in the business of building. The next matter of importance is room at -the front for a flower garden, however small it may be. For a front -garden is like the opening chapter of a book. It gives an idea of what -to expect as one proceeds up the path to the presentation of an idea. -The more green with which you can surround your home, the prettier it -will be; the more inviting from the outside, the more restful within. A -man who spent his working hours in the city once said that he wouldn’t -take a thousand dollars a morning for the view which he had with his -breakfast and the green he saw from his easy-chair on his porch. - -The home should be a part of the landscape. It should not be a violent -spot either in design or color. It should look as if it grew in its -surroundings with the flowers and shrubs and trees. It should be -designed by a good architect. It is no part of this little book to -create rules. It is rather a suggestion or series of suggestions which -may or may not be fully accepted as your taste may prompt. - -It may be that you have already built your home, but these suggestions -are quite as applicable as to a new home. To meet entirely your -specific needs it would be necessary to consult an interior decorator -of good repute. These pages are intended to apply in a general way, -though details are discussed at some length. To return to the -structure: There are no better examples of domestic architecture than -many of the simple homes of New England. These are almost invariably -white with green trim. Their interiors were designed for comfort. -Their gardens are literally festivals of color from early Spring -until late Autumn. They are restrained in character, refreshingly -free of “ornament,” dignified, restful and pleasant. They come nearer -fulfilling the true conception of “Home” than any type of building -which has since been evolved. - -The one important reason why this character of home is successful in -most sections of the country is that it is built from wood--the best -medium for artistic expression, in the opinion of many. If you have -doubts of the lasting qualities of wood, you have only to remember that -the models in question have stood in many instances for more than a -century, kept young and useful by an occasional coat of your partner, -paint. - -Of course, there are other media of architectural expression. The -stucco house is favored by many, especially when it is used in -conjunction with half timber effect--borrowed from our English cousins -who use it structurally and sincerely, while the general run of -homes in America in this transplanted style are built from the motif -of appearance alone. In some cases, the supposed timbers have been -fashioned from galvanized iron, untruthful in purpose and useless as a -part of the building. Even when wood is used it is in fanciful patterns -created for the eye alone, from ordinary boards. - -The wooden home is essentially American in spirit and design. In the -early days wood was used because it was the only available material, -quarrying not having been introduced and bricks being imported from -England and Holland at great expense. Besides, it was only necessary to -cut and artifice a material growing on every hand for adequate shelter -against all weathers. The material of necessity proved so lasting, -so easy to work and so low in cost that the consideration of other -materials was superfluous. - -Now, as then, bricks and stone are almost prohibitive in cost even -to the well-to-do, while wood is not only the cheapest but the most -natural elemental building material. It is the easiest worked, costs -the least from the standpoint of labor charges, and can be changed in -color at will to meet a desire for a new effect. - -So let us consider first the wooden home and discuss the details of -the exterior from the point of view of beauty, brought about by a wise -choice of color. - -White is the preferred color for exterior painting; that is, for -the broad surfaces. The blinds, window-trim, porch columns and in -many cases the cornices may be one of numerous color tones. The -picture which we must consider is one which nature would approve, so -restraint is in order, whatever our selections may be. Following is a -presentation of a variety of combinations, all of which will blend with -any landscape and become a part of it. - -As there are so many different shades of each color, we mention the -technical trade names, by which the intended color is known. - - COMBINATION NUMBER ONE: Broad surfaces, White; window casings, Warm - W Grey; sashes, Brown G Stone; shutters, Woodbine Green; porch, - cornices and mouldings, same Warm W Grey as used on casings; doors, - White; casings, Warm W Grey; porch floors, Green Stone Medium; roof, - Woodbine Green. - - COMBINATION NUMBER TWO: Broad surfaces, Cream D Color; casings, Fern - Green; sashes, White; shutters, Fern Green; porch, Cream D Color; - cornices and mouldings, Cream D Color; doors, White; casings, Fern - Green; porch floors, Blue E Grey; roof, Fern Green. - - COMBINATION NUMBER THREE: Broad surfaces, Pearl Grey; window casings, - Warm Drab; Shutters, Oxide Red; cornices and mouldings, Pearl Grey; - doors, White; porch, Pearl Grey; porch floors, Oxide Red; roof, - Oxide Red. - - COMBINATION NUMBER FOUR: Broad surfaces, Yellow M Buff; casings, - Walnut Brown; sashes, White; shutters, Walnut Brown; porch, Yellow M - Buff; cornices and mouldings, Yellow M Buff; doors, White; casings, - Walnut Brown; cornices, Walnut Brown; other mouldings, Yellow M - Buff; porch floors, Siennese Drab; roof, Walnut Brown. - - COMBINATION NUMBER FIVE: Broad surfaces, White; casings, Palm Green; - sashes, White; shutters, Pea Green, porch, White; cornices, Pea - Green; other mouldings, White; doors, White; casings, Pea Green; - porch floor, Palm Green; roof, Palm Green. - - COMBINATION NUMBER SIX: Broad surfaces, White; casings, Brown G - Stone; sashes, Warm W Grey; shutters, Brown G Stone; porch, White; - cornices and other mouldings, Brown G Stone; doors, White; porch - floor, Brown G Stone; roof, Woodbine Green. - - COMBINATION NUMBER SEVEN: Broad surfaces, Grey T Stone; casings, - White; sashes, Tobacco Brown; shutters, White; porch, Grey T Stone; - cornices and mouldings, Grey T Stone; doors, Tobacco Brown; casings, - White; porch floor, Tobacco Brown; roof, Fern Green. - -We must remember that harmonious contrast is in order, and there are -greens and greens, greys and greys, browns and browns. In incompetent -hands, the best color scheme ever planned may be rendered hideous. Home -should not be a paint-maker’s color card, and cannot be successful -unless your own taste and individuality are reflected in its dress, -inside or out. - -Assuming that you live on a street containing representative American -homes, we must plan the color treatment of your own so that it will not -appear violent in comparison with that of your neighbor’s. You have no -doubt seen the deplorable result of a variance of preference when one -side of a semi-detached residence has been painted white and the other -half done in green. The straight, sharp line of demarcation showed that -each neighbor cared nothing about what the other thought of it--and -less about the neighborhood spirit. - -We have assumed in our seven suggestions that the house is one of board -construction. If it be of brick, it must be considered from a somewhat -different point of view. Brick and stone are elemental in character -and are better unpainted. The little exterior wood trim should -generally be done in very light colors, white and buff being in order -with shutters white, buff or bright green. Sashes may be dark if one -chooses. There is much less choice of colors to use with brick because -there is so little variation in the tones of the brick itself. The same -is practically true of stucco, save that it may be colored to suit -almost any fancy. The general use of grey is prevalent, and inasmuch as -grey harmonizes with nearly all other colors, the same treatments of -trim as mentioned in our previous suggestions may be applied to stucco -buildings. - -Shingle houses offer less variety of choice as far as color is -concerned, but there are good and substantial reasons why shingles -should be painted, rather than left to the weather. In the first place, -there never has been a shingle roof which has not required patching at -more or less frequent intervals. The patch, usually a fresh, uncolored -shingle, becomes startlingly conspicuous when set among its older, -weather-stained neighbors. When the shingles are painted, repairs can -be made as often as necessary, and a coat of paint on the new pieces -preserves the harmony of color and does not flaunt their newness. - -Painted shingles have a far greater resistance to fire than unpainted -shingles. While it is true that the oil in paint is inflammable, it is -equally true that, after drying, the surface is practically metallic -and to a high degree fire-resisting. Painted shingles do not warp, with -the result that they do not form pockets in which a burning cinder or -spark could settle. Furthermore, actual experience proves that painted -shingles are rain-proof and remain so as long as the paint endures. - -Painted shingles of a color in harmony with the rest of the house, are, -first of all, a good investment; second, good protection; and third, -pleasing and attractive to look at. - -The secret of successful house-painting is in the maintenance of -a neutral effect, with enough of color to give relief to the eye. -Monotony is as offensive as too much variety. So our task is to -establish a medium that shall be happy and tasteful. - -Let us not forget that the renewal of paint at stated intervals is -quite necessary and should be made at least once every four years. -Only a good master painter should be employed--one who believes in the -use of good paint and good craftsmen. Given paint of first quality, -two workmen may produce entirely different results. From the work of -one may follow long wear and weather resistance, and from the other -a coating that will prove short-lived and inferior, with peeling and -blistering of the surface. - -The time to paint depends more upon the weather than upon the season. -In many parts of the country the cool clear days of Fall afford as good -and sometimes better working conditions than the Spring. The season is -inconsequential. Dry weather is the most important consideration. - - - - -As to Interior Furnishings - - -Color and arrangement are the two most important factors in developing -a sympathetic and attractive interior. _Color_--first, last and always. -The importance of color is only just beginning to be recognized. The -reaction psychologically is very powerful--and very subtle. - -How often, on entering a room or a house, one has felt an overpowering -sense of gloom and depression--strong enough to make conversation -almost impossible, so heavy were one’s spirits! If analyzed, the cause -of this could almost invariably be traced to color. - - * * * * * - -A charming old country house, lovely in line and type, had, when -purchased, an entrance hall about 25 feet square, running through the -width of the house at that point, with a Dutch door and two windows -opening onto a garden at the rear. This hall had a fireplace and a -finely proportioned long low mantel. A wonderful possibility! But--the -walls were covered with deep red paper of an enormous pattern, with -yellow grained varnish on the trim--gloomy, repellent and most hideous. - -The paper was removed, likewise the yellow grained varnish; the walls -were panelled; and walls, trim and ceiling were all done in soft, -creamy, flat-tone paint. - -A long box under a group of windows, built in with mouldings and -panelling like the walls to the left of the door as one entered, was -covered with a cushion of a small patterned velvet in dull gold. This -box held golf clubs, tennis rackets and other odds and ends very -conveniently. The lighting fixtures were black sconces with raised -lacquer in gold. An old black lacquer Chinese chest with raised gold -decorations served as a wood box and gave color and character. - -Above this hung a black Chinese lacquer mirror of Queen Anne type. An -inexpensive Chinese rug of blue with gold figures covered the centre -of the floor, which had been properly varnished and waxed. Some Canton -willow chairs with a low table of the same, cushions of plain Chinese -blue and of brocades in Chinese design of blues, old golds and black -carried out the idea of color. The room was made so attractive that -it was decided to place the piano there. The windows, being small and -many-paned, were hung to the sill with sheer sash curtains against the -panes and soft old gold silk at either side of the window, all pulled -back so that the vista into the gardens might not be obscured--a vital -point in a country house. - -In one corner stood an oleander bush which reached to the ceiling--a -distance of only nine feet--but imagine the glow of color, the light -streaming through the old gold curtains and bits of gold, blue and -black everywhere against the cream-painted background. A standing lamp -of wrought iron whose parchment shade was banded with blue and gold, -lighted the piano. It all welcomed you most charmingly. An entrance -like this must express a happy, cheerful household. One had a sense of -pleasure and expansion at once on entering.... Then close your eyes and -think of the red paper and yellow varnish. What a comparison! - -The living room, opening off directly to the right, had its walls done -in a soft Colonial yellow flat tone with cream trim; old mahogany -furniture was covered in soft brown and dull old greens; an Oriental -rug of great beauty and unusual coloring in golds, browns, tans and -blues covered the floor. A piece of old brocade hung flat against the -chimney breast, against which was hung a long oblong antique Colonial -mirror. A pair of old brass candlesticks stood on the mantel with a -bowl of laurel leaves reflected in the mirror in the middle; brass -andirons and fender--all gave sparkle and life to the room. A wing -chair with a low table at its left, on which stood a reading lamp, -was placed beside the fire and gave a very inviting touch. There were -no fixtures in this room, but many lamps all with gold colored silk -shades. The rooms all opened so closely into one another that it was -felt best to employ the same colors, though differently expressed. - -The trim, throughout the entire house, which was small, with very -low ceilings, was kept in the soft creamy tones. The wainscoted -dining room had the same soft creamy paint, with a very quaint old -black-backgrounded paper above the wainscoting, which was part of the -original old house. Old brass sconces made into fixtures added another -quaint touch, with soft yellow silk shades lined with deep rose to give -a glow of color when lighted. Old mahogany table, chairs, sideboard and -corner wall cupboard fastened high up into the corner. The floor, which -was finished in a very dark stain, varnished and waxed, was covered -with a dark brown--“tête de negre”--seamless chenille rug. None of it -expensive, none of it done in a “scheme,” yet all harmonious, happy and -unobtrusive. - -The loveliest rooms are those that grow from one thing to another as -the suggestion is developed. Of course, if your house is so pure in -style or period as intelligently to call for only the period furniture -of its type, that is a different proposition. We are dealing here with -the ordinary conditions of thousands of our American homes--houses and -apartments that have no special architecture or “period” background to -work up to. - -The guest bedroom contained a motley collection which would have cost -much to replace with desirable and attractive furniture. An inexpensive -copy of a French chintz paper in lovely soft blues and red pinks was -found to cover the walls. The trim was painted creamy white. Then, as -an inspiration, it was decided to paint the furniture, and a soft dull -blue which was in the paper was decided upon. Everything--brass beds, -bureau, chiffonier, desk and chairs, all were painted old blue. The -dressing table had a much too ornate cheap mirror which was removed -entirely and a small antique mahogany shaving mirror was stood on the -dressing table in its place. Copies of old hardware handles, etc., -replaced the common commercial variety. A red mulberry carpet rug -(also one of the tones in the paper) made a wonderful background for -the blue furniture, the floor having been properly done as to finish, -varnishing, etc. At the windows were organdie curtains ruffled and -looped back--no other hangings. The whole made a most charming room. - -The same thing was done with another bedroom, in which a soft green -instead of blue was used. The trim was done in the same creamy white; -a green and white striped paper covered the walls. Again everything, -beginning with the brass beds, was painted. An inexpensive English -block print chintz was used in this room for curtains. A chaise longue -was upholstered in this same chintz which had pink and soft mauves to -offset and balance the green paint. Bed spreads with a full gathered -valance covered as much of the ugly brass bed as possible. A dark green -carpet rug was used,--and so another room was transformed by a coat of -paint, at small expense, using what one had and painting all to bring -it together happily. A few pieces of old mahogany or walnut can always -be used in a room with painted furniture and they relieve the hardness -which sometimes occurs with certain types of this kind. - - * * * * * - -In another old house in New Jersey, the large living room had an old -cupboard with a wonderful green on the panels of the doors. This made -the starting point for that room. The color was copied and all the -trim, doors and cornices done in this tone. The walls were painted a -flat cream. A very simple type of wicker furniture, painted black, was -used, with old gold cushions of very inexpensive material. Portieres of -this same material were hung. The fireplace was painted black--mantel -and all--and black wrought iron lamps with parchment shades of cream -with old gold bands and black lines were used. Ruffled curtains of -organdie looped back were at the windows.... And, at a very small -outlay, simply the application of color and paint, a really delightful -room was evolved. - -It is always best to keep to the simplest types in furniture, avoiding -cheap adaptations and the kind of wicker furniture that is full of -scrolls and fancy loops. - - * * * * * - -A living room in an apartment had a most distressing look when -first beheld by its prospective tenants. The apartment was in an -old-fashioned house which had been made over. The doors and trim were -of heavy solid oak with a yellow grained varnish finish--very expensive -and very ugly. Nothing could look well against such a background. - -This was entirely refinished and painted a soft dull green with a gold -line on the smaller mouldings. The walls were tinted a greenish grey, -the ceiling a soft, dull browny gold. At the windows were hung, only -to the sill, filet net curtains, with old gold silk pushed back at -the sides, both curtains hanging flat against the window pane to give -full value to the deep embrasure of the window and do justice to the -panelling and architectural detail. - -In this room a lovely English glazed chintz was used to cover the large -davenport and large winged chair. Pleated valances were used on these -pieces. The chintz had a very soft pinky tan background with flowers -in red pink and blue and yellow, producing a very old mellow effect. -The other odd pieces of furniture were covered in a dull dark old blue. -Built-in sunken book-cases flush with the wall were filled with books -whose bindings reflected again the colors in the chintz. A fireplace of -Italian design in dull green and gold composition with a pair of very -quaint andirons of Italian reproduction and fixtures of the same style -made another note in the room. - -A very beautiful old Sheraton table was pulled up to the left of the -guest as he sat on the davenport, which was placed at right angles -to the fireplace, and held magazines, books and a large reading lamp -with a gold colored shade. A room which was a mixture of English, -Italian and Colonial, yet the effect of which was warm, soft and most -sympathetic--all of which would have been impossible with the yellow -varnished oak background originally in the room. - - * * * * * - -In every one of the rooms described, extraordinary results were -produced by paint and color at small expense. - -Arrangement is most important and furniture should be shifted and -changed about until, by the very sense of balance you get, suddenly you -know you have hit it. - -It is right. The light falls in just the right way over your shoulder -as you read, write or sew. The chairs are grouped in the living room in -such a way that friends dropping in for tea find a cozy spot at once. -It is not a question of vast expense. With the right touch and the -right color it can be done with most satisfactory results and really -marvellous things can be done with paint. Every room herein described -has actually been done. - - * * * * * - -In furnishing the Hostess Houses at the Camps throughout the country, -wonderful effects were produced almost entirely with color and paint. -The men craved color. They were weary of khaki, tans and dust color, -and their joy in and appreciation of the Hostess Houses was a delight -to see. Expensive fabrics were out of the question. How, then, to get -color? By paint! Perfectly ordinary kitchen chairs and tables in the -cafeterias were painted soft light cheerful greens. Body color coats of -brilliant warm orange and deep royal blue were given to a very simple -type of wicker chair in the huge living rooms. The effect of these -masses of color offset by the khaki of the men was gay and cheerful -beyond words. Large paper shades of orange color shaded the lamps. The -rooms glowed with a joy and welcome that none of the men failed to -appreciate. - -Make your homes as gay and cheerful as you possibly can, not “jumpy” -with hard, unlovely color, but as full of warm soft tones as you can -get them, remembering always that Home must be a place of peace and -rest as well as joy. - -We feel like echoing the sentiment of the old Gloucester fisherman who -gave his schooner a new coat of paint in the spring, and, gazing with -pride and admiration at his work, remarked, “Ain’t it wonderful what a -lick o’ paint’ll do!” - - - - -The Small House - - -In these servantless days, the bungalow type of house grows more and -more popular. It is compact, convenient; it only asks for a simple type -of furniture. A mixture of good willow, painted or left in its natural -color, in the body, and with the braided edge painted or stained; some -old mahogany or walnut pieces, if you are fortunate enough to own them, -mix in well, or good simple reproductions. By walnut furniture I do -not mean the hideous black walnut “Eastlake” types. These, with their -scrolls and marble tops and glooms, are, I hope, forever relegated to -oblivion. - -I shudder now in remembrance of a set of black walnut furniture in my -grandmother’s bedroom, particularly an enormous bureau, with its marble -top, huge great mirror supported by carved columns that wiggled upward, -and topped over all by massive carved grapes. How I gazed in awe while -a terrible stillness always filled me as I planted my small person in -front of it! - -And oh! the terrible “best rooms” of the past! I remember a friend -telling me that in her father’s house the “best room” door was never -left open. That closed door, at the foot of the stairs--how it filled -her with absolute horror! And she had a trick of throwing herself -around the newel post with a tremendous swing--with enough “way” to -land her up two or three steps of the stairs if she was going up, or -’way round, well past that awful door, if she was coming down stairs. -Imagine the effect on that little mind. And the shrinking terror with -which she grew up. The awful something behind those doors! What was it? -What an opportunity for an inhibition! The “best room,” thank Fate, has -forever left us, and in its place we are putting the living room where -the family draws magnetically together. Wonderful if it has an open -fire, and most bungalows now have. The open fire is the soul of a room. -We gravitate toward it instinctively. We group our furniture round it. -We draw up chairs, stools, anything to get within its cheerful glow. - -Arrange your furniture with some meaning, in groups if it is a large -room. There is the group around the fire; the group around the tea -table; the group around the reading table, with its glow of light, -centred to draw the family together in peace and concord. - -Above all things avoid “small junk.” The sins that are committed in -the name of “bric-à-brac” can never be atoned for. There is no Hades -big enough! And the amount of money that is spent is appalling. If -you can’t have a few fine bits, preferably antique, there are many -modern Chinese porcelains that are lively and full of color. Don’t be -afraid of empty spaces--books, flowers, a work box, all have meaning -and purpose. There never was a drawing room too fine for a lady’s work -box; and what a sense of cozy human sympathy it always has--the chair -beside a low table with a work box, a vase of flowers, a book. That -brings us to another point. Have low tables--as many as your room -will hold--without crowding, of course, and instead of cheap, utterly -meaningless junk--cheap though it may have cost much actual money--have -flowers, or green branches of laurel leaves or a small growing plant; -and a book or magazine on a low table placed beside the chair where -your family or guest may take comfort and pleasure. - -To go back to our starting point--the bungalow. Arrange any rooms on -the first floor so that they do not clash, not necessarily using the -same tones but as far as possible letting the colors in one room lead -into another or carry on a suggestion from one to another. In other -words, keep your vista so that the effect, while not being monotonous, -avoids the chopped-up restless result we have when we break up our -space by too many colors. Have your house restful and keep away -from the temptation to put too many things about. Rather do as the -Japanese--keep a lot in the closet and change them around. Have a large -table with a large lamp whose shade permits a wide radius of light, -so that several persons may sit within its circle. Put books and -magazines and papers on the table or in little racks, for your bungalow -living room is an informal room. Parchment lamp-shades are lovely in a -bungalow and can be made plain with bands of color or with a design, -depending on the material used for cushions, etc. Have one or two large -divans with loose cushions, depending on the size of your living room. -Over-stuffed pieces look much smarter and most intimate if upholstered -in chintzes. If your chintz is delicate in color and design, have -fitted slip covers well made with corded seams and pleated valances. -Very tailored these must be--not at all the loose baggy things we put -on as dust-covers in summer. The finest drawing rooms in England have -these fitted slip covers, and the delicate chintzes can thus be easily -cleansed. - -In the niches or corners between your rooms put large Spanish or -Moorish jars, which come in a very inexpensive pottery vivid in color; -and one can always get a bough of green to put in them. - -Of course there are many types of bungalows, from the very simple -ones with pine sheathed varnished walls to the permanent type with -plastered and tinted walls, which permit of a more elaborate and -permanent kind of furnishings. - -For the primitive bungalow, grass rugs or those made of fiber, of which -there are many charming and very smart ones to choose from, are very -effective, if your furnishings are very simple and you haven’t much -color about. But in the permanent type of house almost any kind of -carpet rug, Oriental or Chinese rug can be used. - -Have only lamps in your living room, lots of them; no side lights, -though these in simple appropriate design are most attractive and -necessary in the dining room, as you have no overhead light and no -other light except your table candles. Painted furniture is most -charming in a bungalow dining room, or you can use painted chairs and -a mahogany table. The color in your rooms should be determined by the -exposure of your house. - -Personally I like paper in country bedrooms. There are so many very -pretty papers that are reproductions of fine old chintz designs, that -give a deliciously crisp fresh look, and it is so easy to take one of -the colors in the paper as your color scheme for the room. Paint up a -lot of old furniture if you have it; body color it some tone in your -paper and put lines of another color; or if you can paint, take some -motive in your paper or chintz and reproduce it on your furniture. -Don’t be in a hurry to do it all at once. It will grow--one thing will -suggest another and it becomes a perfectly fascinating sort of game. - -If your wall has a flowered paper, it is well to use some plain -material for curtains--or something with very inconspicuous pattern. -If your windows are very small and your house is where no one can see -in, have your sash window curtains pushed well back to give you all the -beauty of your view. Let in all the sunshine and air you possibly can. - -For country bedrooms nothing is prettier than dotted swiss--or organdie -or ordinary book muslin, made with little ruffles on the inside. They -dress up a room at once; and remember this--that if your windows are -properly handled, your curtains well chosen and well made, your room -is half--more than half--done, for immediately on entering a room our -gaze goes toward the window. Really enchanting curtains can be made -of ginghams and voiles and many materials that one sees in the day’s -shopping. For bedrooms a valance of chintz over the muslin window -curtain will give up color--if we don’t want chintz curtains at the -sides of our window. - -Be very careful that you get the right shade of your color. There are -blues that are warm and blues that are very cold. Pink can be one of -the hardest tones I know, if it is in a room with the wrong exposure. -Some yellows are sunny, others very dull. You have to try them in your -rooms--each with its own angle of exposure and light and reflection. - -In your verandah furnishings you have room for no end of color. You -can let yourself go to your heart’s content--not freakish color but -good strong ringing tones. The out of doors absorbs them in such a -way that they are never garish or hard. Avoid heavy stuffy coverings -and portieres, avoid “schemes” of decoration. Plan for comfort, for a -suitable background that expresses the life of the family living within -the walls of your house. Keep your floors low in tone--a well finished -floor has much to do as a background with all the furniture we place -upon it. See that it is well stained and polished and your wall tones -soft and neutral. Be sincere--don’t do things for effect, but let your -home express your life and in return it will give you joy and comfort. - - - - -The City Home - - -We all know the kind of narrow house with the black hole of a middle -room to be found all over New York City. How people endured the gloom -of it all is a mystery. I once was asked to do over a house of this -kind. The walls and woodwork were tinted a dark brown. The middle room -was practically useless. My client said rather pathetically: “Can’t -this be made a place where the men would like to linger and smoke?”--it -adjoined the dining room. “They now run through it as fast as they can -to the library above, which is cheerful.” I didn’t wonder. Even a piano -and a “canned music” cabinet couldn’t hold them. - -I immediately had all the woodwork scraped and panelled and painted a -soft old ivory. I found an English chintz with large flowers in the -gayest of rose and blue and mauve tones on a cream background. It was -some time before I could convince my client that the chintz was what -she wanted--but I have since had the satisfaction of having her tell me -she loves it more each year. I knew she would! - -The curtains and portieres between the dark middle room and the dining -room--the darkest spot in the room--were made of this beautiful chintz, -so full of color and life. A large arm-chair was covered with it and -placed where you couldn’t resist it as you came out of the dining -room; a low table with a lamp was placed beside the chair, the only -light in the room previously having come from remote wall fixtures. -Small low tables for coffee cups also had lamps. Several pieces of -furniture were covered in the rose red--a wonderful shade--in the -chintz, and warm old rose rugs deep in tone were used. The room was -transformed. And my client laughingly said she couldn’t get the men -away from it. The moment they began to use it the charm began to work; -the evening papers with their various items of interest placed on a -table as a lure made a topic for conversation and the ice was broken. -Conversations begun at the table were easily continued over the -coffee cups and cigarettes. The room still had a distinct dignity and -formality as well, but it had the charm that only color can give. - -We applied the same treatment to the library on the second floor, where -golden oak trim and green walls flaunted their ugliness. The oak was -rubbed down, stained and waxed, hand rubbed to make a soft velvety -English oak finish. A putty colored wall was used, a wonderful tone -where subdued yellow and green blended marvellously; beautiful Chinese -rugs of exquisite golden brown backgrounds--a rare color in Chinese -rugs--all made the setting, the frame for all else that was used in -the room. Book-cases built awkwardly out into the room were removed -and placed in a heaven-sent niche which we acquired by ripping out two -closets full of junk that were placed between the library and bedroom -adjoining. These niches were large enough to hold a desk on one side -and a table with a reading light on the other, the walls being lined -with shelves and filled with books. The space made by removing the -shelves from the room allowed us to place very comfortably in just the -right light a baby grand piano. - -This room had two great points of architectural background: a very -well proportioned semi-circular window seat commanding a heavenly view -of the river and Palisades, with casement windows of small leaded -panes and a deep window seat; and a large fireplace framed in the most -villainous shade of green glazed tile and a wildly ornate “over-mantel” -with endless jig-saw wreaths and mirrors galore in panels. The -ornamentation was most carefully planed off--the over-mantel and its -mirrors entirely removed, leaving a very nicely proportioned low -mantel, absolutely simple. The hearth was re-tiled in old English -clay tiles and wrought iron fire-irons and andirons supplanted the -modern brass of hideous and much ornamented design. The same furniture -recovered was unrecognizable in its new background. - -The only light came from the large bay window which took up practically -the entire width of the room. Only very thin curtains of grenadine -covered the windows, with a hanging at either end of the arch to -give color and soften the frame. It is marvellous, once our eyes -are opened to the possibilities of the changes we can bring about -in our surroundings. And if only people can be made to realize the -extraordinary reaction on their lives--in their spirits, in their very -health itself. Wasn’t it Whistler who said, after a visit to Walt -Whitman: “The room was furnished by a large earthen jar filled with -golden-rod and sunshine”? - -It requires thought and judgment and it results in a gain to us of -perception and observation. You can gain some sort of a result out of -almost any collection of furniture if you will place it with a view to -producing a livable arrangement, just as, on the other hand, you can -“queer” very beautiful things by a poor arrangement. - -Bear in mind that the home your children will remember is the home -they are growing up in now, today, and its effect is now reacting on -all their future lives. I honestly believe that much illness would -be spared if we tried to make our homes more happy in color and -furnishings. It is not possible to be gloomy in a room full of sunshine -and color and life. - -You can get a gloomy result with very beautiful furniture. Men -decorators (I am sorry to have to say it) generally do get this result. -Their interiors are handsome, expensive, but heavy, and never by any -chance intimate or charming. You can make a home with a red geranium, -a muslin curtained window, a few unpainted chairs, a freshly scrubbed -floor and a clear kerosene lamp. It’s all in the touch; and once we are -awakened to it, and begin to see that, we can do wonders. - -A last word is about kitchens--in New England, last summer, I was -taken with great pride by my hostess into her kitchen, which was a -revelation. The floor was tiled in dark red, the walls were lined with -shelves on which stood all the pots and jars (containing ingredients -of every kind) with bands of old blue decorations. A large table, -with a double frame going up horizontally from the sides, made two -racks, on which to hang the spotless shining utensils. Gingham curtains -with valances hung at the grouped windows on either side, as the room -occupied the width of the wing drawn out to build this model kitchen. -Flowers in pots stood in a row on the window sill. No wonder we were -served delicious food. The cook’s face and that of her assistant shone -like their pots. Work in such surroundings became a pleasant task. And -my last plea is to make your home happy by the right furnishings and -your lives will be filled with the joy of them. It isn’t a question of -money alone. Much can be done with little. It is just giving it the -right touch. - - - - -Paint and Business - - -Paint is a good business partner. It has helped make fortunes. When -Frank Woolworth started his chain of five and ten cent stores he made -them easy to identify. He had the fronts of them painted red. And a -brilliant red it is. It has become so much a part of the Woolworth -enterprises that you need no sign to tell you that a certain kind of -merchandise is sold within. - -What town hasn’t a “blue-front” hardware store or grocery? And what -town hasn’t a “red front” tea and coffee store? These color signals -are often the only guides needed by a child, no matter how young, in -finding the desired mart when sent on an errand. Paint becomes truly a -beacon when intelligently used for the purpose. - -A jeweler in a large American city was concerned because the light in -his store was poor even under artificial illumination. In talking the -matter over, a friend suggested that he change his color scheme and -make his woodwork white. He had strong objections, because his fixtures -were of mahogany, which had cost a great deal of money; but after -carefully considering the matter, he took his friend’s advice. The -result was amazing. His place of business became the best lighted shop -in town. His wares were displayed to better advantage and his trade -grew because that interior was cheerful, inviting and practical with -its ivory-like cases and trim. He made a transformation with two coats -of white enamel over three coats of flat white. - -A scale manufacturer wondered why his market didn’t grow as he thought -it should. He made good scales--accurate and thoroughly finished. But -they were painted black. Scales had always been painted black. But one -day someone told him that white would be better. He hadn’t thought of -it, but he determined to try it. He tried two colors--white and light -blue. And his sales increased faster than he had previously thought -they should. - -A small town implement dealer was stuck with a yellow-wheeled wagon. No -one liked yellow wheels. So he repainted them a brilliant red and the -wagon was sold the following week. - -Color determines the value of many commodities. You could sell a black -buggy with red wheels, but few would buy a red body and black wheels. -Folks aren’t accustomed to things in reverse from the usual in most -cases, though in other cases reverse is the magnet which produces -results--as did the light colored scales. - -Gas ranges used to be all black. Now they are made with enamelled parts -of white or light blue, and many of them are done in all white and -light blue. A hardware man made the statement that he sold three oil -heaters with a light blue cylinder to one with a black cylinder. - -Women demand white kitchens with white enamel sinks. They want white -refrigerators and white bread and cake boxes. Prospective mothers will -insist upon a light blue or light pink basinette for the expected babe. - -So many things sold broadcast are painted black--black handles on dust -brushes and wire potato mashers, on tack claws, on vacuum cleaners. -Why? Color makes sales. Why not use it? - -To be sure, there are many elemental materials of characteristic color. -Ebony is deep brown, almost black. Painting it in most cases would -be as sensible as gilding the pump handle; but there are many things -spoiled in appearance by black paint, only because we haven’t courage -to violate custom, and exchange a sad color for a glad one. - -Who could sell all black toys? What boy wants a black wagon or -wheelbarrow? What girl wants a black parasol? And she prefers light -blue shoes, for dolly, to black ones. Just try it and see. Boys accept -black toy locomotives because real ones are black and for no other -reason. - -What do you make? Is it something made more enduring or more practical -by a coat of paint? Just try bright colors. Paint will help you toward -bigger sales, if you will. There is a washing machine--on the market -only a short time. It is blue. And it is named after a bird. It is -selling like wild-fire, so it is said. Its name makes it easy to -remember and women are asking for it all over the country. - -Think of paint as an advertising medium. In an eastern city a florist -operates delivery cars that are painted a beautiful green. Everybody -in town knows him--and it seems as if everybody in town who buys -flowers, buys them at his shop. A wholesale grocery concern in another -city has its fleet of trucks painted a brilliant crimson in key with -their advertising campaign for Crimson Band Coffee. Every one of these -trucks always looks as if it had just left the paint shop. Their owners -believe in the partnership of paint. Paint is a loyal friend to your -balance in bank, for it protects and beautifies everything of yours -which it covers. In your office, paint makes cheerful surroundings. -It makes an agreeable atmosphere. In your store, it makes an effectual -background for your goods. If you operate a factory, it will make -better light and better work. It will save wood and metal from rust and -decay. It gives the exterior of your plant an air of prosperity and -creates a pride of connection in the minds of employes. Paint makes -cheer inside and outside, in home or business home. It costs little and -does a great deal. The renewal of paint is common sense, whether it is -made on walls, woodwork, metal cornice, roof or motor truck. - -Paint is economy. It gives more real service for the cash outlay than -any other protective element. It is insurance against ugliness of -buildings, against the bad effects of snow, rain, hot sun. It plays a -strong and constant part in down-keep and makes wood and metal stay -youthful. It keeps doors and windows from warping and buckling, because -it keeps out dampness. - -The partnership of paint is many sided, from the standpoint of utility -and good looks. Its good offices are illustrated on every hand. If a -man wants to keep a piece of property, he paints it. If he wants to -sell it, he paints it. If he wants a good rental for it, he keeps his -paint and varnish renewed. - -Paint is powerful. It influences us all, all of our lives. It is as -personal in its relation to industry as you are. It has a way of -sticking to business and growing more useful every day. Those who -believe in paint and use it, are known for their thrifty ways. The -tumble-down citizen always lives in the unpainted weather-grey house on -the edge of town--the same chap who borrows coal from his neighbor and -change from his wife. - -Paint is always good. The colored stuff which peels, checks and -blisters in a few months, isn’t paint at all. It is poor stuff to -buy. You can generally tell what it is, before you use it, because it -doesn’t cost enough to be good. Good paint pays because it lasts three -times as long as color in disguise. - -Buy and use good paint and varnish. It pays to pay the little -difference in first cost. It is the same as buying an all-wool garment -in preference to a cotton one. Good paint is an asset in business. The -other kind is worse than a liability. 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Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/68261-0.zip b/old/68261-0.zip Binary files differdeleted file mode 100644 index cb0329f..0000000 --- a/old/68261-0.zip +++ /dev/null diff --git a/old/68261-h.zip b/old/68261-h.zip Binary files differdeleted file mode 100644 index 9f3aa53..0000000 --- a/old/68261-h.zip +++ /dev/null diff --git a/old/68261-h/68261-h.htm b/old/68261-h/68261-h.htm deleted file mode 100644 index 3fd6f49..0000000 --- a/old/68261-h/68261-h.htm +++ /dev/null @@ -1,2239 +0,0 @@ -<!DOCTYPE html> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> -<head> - <meta charset="UTF-8" /> - <title> - The partnership of paint, by John W. Masury & Son—A Project Gutenberg eBook - </title> - <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> - <style> /* <![CDATA[ */ - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2 { - text-align: center; - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -@media print { hr.chap {display: none; visibility: hidden;} } - - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - -.pagenum { - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; - font-style: normal; - font-weight: normal; - font-variant: normal; - text-indent: 0; -} - -.blockquot { - margin-left: 17.5%; - margin-right: 17.5%; -} - -.x-ebookmaker .blockquot { - margin-left: 7.5%; - margin-right: 7.5%; -} - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} - - -.ph1 {text-align: center; font-size: large; font-weight: bold;} - -div.titlepage {text-align: center; page-break-before: always; page-break-after: always;} -div.titlepage p {text-align: center; font-weight: bold; line-height: 1.5; margin-top: 2em;} - - -.xlarge {font-size: 150%;} - - -p.drop-cap { - text-indent: -0.35em; -} -p.drop-cap2 { - text-indent: -0.75em; -} -p.drop-cap:first-letter, p.drop-cap2:first-letter -{ - float: left; - margin: 0em 0.15em 0em 0em; - font-size: 250%; - line-height:0.85em; - text-indent: 0em; -} -.x-ebookmaker p.drop-cap, .x-ebookmaker p.drop-cap2 { - text-indent: 0em; -} -.x-ebookmaker p.drop-cap:first-letter, .x-ebookmaker p.drop-cap2:first-letter -{ - float: none; - margin: 0; - font-size: 100%; -} - -.hangingindent {text-indent: -2em; } - -.x-ebookmaker .hide {display: none; visibility: hidden;} - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - -.transnote {background-color: #E6E6FA; - color: black; - font-size:smaller; - margin-left: 17.5%; - margin-right: 17.5%; - padding: 1em; - margin-bottom: 1em; - font-family:sans-serif, serif; } - - /* ]]> */ </style> -</head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The partnership of paint, by Anonymous</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The partnership of paint</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Anonymous</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: June 7, 2022 [eBook #68261]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE PARTNERSHIP OF PAINT ***</div> - -<div class="figcenter hide"><img src="images/coversmall.jpg" width="450" alt="" /></div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="titlepage"> -<h1>The Partnership<br /> -<i>of</i> Paint</h1> - -<p><i>Published by</i><br /> -<span class="xlarge">John W. Masury & Son</span><br /> -<i>in</i> Brooklyn, New York<br /> -<i>at</i> Fifty Jay Street</p> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p class="center"> -Copyright, 1920<br /> -JOHN W. MASURY & SON<br /> -Brooklyn, N. Y.<br /> -<br /> -THE DE VINNE PRESS<br /> -New York</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak"><i>ACKNOWLEDGEMENT</i></h2> -</div> - -<div class="blockquot"> -<p>We wish to express our indebtedness to -Mrs. Eda A. Oliver, of New York City, for -the pages on Interiors. Her suggestions -are based upon her wide professional -experience and may well be considered -the last word in correctness and good -taste.</p> - -<p class="right"><span class="smcap">John W. Masury</span> & <span class="smcap">Son.</span></p> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_1">[1]</span> - -<h2 class="nobreak">Paint Our Partner</h2> -</div> - - -<p class="drop-cap">PAINT as our partner in all the affairs -of life may be a new thought, but it is -an old established fact nevertheless. In -reality paint is so interwoven with every -turn of the wheel, that it is forever at our -side, like our Siamese Twin.</p> - -<p>Suppose we were to wake up some morning -to find that paint in every form had -been eliminated from the world, from -our lives! What consternation, surprise, -indignation, and havoc would reign -everywhere! Whether for better or -worse, for good or evil, it is part of the -very warp and woof of our every-day existence, -and what a pal and benefactor it -really is. Think of our morning train, our -motors, our boats, our houses, as <i>paintless</i>! -What a queer jumble life would -be. But here stands our partner—paint—ready -to jump into any breach, and make<span class="pagenum" id="Page_2">[2]</span> -life full of comfort and happiness and -cheer, from the building of a new house, -where the painting of every wall, every -bit of trim, has to be carefully planned -and decided upon, to the many small -things about the house that can be transformed -by the “Magic Touch” of paint.</p> - -<p>The dear old home that has stood in rain, -and wind, and snow, for years, and begins -to show its many battles, seems to -implore us to brighten up its faithful -face. And so we do. We paint it a soft -old ivory white with fresh green shutters, -and it seems to expand with joy and happiness, -and smiles back at us a radiant -smile of thanks; and as we regard it with -warm affection, we suddenly realize -anew how much we love it and owe to it, -and a feeling of most tender warmth fills -us, and fills our day, and Life takes on a -fresh beginning. We return at night with -a new glow of well-being in our hearts. -It passes on to our friends, to whom our -radiant newly dressed house also gives -joy. It permeates the very air, and indirectly -works its way into unknown channels -for good; for nothing we ever do can -remain unto us alone. Every act, however<span class="pagenum" id="Page_3">[3]</span> -small, has its immediate reaction, -like the circles made by a pebble, spreading -ever wider, far beyond our vision. -The whole community is cheered because -of our freshly painted house.</p> - -<p>Take the practical side. Suppose you -have a house you want to sell. It is -shabby, down at the heel, forlorn and sad. -If you will put it in condition and paint -it inside and out (give it the “Magic -Touch”), your chances for selling it are -ten to one in your favor. You present -your house at its best, at its highest possibilities. -Everything depends upon the -way a thing is presented. A purchaser -immediately sees what it really looks like. -One out of a hundred prospective purchasers -has the imagination to see it in his -mind’s eye and realize its possibilities, if -he first beholds it in its downtrodden state. -Besides, he isn’t buying possibilities, he -wants to see what he is buying. He sees -it, he likes it, he buys it. The “Magic -Touch” has brought it fresh, beautiful, -and living to his recognition. In his -mind’s eye he sees his family installed, -happy and cozy, within its cheerful walls. -The deed is done. The house is sold.<span class="pagenum" id="Page_4">[4]</span> -Then the joy that paint brings into our -lives, the radiance, the color. We all love -color, color that Nature first taught us to -love. How can we bring it into our midst, -with its gay vibrant song? By paint, and -only by paint. And so again our debt to -paint grows greater with our realization -of all that it can mean.</p> - -<p>Paint is so clean. Almost any condition -of grubbiness can be made sanitary and -wholesome by paint, and it keeps out and -prevents illness and disorders.</p> - -<p>The use of paint is as old as history. We -find it on the mummy cases of Egypt, on -the shores of the leaden, swinging Nile, -though the medium used then was wax -mixed with the pigment. The medium -has changed, but it has gone down the -ages, steadily at our sides, varying, growing, -developing, never standing still, active, -ready for any call of life. It went -into the Service, holding off the iron rain -of shell on the painted dust-colored helmets -of our boys, thus eliminating the -target they would otherwise have made; -camouflaging our ships, our trains, our -tanks, and our trucks. It helped in all<span class="pagenum" id="Page_5">[5]</span> -the campaigns. What would we have -done without the posters, the banners, -the inspiration offered by paint on every -hand? We couldn’t have done anything -without it, without its magic. It is part -of life and a very serious part of it. It -transforms; it brings joy and gladness in -its train. It is sanitary, it is practical, it is -most constructive; only good follows in -its wake.</p> - -<p>Paint is historical, and teaches us much. -Take the characteristic painting of the -Norse countries. The furniture used in -the peasants’ houses is painted in flat, -hard, brilliant colors, expressive of the -climate. It is a record of what people see -and feel, and so translate into their lives -and surroundings. The subtle, inscrutable, -complicated civilization of the East -is expressed in the Oriental painting of -every description, meticulous as it is, detailed, -and filled with most exquisite color -of every possible nuance, the most delicate -shades and tones.</p> - -<p>Paint is pigment, or color, and a medium, -whether it be oil or wax, or something else -by which it is applied, but it has its own<span class="pagenum" id="Page_6">[6]</span> -far reaching psychology. It is inspirational, -and really spiritual in its reaction -on mankind. We may paint a house for -the most practical of reasons, to preserve -it from the weather, but we are carried, -in spite of ourselves, beyond the point of -hard fact, to a certain positive feeling of -pleasure and satisfaction and joy it gives -us.</p> - -<p>Back of all seeming hard, cold facts lies -the truth of Life: it is Inspiration. For -that reason our debt to Paint mounts -higher and higher, as we think about it -and realize that it is in very close association -with everything about us, a very vital -part of our human existence, and that we -could not, at the present stage of our -development, possibly be comfortable, or -clean, or happy without the “Magic -Touch,” the Miracle of the wonderful -“Partnership of Paint.”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_7">[7]</span> - -<h2 class="nobreak">Nature and Color</h2> -</div> - - -<p class="drop-cap">NATURE is unerring in her choice and -use of color. She is the mistress of -color, always in good taste and the greatest -respecter of the fitness of things. In the -main, her dress is green and brown and -grey in a frame of blue and white. To relieve -the monotony, she punctuates her -work with spots of brightness that stand -out in harmonious contrasts.</p> - -<p>From earliest Spring days she operates a -kaleidoscope which brings changes to the -eye and keeps it interested and unwearied -of the transitions which gain in attractiveness -as she touches time with her -wand and carries us unwittingly through -a maze of hueful glory.</p> - -<p>In her scheme of things, she uses gold and -pink, lilac and amethyst, crimson and -green, blue and purple, yellow and<span class="pagenum" id="Page_8">[8]</span> -brown, orange, buff and neutral silvers -and drab. Go where you will in the flower -months and you cannot get away from her -combinations of colors.</p> - -<p>In March she brings the trailing arbutus -into blossom with its delicate pink flowers -nestling in a bed of green. April comes -with her lap filled with wild honeysuckle, -with its red spurs that seem to be a reception -committee to balmy days and renewed -life. So it goes as the season advances. -Nature is never violent in her selections -of color. From the departure of -snow to the turning of the leaves in Autumn, -she teaches us the use of color, and -never once going wrong. With May -comes the beautiful wild lady’s slipper, -followed in June by the grass-pink. The -spring season is a pink and green season, -and with the warmer days, meadow and -roadside, woods and swamps become -dotted with stronger colors until in -September the golden-rod and Jo Pye -weed vie with each other in the carnival -of beauty.</p> - -<p>So, if we would put harmony in the surroundings -which make home, we will do<span class="pagenum" id="Page_9">[9]</span> -well to follow the order and the skill of -this scheme of universal decoration.</p> - -<p>Let us consider, if you please, the spirit of -home-making as nature herself and the -home and the rooms within it as nature -and the seasons passing in review. It is -the purpose of this book to treat of the -home in its entirety and of all the elements -that go to make it. For inasmuch -as all things are relative, it becomes imperative -to consider the details as well as -the project of general requirements.</p> - -<p>Let us picture and see the home from the -outside and the inside points of view. Let -us see the physical structure and its uses. -Let us not only make walls but a place to -live, ready for its owner to walk into, sink -into an easy-chair and meet eye rest and -mental satisfaction, called comfort.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_10">[10]</span> - -<h2 class="nobreak">Choosing the Site</h2> -</div> - - -<p class="drop-cap2">LET us assume that this home is to be -built in the country, or at least in a -suburb where there is still enough of nature’s -garb to give proper setting. There -is nothing so good for a background as -nature-made landscape; and if we cannot -dwell in a home that is a part of it, we can -choose a spot where some of its elements -have been spared the axe of over-zealous -man.</p> - -<p>See to it that your site has trees that may -be permitted to remain if this is possible. -And see to it too that their roots are not -mutilated in the business of building. -The next matter of importance is room at -the front for a flower garden, however -small it may be. For a front garden is like -the opening chapter of a book. It gives an -idea of what to expect as one proceeds up -the path to the presentation of an idea.<span class="pagenum" id="Page_11">[11]</span> -The more green with which you can surround -your home, the prettier it will be; -the more inviting from the outside, the -more restful within. A man who spent -his working hours in the city once said -that he wouldn’t take a thousand dollars -a morning for the view which he had with -his breakfast and the green he saw from -his easy-chair on his porch.</p> - -<p>The home should be a part of the landscape. -It should not be a violent spot -either in design or color. It should look -as if it grew in its surroundings with the -flowers and shrubs and trees. It should be -designed by a good architect. It is no -part of this little book to create rules. It -is rather a suggestion or series of suggestions -which may or may not be fully accepted -as your taste may prompt.</p> - -<p>It may be that you have already built your -home, but these suggestions are quite as -applicable as to a new home. To meet entirely -your specific needs it would be necessary -to consult an interior decorator of -good repute. These pages are intended to -apply in a general way, though details are -discussed at some length.<span class="pagenum" id="Page_12">[12]</span> -To return to the structure: There are no -better examples of domestic architecture -than many of the simple homes of New -England. These are almost invariably -white with green trim. Their interiors -were designed for comfort. Their gardens -are literally festivals of color from -early Spring until late Autumn. They -are restrained in character, refreshingly -free of “ornament,” dignified, restful and -pleasant. They come nearer fulfilling -the true conception of “Home” than any -type of building which has since been -evolved.</p> - -<p>The one important reason why this character -of home is successful in most sections -of the country is that it is built from -wood—the best medium for artistic expression, -in the opinion of many. If you -have doubts of the lasting qualities of -wood, you have only to remember that -the models in question have stood in -many instances for more than a century, -kept young and useful by an occasional -coat of your partner, paint.</p> - -<p>Of course, there are other media of architectural -expression. The stucco house is<span class="pagenum" id="Page_13">[13]</span> -favored by many, especially when it is -used in conjunction with half timber effect—borrowed -from our English cousins -who use it structurally and sincerely, -while the general run of homes in America -in this transplanted style are built -from the motif of appearance alone. In -some cases, the supposed timbers have -been fashioned from galvanized iron, untruthful -in purpose and useless as a part -of the building. Even when wood is used -it is in fanciful patterns created for the -eye alone, from ordinary boards.</p> - -<p>The wooden home is essentially American -in spirit and design. In the early -days wood was used because it was the -only available material, quarrying not -having been introduced and bricks being -imported from England and Holland at -great expense. Besides, it was only necessary -to cut and artifice a material growing -on every hand for adequate shelter -against all weathers. The material of -necessity proved so lasting, so easy to -work and so low in cost that the consideration -of other materials was superfluous.</p> - - - -<p><span class="pagenum" id="Page_14">[14]</span>Now, as then, bricks and stone are almost -prohibitive in cost even to the well-to-do, -while wood is not only the cheapest but -the most natural elemental building material. -It is the easiest worked, costs the -least from the standpoint of labor -charges, and can be changed in color at -will to meet a desire for a new effect.</p> - -<p>So let us consider first the wooden home -and discuss the details of the exterior -from the point of view of beauty, brought -about by a wise choice of color.</p> - -<p>White is the preferred color for exterior -painting; that is, for the broad surfaces. -The blinds, window-trim, porch columns -and in many cases the cornices may be -one of numerous color tones. The picture -which we must consider is one which -nature would approve, so restraint is in -order, whatever our selections may be. -Following is a presentation of a variety -of combinations, all of which will blend -with any landscape and become a part -of it.</p> - -<p>As there are so many different shades of -each color, we mention the technical trade<span class="pagenum" id="Page_15">[15]</span> -names, by which the intended color is -known.</p> - -<div class="blockquot"> -<div class="hangingindent"> -<p><span class="smcap">Combination Number One</span>: Broad surfaces, -White; window casings, Warm -W Grey; sashes, Brown G Stone; shutters, -Woodbine Green; porch, cornices -and mouldings, same Warm W Grey -as used on casings; doors, White; casings, -Warm W Grey; porch floors, -Green Stone Medium; roof, Woodbine -Green.</p> - -<p><span class="smcap">Combination Number Two</span>: Broad surfaces, -Cream D Color; casings, Fern -Green; sashes, White; shutters, Fern -Green; porch, Cream D Color; cornices -and mouldings, Cream D Color; doors, -White; casings, Fern Green; porch -floors, Blue E Grey; roof, Fern Green.</p> - -<p><span class="smcap">Combination Number Three</span>: Broad surfaces, -Pearl Grey; window casings, -Warm Drab; Shutters, Oxide Red; cornices -and mouldings, Pearl Grey; -doors, White; porch, Pearl Grey; porch -floors, Oxide Red; roof, Oxide Red.</p> - -<p><span class="smcap">Combination Number Four</span>: Broad surfaces, -Yellow M Buff; casings, Walnut -Brown; sashes, White; shutters, Walnut -Brown; porch, Yellow M Buff;<span class="pagenum" id="Page_16">[16]</span> -cornices and mouldings, Yellow M Buff; -doors, White; casings, Walnut Brown; -cornices, Walnut Brown; other mouldings, -Yellow M Buff; porch floors, Siennese -Drab; roof, Walnut Brown.</p> - -<p><span class="smcap">Combination Number Five</span>: Broad surfaces, -White; casings, Palm Green; -sashes, White; shutters, Pea Green, -porch, White; cornices, Pea Green; -other mouldings, White; doors, White; -casings, Pea Green; porch floor, Palm -Green; roof, Palm Green.</p> - -<p><span class="smcap">Combination Number Six</span>: Broad surfaces, -White; casings, Brown G Stone; -sashes, Warm W Grey; shutters, Brown -G Stone; porch, White; cornices and -other mouldings, Brown G Stone; -doors, White; porch floor, Brown G -Stone; roof, Woodbine Green.</p> - -<p><span class="smcap">Combination Number Seven</span>: Broad surfaces, -Grey T Stone; casings, White; -sashes, Tobacco Brown; shutters, -White; porch, Grey T Stone; cornices -and mouldings, Grey T Stone; doors, -Tobacco Brown; casings, White; porch -floor, Tobacco Brown; roof, Fern Green.</p> -</div></div> - -<p>We must remember that harmonious contrast -is in order, and there are greens and<span class="pagenum" id="Page_17">[17]</span> -greens, greys and greys, browns and -browns. In incompetent hands, the best -color scheme ever planned may be rendered -hideous. Home should not be a -paint-maker’s color card, and cannot be -successful unless your own taste and individuality -are reflected in its dress, inside -or out.</p> - -<p>Assuming that you live on a street containing -representative American homes, -we must plan the color treatment of your -own so that it will not appear violent in -comparison with that of your neighbor’s. -You have no doubt seen the deplorable -result of a variance of preference when -one side of a semi-detached residence has -been painted white and the other half -done in green. The straight, sharp line of -demarcation showed that each neighbor -cared nothing about what the other -thought of it—and less about the neighborhood -spirit.</p> - -<p>We have assumed in our seven suggestions -that the house is one of board construction. -If it be of brick, it must be considered -from a somewhat different point -of view. Brick and stone are elemental<span class="pagenum" id="Page_18">[18]</span> -in character and are better unpainted. -The little exterior wood trim should generally -be done in very light colors, white -and buff being in order with shutters -white, buff or bright green. Sashes may -be dark if one chooses. There is much -less choice of colors to use with brick because -there is so little variation in the -tones of the brick itself. The same is -practically true of stucco, save that it may -be colored to suit almost any fancy. The -general use of grey is prevalent, and inasmuch -as grey harmonizes with nearly all -other colors, the same treatments of trim -as mentioned in our previous suggestions -may be applied to stucco buildings.</p> - -<p>Shingle houses offer less variety of choice -as far as color is concerned, but there are -good and substantial reasons why shingles -should be painted, rather than left -to the weather. In the first place, there -never has been a shingle roof which has -not required patching at more or less frequent -intervals. The patch, usually a -fresh, uncolored shingle, becomes startlingly -conspicuous when set among its -older, weather-stained neighbors. When -the shingles are painted, repairs can be<span class="pagenum" id="Page_19">[19]</span> -made as often as necessary, and a coat of -paint on the new pieces preserves the harmony -of color and does not flaunt their -newness.</p> - -<p>Painted shingles have a far greater resistance -to fire than unpainted shingles. -While it is true that the oil in paint is inflammable, -it is equally true that, after -drying, the surface is practically metallic -and to a high degree fire-resisting. -Painted shingles do not warp, with the result -that they do not form pockets in -which a burning cinder or spark could -settle. Furthermore, actual experience -proves that painted shingles are rain-proof -and remain so as long as the paint -endures.</p> - -<p>Painted shingles of a color in harmony -with the rest of the house, are, first of all, -a good investment; second, good protection; -and third, pleasing and attractive to -look at.</p> - -<p>The secret of successful house-painting is -in the maintenance of a neutral effect, -with enough of color to give relief to the -eye. Monotony is as offensive as too<span class="pagenum" id="Page_20">[20]</span> -much variety. So our task is to establish -a medium that shall be happy and tasteful.</p> - -<p>Let us not forget that the renewal of paint -at stated intervals is quite necessary and -should be made at least once every four -years. Only a good master painter should -be employed—one who believes in the use -of good paint and good craftsmen. Given -paint of first quality, two workmen may -produce entirely different results. From -the work of one may follow long wear -and weather resistance, and from the -other a coating that will prove short-lived -and inferior, with peeling and blistering -of the surface.</p> - -<p>The time to paint depends more upon the -weather than upon the season. In many -parts of the country the cool clear days of -Fall afford as good and sometimes better -working conditions than the Spring. The -season is inconsequential. Dry weather -is the most important consideration.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_21">[21]</span> - -<h2 class="nobreak">As to Interior Furnishings</h2> -</div> - - -<p class="drop-cap">COLOR and arrangement are the two -most important factors in developing -a sympathetic and attractive interior. -<i>Color</i>—first, last and always. The importance -of color is only just beginning -to be recognized. The reaction psychologically -is very powerful—and very -subtle.</p> - -<p>How often, on entering a room or a -house, one has felt an overpowering sense -of gloom and depression—strong enough -to make conversation almost impossible, -so heavy were one’s spirits! If analyzed, -the cause of this could almost invariably -be traced to color.</p> - -<hr class="tb" /> - -<p>A charming old country house, lovely in -line and type, had, when purchased, an<span class="pagenum" id="Page_22">[22]</span> -entrance hall about 25 feet square, running -through the width of the house at -that point, with a Dutch door and two -windows opening onto a garden at the -rear. This hall had a fireplace and a -finely proportioned long low mantel. A -wonderful possibility! But—the walls -were covered with deep red paper of an -enormous pattern, with yellow grained -varnish on the trim—gloomy, repellent -and most hideous.</p> - -<p>The paper was removed, likewise the yellow -grained varnish; the walls were panelled; -and walls, trim and ceiling were all -done in soft, creamy, flat-tone paint.</p> - -<p>A long box under a group of windows, -built in with mouldings and panelling -like the walls to the left of the door as one -entered, was covered with a cushion of a -small patterned velvet in dull gold. This -box held golf clubs, tennis rackets and -other odds and ends very conveniently. -The lighting fixtures were black sconces -with raised lacquer in gold. An old black -lacquer Chinese chest with raised gold -decorations served as a wood box and -gave color and character.</p> - - - -<p><span class="pagenum" id="Page_23">[23]</span>Above this hung a black Chinese lacquer -mirror of Queen Anne type. An inexpensive -Chinese rug of blue with gold figures -covered the centre of the floor, which had -been properly varnished and waxed. -Some Canton willow chairs with a low -table of the same, cushions of plain Chinese -blue and of brocades in Chinese design -of blues, old golds and black carried -out the idea of color. The room was made -so attractive that it was decided to place -the piano there. The windows, being -small and many-paned, were hung to the -sill with sheer sash curtains against the -panes and soft old gold silk at either side -of the window, all pulled back so that the -vista into the gardens might not be obscured—a -vital point in a country house.</p> - -<p>In one corner stood an oleander bush -which reached to the ceiling—a distance -of only nine feet—but imagine the glow -of color, the light streaming through the -old gold curtains and bits of gold, blue -and black everywhere against the cream-painted -background. A standing lamp of -wrought iron whose parchment shade -was banded with blue and gold, lighted -the piano. It all welcomed you most<span class="pagenum" id="Page_24">[24]</span> -charmingly. An entrance like this must -express a happy, cheerful household. One -had a sense of pleasure and expansion at -once on entering.... Then close your -eyes and think of the red paper and yellow -varnish. What a comparison!</p> - -<p>The living room, opening off directly to the -right, had its walls done in a soft Colonial -yellow flat tone with cream trim; old -mahogany furniture was covered in soft -brown and dull old greens; an Oriental -rug of great beauty and unusual coloring -in golds, browns, tans and blues covered -the floor. A piece of old brocade hung -flat against the chimney breast, against -which was hung a long oblong antique -Colonial mirror. A pair of old brass candlesticks -stood on the mantel with a bowl -of laurel leaves reflected in the mirror in -the middle; brass andirons and fender—all -gave sparkle and life to the room. A -wing chair with a low table at its left, on -which stood a reading lamp, was placed -beside the fire and gave a very inviting -touch. There were no fixtures in this -room, but many lamps all with gold -colored silk shades. The rooms all -opened so closely into one another that it<span class="pagenum" id="Page_25">[25]</span> -was felt best to employ the same colors, -though differently expressed.</p> - -<p>The trim, throughout the entire house, -which was small, with very low ceilings, -was kept in the soft creamy tones. The -wainscoted dining room had the same -soft creamy paint, with a very quaint old -black-backgrounded paper above the -wainscoting, which was part of the original -old house. Old brass sconces made -into fixtures added another quaint touch, -with soft yellow silk shades lined with -deep rose to give a glow of color when -lighted. Old mahogany table, chairs, -sideboard and corner wall cupboard fastened -high up into the corner. The floor, -which was finished in a very dark stain, -varnished and waxed, was covered with -a dark brown—“tête de negre”—seamless -chenille rug. None of it expensive, none -of it done in a “scheme,” yet all harmonious, -happy and unobtrusive.</p> - -<p>The loveliest rooms are those that grow -from one thing to another as the suggestion -is developed. Of course, if your -house is so pure in style or period as intelligently -to call for only the period furniture<span class="pagenum" id="Page_26">[26]</span> -of its type, that is a different proposition. -We are dealing here with the ordinary -conditions of thousands of our -American homes—houses and apartments -that have no special architecture -or “period” background to work up to.</p> - -<p>The guest bedroom contained a motley -collection which would have cost much to -replace with desirable and attractive furniture. -An inexpensive copy of a French -chintz paper in lovely soft blues and red -pinks was found to cover the walls. The -trim was painted creamy white. Then, -as an inspiration, it was decided to paint -the furniture, and a soft dull blue which -was in the paper was decided upon. -Everything—brass beds, bureau, chiffonier, -desk and chairs, all were painted old -blue. The dressing table had a much too -ornate cheap mirror which was removed -entirely and a small antique mahogany -shaving mirror was stood on the dressing -table in its place. Copies of old hardware -handles, etc., replaced the common commercial -variety. A red mulberry carpet -rug (also one of the tones in the paper) -made a wonderful background for the<span class="pagenum" id="Page_27">[27]</span> -blue furniture, the floor having been -properly done as to finish, varnishing, -etc. At the windows were organdie curtains -ruffled and looped back—no other -hangings. The whole made a most -charming room.</p> - -<p>The same thing was done with another -bedroom, in which a soft green instead -of blue was used. The trim was done in -the same creamy white; a green and white -striped paper covered the walls. Again -everything, beginning with the brass -beds, was painted. An inexpensive English -block print chintz was used in this -room for curtains. A chaise longue was -upholstered in this same chintz which -had pink and soft mauves to offset and -balance the green paint. Bed spreads -with a full gathered valance covered as -much of the ugly brass bed as possible. -A dark green carpet rug was used,—and -so another room was transformed by -a coat of paint, at small expense, using -what one had and painting all to bring it -together happily. A few pieces of old -mahogany or walnut can always be used -in a room with painted furniture and -they relieve the hardness which sometimes<span class="pagenum" id="Page_28">[28]</span> -occurs with certain types of this -kind.</p> - -<hr class="tb" /> - -<p>In another old house in New Jersey, the -large living room had an old cupboard -with a wonderful green on the panels of -the doors. This made the starting point -for that room. The color was copied and -all the trim, doors and cornices done in -this tone. The walls were painted a flat -cream. A very simple type of wicker furniture, -painted black, was used, with old -gold cushions of very inexpensive material. -Portieres of this same material were -hung. The fireplace was painted black—mantel -and all—and black wrought iron -lamps with parchment shades of cream -with old gold bands and black lines were -used. Ruffled curtains of organdie looped -back were at the windows.... And, at a -very small outlay, simply the application -of color and paint, a really delightful -room was evolved.</p> - -<p>It is always best to keep to the simplest -types in furniture, avoiding cheap adaptations -and the kind of wicker furniture -that is full of scrolls and fancy loops.</p> - -<p><span class="pagenum" id="Page_29">[29]</span></p> - -<hr class="tb" /> - -<p>A living room in an apartment had a most -distressing look when first beheld by its -prospective tenants. The apartment was -in an old-fashioned house which had -been made over. The doors and trim -were of heavy solid oak with a yellow -grained varnish finish—very expensive -and very ugly. Nothing could look well -against such a background.</p> - -<p>This was entirely refinished and painted -a soft dull green with a gold line on the -smaller mouldings. The walls were -tinted a greenish grey, the ceiling a soft, -dull browny gold. At the windows were -hung, only to the sill, filet net curtains, -with old gold silk pushed back at the -sides, both curtains hanging flat against -the window pane to give full value to the -deep embrasure of the window and do -justice to the panelling and architectural -detail.</p> - -<p>In this room a lovely English glazed -chintz was used to cover the large davenport -and large winged chair. Pleated valances -were used on these pieces. The -chintz had a very soft pinky tan background -with flowers in red pink and blue<span class="pagenum" id="Page_30">[30]</span> -and yellow, producing a very old mellow -effect. The other odd pieces of furniture -were covered in a dull dark old blue. -Built-in sunken book-cases flush with the -wall were filled with books whose bindings -reflected again the colors in the -chintz. A fireplace of Italian design in -dull green and gold composition with a -pair of very quaint andirons of Italian -reproduction and fixtures of the same -style made another note in the room.</p> - -<p>A very beautiful old Sheraton table was -pulled up to the left of the guest as he sat -on the davenport, which was placed at -right angles to the fireplace, and held -magazines, books and a large reading -lamp with a gold colored shade. A room -which was a mixture of English, Italian -and Colonial, yet the effect of which was -warm, soft and most sympathetic—all of -which would have been impossible with -the yellow varnished oak background -originally in the room.</p> - -<hr class="tb" /> - -<p>In every one of the rooms described, extraordinary -results were produced by -paint and color at small expense.</p> - - - -<p><span class="pagenum" id="Page_31">[31]</span>Arrangement is most important and furniture -should be shifted and changed -about until, by the very sense of balance -you get, suddenly you know you have -hit it.</p> - -<p>It is right. The light falls in just the right -way over your shoulder as you read, -write or sew. The chairs are grouped in -the living room in such a way that friends -dropping in for tea find a cozy spot at -once. It is not a question of vast expense. -With the right touch and the right color -it can be done with most satisfactory results -and really marvellous things can be -done with paint. Every room herein -described has actually been done.</p> - -<hr class="tb" /> - -<p>In furnishing the Hostess Houses at the -Camps throughout the country, wonderful -effects were produced almost entirely -with color and paint. The men craved -color. They were weary of khaki, tans -and dust color, and their joy in and appreciation -of the Hostess Houses was a delight -to see. Expensive fabrics were out -of the question. How, then, to get color? -By paint! Perfectly ordinary kitchen<span class="pagenum" id="Page_32">[32]</span> -chairs and tables in the cafeterias were -painted soft light cheerful greens. Body -color coats of brilliant warm orange and -deep royal blue were given to a very simple -type of wicker chair in the huge living -rooms. The effect of these masses of -color offset by the khaki of the men was -gay and cheerful beyond words. Large -paper shades of orange color shaded the -lamps. The rooms glowed with a joy and -welcome that none of the men failed to -appreciate.</p> - -<p>Make your homes as gay and cheerful as -you possibly can, not “jumpy” with hard, -unlovely color, but as full of warm soft -tones as you can get them, remembering -always that Home must be a place of -peace and rest as well as joy.</p> - -<p>We feel like echoing the sentiment of the -old Gloucester fisherman who gave his -schooner a new coat of paint in the -spring, and, gazing with pride and admiration -at his work, remarked, “Ain’t it -wonderful what a lick o’ paint’ll do!”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_33">[33]</span> - -<h2 class="nobreak">The Small House</h2> -</div> - - -<p class="drop-cap">IN these servantless days, the bungalow -type of house grows more and more -popular. It is compact, convenient; it -only asks for a simple type of furniture. -A mixture of good willow, painted or left -in its natural color, in the body, and with -the braided edge painted or stained; some -old mahogany or walnut pieces, if you -are fortunate enough to own them, mix -in well, or good simple reproductions. -By walnut furniture I do not mean the -hideous black walnut “Eastlake” types. -These, with their scrolls and marble tops -and glooms, are, I hope, forever relegated -to oblivion.</p> - -<p>I shudder now in remembrance of a set -of black walnut furniture in my grandmother’s -bedroom, particularly an enormous -bureau, with its marble top, huge -great mirror supported by carved columns -that wiggled upward, and topped<span class="pagenum" id="Page_34">[34]</span> -over all by massive carved grapes. How -I gazed in awe while a terrible stillness always -filled me as I planted my small person -in front of it!</p> - -<p>And oh! the terrible “best rooms” of the -past! I remember a friend telling me that -in her father’s house the “best room” -door was never left open. That closed -door, at the foot of the stairs—how it -filled her with absolute horror! And she -had a trick of throwing herself around -the newel post with a tremendous swing—with -enough “way” to land her up two -or three steps of the stairs if she was going -up, or ’way round, well past that awful -door, if she was coming down stairs. -Imagine the effect on that little mind. -And the shrinking terror with which she -grew up. The awful something behind -those doors! What was it? What an opportunity -for an inhibition! The “best -room,” thank Fate, has forever left us, -and in its place we are putting the living -room where the family draws magnetically -together. Wonderful if it has an -open fire, and most bungalows now have. -The open fire is the soul of a room. We -gravitate toward it instinctively. We<span class="pagenum" id="Page_35">[35]</span> -group our furniture round it. We draw -up chairs, stools, anything to get within -its cheerful glow.</p> - -<p>Arrange your furniture with some meaning, -in groups if it is a large room. There -is the group around the fire; the group -around the tea table; the group around -the reading table, with its glow of light, -centred to draw the family together in -peace and concord.</p> - -<p>Above all things avoid “small junk.” -The sins that are committed in the name -of “bric-à-brac” can never be atoned for. -There is no Hades big enough! And the -amount of money that is spent is appalling. -If you can’t have a few fine bits, -preferably antique, there are many modern -Chinese porcelains that are lively and -full of color. Don’t be afraid of empty -spaces—books, flowers, a work box, all -have meaning and purpose. There never -was a drawing room too fine for a lady’s -work box; and what a sense of cozy -human sympathy it always has—the chair -beside a low table with a work box, a vase -of flowers, a book. That brings us to another -point. Have low tables—as many<span class="pagenum" id="Page_36">[36]</span> -as your room will hold—without crowding, -of course, and instead of cheap, utterly -meaningless junk—cheap though it -may have cost much actual money—have -flowers, or green branches of laurel -leaves or a small growing plant; and a -book or magazine on a low table placed -beside the chair where your family or -guest may take comfort and pleasure.</p> - -<p>To go back to our starting point—the -bungalow. Arrange any rooms on the -first floor so that they do not clash, not -necessarily using the same tones but as -far as possible letting the colors in one -room lead into another or carry on a suggestion -from one to another. In other -words, keep your vista so that the effect, -while not being monotonous, avoids the -chopped-up restless result we have when -we break up our space by too many -colors. Have your house restful and -keep away from the temptation to put too -many things about. Rather do as the -Japanese—keep a lot in the closet and -change them around. Have a large table -with a large lamp whose shade permits a -wide radius of light, so that several persons -may sit within its circle. Put books<span class="pagenum" id="Page_37">[37]</span> -and magazines and papers on the table or -in little racks, for your bungalow living -room is an informal room. Parchment -lamp-shades are lovely in a bungalow and -can be made plain with bands of color or -with a design, depending on the material -used for cushions, etc. Have one or two -large divans with loose cushions, depending -on the size of your living room. Over-stuffed -pieces look much smarter and -most intimate if upholstered in chintzes. -If your chintz is delicate in color and design, -have fitted slip covers well made -with corded seams and pleated valances. -Very tailored these must be—not at all -the loose baggy things we put on as dust-covers -in summer. The finest drawing -rooms in England have these fitted slip -covers, and the delicate chintzes can thus -be easily cleansed.</p> - -<p>In the niches or corners between your -rooms put large Spanish or Moorish jars, -which come in a very inexpensive pottery -vivid in color; and one can always get a -bough of green to put in them.</p> - -<p>Of course there are many types of bungalows, -from the very simple ones with pine<span class="pagenum" id="Page_38">[38]</span> -sheathed varnished walls to the permanent -type with plastered and tinted walls, -which permit of a more elaborate and -permanent kind of furnishings.</p> - -<p>For the primitive bungalow, grass rugs or -those made of fiber, of which there are -many charming and very smart ones to -choose from, are very effective, if your -furnishings are very simple and you -haven’t much color about. But in the permanent -type of house almost any kind of -carpet rug, Oriental or Chinese rug can -be used.</p> - -<p>Have only lamps in your living room, lots -of them; no side lights, though these in -simple appropriate design are most attractive -and necessary in the dining room, -as you have no overhead light and no -other light except your table candles. -Painted furniture is most charming in a -bungalow dining room, or you can use -painted chairs and a mahogany table. -The color in your rooms should be determined -by the exposure of your house.</p> - -<p>Personally I like paper in country bedrooms. -There are so many very pretty<span class="pagenum" id="Page_39">[39]</span> -papers that are reproductions of fine old -chintz designs, that give a deliciously -crisp fresh look, and it is so easy to take -one of the colors in the paper as your -color scheme for the room. Paint up a -lot of old furniture if you have it; body -color it some tone in your paper and put -lines of another color; or if you can paint, -take some motive in your paper or chintz -and reproduce it on your furniture. -Don’t be in a hurry to do it all at once. It -will grow—one thing will suggest another -and it becomes a perfectly fascinating -sort of game.</p> - -<p>If your wall has a flowered paper, it is -well to use some plain material for curtains—or -something with very inconspicuous -pattern. If your windows are very -small and your house is where no one can -see in, have your sash window curtains -pushed well back to give you all the -beauty of your view. Let in all the sunshine -and air you possibly can.</p> - -<p>For country bedrooms nothing is prettier -than dotted swiss—or organdie or ordinary -book muslin, made with little ruffles -on the inside. They dress up a room at<span class="pagenum" id="Page_40">[40]</span> -once; and remember this—that if your -windows are properly handled, your curtains -well chosen and well made, your -room is half—more than half—done, for -immediately on entering a room our gaze -goes toward the window. Really enchanting -curtains can be made of ginghams -and voiles and many materials that -one sees in the day’s shopping. For bedrooms -a valance of chintz over the muslin -window curtain will give up color—if -we don’t want chintz curtains at the sides -of our window.</p> - -<p>Be very careful that you get the right -shade of your color. There are blues that -are warm and blues that are very cold. -Pink can be one of the hardest tones I -know, if it is in a room with the wrong -exposure. Some yellows are sunny, -others very dull. You have to try them -in your rooms—each with its own angle -of exposure and light and reflection.</p> - -<p>In your verandah furnishings you have -room for no end of color. You can let -yourself go to your heart’s content—not -freakish color but good strong ringing -tones. The out of doors absorbs them in<span class="pagenum" id="Page_41">[41]</span> -such a way that they are never garish or -hard. Avoid heavy stuffy coverings and -portieres, avoid “schemes” of decoration. -Plan for comfort, for a suitable background -that expresses the life of the family -living within the walls of your house. -Keep your floors low in tone—a well finished -floor has much to do as a background -with all the furniture we place -upon it. See that it is well stained and -polished and your wall tones soft and -neutral. Be sincere—don’t do things for -effect, but let your home express your life -and in return it will give you joy and -comfort.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_42">[42]</span> - -<h2 class="nobreak">The City Home</h2> -</div> - - -<p class="drop-cap">WE all know the kind of narrow house -with the black hole of a middle room -to be found all over New York City. How -people endured the gloom of it all is a -mystery. I once was asked to do over a -house of this kind. The walls and woodwork -were tinted a dark brown. The -middle room was practically useless. My -client said rather pathetically: “Can’t -this be made a place where the men -would like to linger and smoke?”—it adjoined -the dining room. “They now run -through it as fast as they can to the -library above, which is cheerful.” I -didn’t wonder. Even a piano and a -“canned music” cabinet couldn’t hold -them.</p> - -<p>I immediately had all the woodwork -scraped and panelled and painted a soft -old ivory. I found an English chintz<span class="pagenum" id="Page_43">[43]</span> -with large flowers in the gayest of rose -and blue and mauve tones on a cream -background. It was some time before I -could convince my client that the chintz -was what she wanted—but I have since -had the satisfaction of having her tell me -she loves it more each year. I knew she -would!</p> - -<p>The curtains and portieres between the -dark middle room and the dining room—the -darkest spot in the room—were made -of this beautiful chintz, so full of color -and life. A large arm-chair was covered -with it and placed where you couldn’t resist -it as you came out of the dining -room; a low table with a lamp was placed -beside the chair, the only light in the -room previously having come from remote -wall fixtures. Small low tables for -coffee cups also had lamps. Several -pieces of furniture were covered in the -rose red—a wonderful shade—in the -chintz, and warm old rose rugs deep in -tone were used. The room was transformed. -And my client laughingly said -she couldn’t get the men away from it. -The moment they began to use it the -charm began to work; the evening papers<span class="pagenum" id="Page_44">[44]</span> -with their various items of interest placed -on a table as a lure made a topic for conversation -and the ice was broken. Conversations -begun at the table were easily -continued over the coffee cups and cigarettes. -The room still had a distinct dignity -and formality as well, but it had the -charm that only color can give.</p> - -<p>We applied the same treatment to the library -on the second floor, where golden -oak trim and green walls flaunted their -ugliness. The oak was rubbed down, -stained and waxed, hand rubbed to make -a soft velvety English oak finish. A -putty colored wall was used, a wonderful -tone where subdued yellow and green -blended marvellously; beautiful Chinese -rugs of exquisite golden brown backgrounds—a -rare color in Chinese rugs—all -made the setting, the frame for -all else that was used in the room. Book-cases -built awkwardly out into the room -were removed and placed in a heaven-sent -niche which we acquired by ripping -out two closets full of junk that were -placed between the library and bedroom -adjoining. These niches were large -enough to hold a desk on one side and a<span class="pagenum" id="Page_45">[45]</span> -table with a reading light on the other, -the walls being lined with shelves and -filled with books. The space made by removing -the shelves from the room allowed -us to place very comfortably in just -the right light a baby grand piano.</p> - -<p>This room had two great points of architectural -background: a very well -proportioned semi-circular window seat -commanding a heavenly view of the river -and Palisades, with casement windows of -small leaded panes and a deep window -seat; and a large fireplace framed in the -most villainous shade of green glazed tile -and a wildly ornate “over-mantel” with -endless jig-saw wreaths and mirrors galore -in panels. The ornamentation was -most carefully planed off—the over-mantel -and its mirrors entirely removed, -leaving a very nicely proportioned low -mantel, absolutely simple. The hearth -was re-tiled in old English clay tiles and -wrought iron fire-irons and andirons supplanted -the modern brass of hideous and -much ornamented design. The same furniture -recovered was unrecognizable in -its new background.</p> - - - -<p><span class="pagenum" id="Page_46">[46]</span>The only light came from the large bay -window which took up practically the entire -width of the room. Only very thin -curtains of grenadine covered the windows, -with a hanging at either end of the -arch to give color and soften the frame. -It is marvellous, once our eyes are opened -to the possibilities of the changes we can -bring about in our surroundings. And if -only people can be made to realize the extraordinary -reaction on their lives—in -their spirits, in their very health itself. -Wasn’t it Whistler who said, after a visit -to Walt Whitman: “The room was furnished -by a large earthen jar filled with -golden-rod and sunshine”?</p> - -<p>It requires thought and judgment and it -results in a gain to us of perception and -observation. You can gain some sort of -a result out of almost any collection of -furniture if you will place it with a view -to producing a livable arrangement, just -as, on the other hand, you can “queer” -very beautiful things by a poor arrangement.</p> - -<p>Bear in mind that the home your children -will remember is the home they are<span class="pagenum" id="Page_47">[47]</span> -growing up in now, today, and its effect -is now reacting on all their future lives. -I honestly believe that much illness would -be spared if we tried to make our homes -more happy in color and furnishings. -It is not possible to be gloomy in a room -full of sunshine and color and life.</p> - -<p>You can get a gloomy result with very -beautiful furniture. Men decorators (I -am sorry to have to say it) generally do -get this result. Their interiors are handsome, -expensive, but heavy, and never by -any chance intimate or charming. You -can make a home with a red geranium, a -muslin curtained window, a few unpainted -chairs, a freshly scrubbed floor -and a clear kerosene lamp. It’s all in the -touch; and once we are awakened to it, -and begin to see that, we can do wonders.</p> - -<p>A last word is about kitchens—in New -England, last summer, I was taken with -great pride by my hostess into her kitchen, -which was a revelation. The floor was -tiled in dark red, the walls were lined -with shelves on which stood all the pots -and jars (containing ingredients of every -kind) with bands of old blue decorations.<span class="pagenum" id="Page_48">[48]</span> -A large table, with a double frame going -up horizontally from the sides, made two -racks, on which to hang the spotless shining -utensils. Gingham curtains with valances -hung at the grouped windows on -either side, as the room occupied the width -of the wing drawn out to build this model -kitchen. Flowers in pots stood in a row -on the window sill. No wonder we were -served delicious food. The cook’s face -and that of her assistant shone like their -pots. Work in such surroundings became -a pleasant task. And my last plea -is to make your home happy by the right -furnishings and your lives will be filled -with the joy of them. It isn’t a question -of money alone. Much can be done with -little. It is just giving it the right touch.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_49">[49]</span> - -<h2 class="nobreak">Paint and Business</h2> -</div> - - -<p class="drop-cap">PAINT is a good business partner. It -has helped make fortunes. When -Frank Woolworth started his chain of -five and ten cent stores he made them easy -to identify. He had the fronts of them -painted red. And a brilliant red it is. It -has become so much a part of the Woolworth -enterprises that you need no sign -to tell you that a certain kind of merchandise -is sold within.</p> - -<p>What town hasn’t a “blue-front” hardware -store or grocery? And what town -hasn’t a “red front” tea and coffee store? -These color signals are often the only -guides needed by a child, no matter how -young, in finding the desired mart when -sent on an errand. Paint becomes truly -a beacon when intelligently used for the -purpose.</p> - - - -<p><span class="pagenum" id="Page_50">[50]</span>A jeweler in a large American city was -concerned because the light in his store -was poor even under artificial illumination. -In talking the matter over, a friend -suggested that he change his color -scheme and make his woodwork white. -He had strong objections, because his fixtures -were of mahogany, which had cost -a great deal of money; but after carefully -considering the matter, he took his -friend’s advice. The result was amazing. -His place of business became the best -lighted shop in town. His wares were displayed -to better advantage and his trade -grew because that interior was cheerful, -inviting and practical with its ivory-like -cases and trim. He made a transformation -with two coats of white enamel over -three coats of flat white.</p> - -<p>A scale manufacturer wondered why his -market didn’t grow as he thought it -should. He made good scales—accurate -and thoroughly finished. But they were -painted black. Scales had always been -painted black. But one day someone told -him that white would be better. He -hadn’t thought of it, but he determined to -try it. He tried two colors—white and<span class="pagenum" id="Page_51">[51]</span> -light blue. And his sales increased faster -than he had previously thought they -should.</p> - -<p>A small town implement dealer was stuck -with a yellow-wheeled wagon. No one -liked yellow wheels. So he repainted -them a brilliant red and the wagon was -sold the following week.</p> - -<p>Color determines the value of many commodities. -You could sell a black buggy -with red wheels, but few would buy a red -body and black wheels. Folks aren’t accustomed -to things in reverse from the -usual in most cases, though in other cases -reverse is the magnet which produces results—as -did the light colored scales.</p> - -<p>Gas ranges used to be all black. Now -they are made with enamelled parts of -white or light blue, and many of them are -done in all white and light blue. A hardware -man made the statement that he -sold three oil heaters with a light blue cylinder -to one with a black cylinder.</p> - -<p>Women demand white kitchens with -white enamel sinks. They want white<span class="pagenum" id="Page_52">[52]</span> -refrigerators and white bread and cake -boxes. Prospective mothers will insist -upon a light blue or light pink basinette -for the expected babe.</p> - -<p>So many things sold broadcast are painted -black—black handles on dust brushes -and wire potato mashers, on tack claws, -on vacuum cleaners. Why? Color -makes sales. Why not use it?</p> - -<p>To be sure, there are many elemental materials -of characteristic color. Ebony is -deep brown, almost black. Painting it in -most cases would be as sensible as gilding -the pump handle; but there are many -things spoiled in appearance by black -paint, only because we haven’t courage -to violate custom, and exchange a sad -color for a glad one.</p> - -<p>Who could sell all black toys? What boy -wants a black wagon or wheelbarrow? -What girl wants a black parasol? And -she prefers light blue shoes, for dolly, to -black ones. Just try it and see. Boys accept -black toy locomotives because real -ones are black and for no other reason.</p> - - - -<p><span class="pagenum" id="Page_53">[53]</span>What do you make? Is it something -made more enduring or more practical -by a coat of paint? Just try bright colors. -Paint will help you toward bigger sales, -if you will. There is a washing machine—on -the market only a short time. It is -blue. And it is named after a bird. It is -selling like wild-fire, so it is said. Its -name makes it easy to remember and -women are asking for it all over the -country.</p> - -<p>Think of paint as an advertising medium. -In an eastern city a florist operates -delivery cars that are painted a beautiful -green. Everybody in town knows -him—and it seems as if everybody in -town who buys flowers, buys them at his -shop. A wholesale grocery concern in -another city has its fleet of trucks painted -a brilliant crimson in key with their advertising -campaign for Crimson Band -Coffee. Every one of these trucks always -looks as if it had just left the paint shop. -Their owners believe in the partnership -of paint. Paint is a loyal friend to your -balance in bank, for it protects and beautifies -everything of yours which it covers. -In your office, paint makes cheerful surroundings.<span class="pagenum" id="Page_54">[54]</span> -It makes an agreeable atmosphere. -In your store, it makes an effectual -background for your goods. If you -operate a factory, it will make better light -and better work. It will save wood and -metal from rust and decay. It gives the -exterior of your plant an air of prosperity -and creates a pride of connection in -the minds of employes. Paint makes -cheer inside and outside, in home or business -home. It costs little and does a great -deal. The renewal of paint is common -sense, whether it is made on walls, woodwork, -metal cornice, roof or motor truck.</p> - -<p>Paint is economy. It gives more real -service for the cash outlay than any other -protective element. It is insurance -against ugliness of buildings, against the -bad effects of snow, rain, hot sun. It -plays a strong and constant part in down-keep -and makes wood and metal stay -youthful. It keeps doors and windows -from warping and buckling, because it -keeps out dampness.</p> - -<p>The partnership of paint is many sided, -from the standpoint of utility and good -looks. Its good offices are illustrated on<span class="pagenum" id="Page_55">[55]</span> -every hand. If a man wants to keep a -piece of property, he paints it. If he -wants to sell it, he paints it. If he wants -a good rental for it, he keeps his paint and -varnish renewed.</p> - -<p>Paint is powerful. It influences us all, all -of our lives. It is as personal in its relation -to industry as you are. It has a way -of sticking to business and growing more -useful every day. Those who believe in -paint and use it, are known for their -thrifty ways. The tumble-down citizen -always lives in the unpainted weather-grey -house on the edge of town—the -same chap who borrows coal from his -neighbor and change from his wife.</p> - -<p>Paint is always good. The colored stuff -which peels, checks and blisters in a few -months, isn’t paint at all. It is poor stuff -to buy. You can generally tell what it is, -before you use it, because it doesn’t cost -enough to be good. Good paint pays because -it lasts three times as long as color -in disguise.</p> - -<p>Buy and use good paint and varnish. It -pays to pay the little difference in first<span class="pagenum" id="Page_56">[56]</span> -cost. It is the same as buying an all-wool -garment in preference to a cotton one. -Good paint is an asset in business. The -other kind is worse than a liability. It is -an attachment against your operating -costs.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<div class="transnote"> -<p class="ph1">TRANSCRIBER’S NOTES:</p> - - - -<p>Obvious typographical errors have been corrected.</p> - -<p>Inconsistencies in hyphenation have been standardized.</p> - -<p>Archaic or variant spelling has been retained.</p> -</div></div> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE PARTNERSHIP OF PAINT ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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