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Colonial Dame seem like a 1902 calen- I in the bright hours, thou in shadow-time; dar: Another distinction is his: he is
Lead thou the starlit night with merry notes,
And I will lead the clamoring day said to attain in his musical range the
With rhyme." highest note in nature. And not all unorganized are his efforts, either; his Each summer, alas! has its last cricket, concerts, directed by some Thomas of a to be mourned by poet of our own day. cricket genius, may be listened to by the John Vance Cheney laments in verse the silent-footed one
on any sunny, late closing of his summer hours: autumn day. Some one has written of
“ All faded! all his little bowers brown,
The things he lived in, weeds and grasses fair, “A MUSICAL MOMENT
All withered, naught but blight and silence
there, “A night of frost, and then there chanced a day Of garnered sweetness, ripened like old wine. And shadow slowly folding up and down." The summer sounds as echoes came again,
It was of our little field brother that With interludes of rustling, sunburnt leaves Down-whirled through air upon their pivot stems.
the poet sang, it was his bowers that Ranged on my threshold's narrow, wooden ledge,
grew brown, his the grasses that withDid gun itself, in line, a mimic band
ered, his the ending of summer. We Of half a hundred tuneful crickets, who
on the hearth care not for seasons, nor Did thrill and fill the air with tremolo
for outward conditions. To-day, to-morOf shrill, sweet orchestrated song.
row, at our own good time, we propose “ Alas!
to vibrate. Not over the housetops'shall At my approach the music quickly ceased; our “barbaric yawp" be sounded, that The orchestra, in coats of black, so quaintly
all may, nay must, hear; but forth from Prim, with shy and silent speed did vanish
cranny of brick, now and then, with cerNeath the step.
tain or uncertain sound, shall the critic “I could not call the music
cricket's voice be heard. Back, nor could I win by my applause,
The multitudinous paths of the new From pipe or flute of cricket band, another
year are but surveyed, they are unbroken Note of Autumn's wistful overture.”
as yet; the fields are dedicated to their Leigh Hunt calls the grasshopper crops, but the seed is not yet dropped "green little vaulter in the sunny grass,” into the furrow, and the persistent weed and the cricket's praise he sings thus: lies in its potency in the richest and in
the poorest hollows. The nests are not “And you, warm little housekeeper, who class
built, and the foundations of homes With those who think the candles come too soon, Loving the fire, and with your tricksome tune
await the thawing out of the winter's Nick the glad silent moments as they pass.” frosts. Behind us is the pressure of the
ages of endeavor, of success, and of And Markham calls the twilight the
failure. One thing is, however, indumorning of the crickets' day; then
bitably certain: on many hearths in many
lands the cricket will sing, and pause, “Sleep, little brother, sleep; I am astir, We worship song, and servants are of her- and sing again.
LAMPS AND LAMP-SHADES
BY JUDITH CHAFFEE
T seems a curious exchange of ideas must be lighted—between these two exof the desirable that while lamps tremes lies every demand which good were used by country people long taste makes of utility.
after gas and electricity had in- Infinite as are the possibilities of grace creased the comfort of living in cities, of form, it is unlikely that the elegance now that as electricity has reached the of the Pompeiian lamp will ever be exremote corners of the country, city celled, yet the fumes of that far-away people are taking an interest keener than period must have smelled to heaven, till ever before in the subject of lamps. high Olympus was offended. It was Even in out-of-the-way villages of Ver- indeed nearly eighteen hundred years mont, where the locomotive has not yet before methods of illuminating impenetrated, the extensive water-power of proved. The best that even the latter the country has been utilized to pro- part of the eighteenth century could duce electricity, so that the very barns of show was the use of tallow dips for the well-to-do farmers are fitted with elec- very poor, molded candles for the midtric lights, while many a New England dle class, and wax candles for the rich. householder has banished with scorn the For lighting streets and stairways, lamps humble kerosene lamp. But lamps hold were arranged supplied with ill-smelling their own among people who delight in whale or fish oil. But with the discovrefinement more than in brilliancy, and ery of the uses of gas, of oil wells in there is always in their favor the fact newly developed lands, further aug. that nothing is so desirable for reading mented by the successful experiments of at night as the reliable duplex or Argand Argand, of Paris, as to burners, the burner with kerosene to feed it.
attention could well be turned from utiliof course, in the United States, tarian to æsthetic ends. still far from the time when each handi- While attempts to improve lamps as to craftsman longs, like the Japanese arti- beauty are usually the result of consan, to produce at least one perfect work scious effort, improvements in their utilof art before he dies; yet this idea is ity have more often been the result of acsurely in the air. The demand for artis- cident. The experience of Argand was tic lamps was never so great as now. not only that of the accidental discov. Dealers say that the improvement in the erer, but it was of the pathetic chartaste of the buying public has been very acter so often associated with the name marked in the past five years. While of inventor. He worked for years to much of the change may be owing to an answer the problem, “Why should a increase of prosperity, it is yet true that larger wick proportionately decrease the people are understanding better and brilliancy of the light?” He tried first better that the beauty of a lamp lies not a row of small wicks, with less smoke in the amount it costs, but in simplicity, but not much more light as the result. beauty of outline, and fitness for its He next put his wicks in the form of a destined use. A low, concentrated light circle. The light was brighter, though for the student's tablo, a high, spreading not yet bright enough for his satisfacone where a large room or dark stairway tion. Argand's young brother was in
the room, an interested and sympathetic in part owing to the troublous times of observer of these experiments. The the French Revolution, in part owing broken-off neck of a flask lay on the to the cupidity of others, gained no chimney-piece, and the brother idly money reward, and except in England, picked it up and fitted it on the circular had not even the name of thg important flame Argand had arranged, when the invention. He died in penury and disflame at once became very brilliant appointment, in Switzerland, in 1803. Argand was in ecstacy.
in ecstacy. "A hollow The variety in lamps is now well-nigh wick fed by a current of air drawn up- infinite, and one turns with relief from ward by a glass chimney will yield a the average electric or gas fixture to the brilliant and smokeless light. This beautiful materials, shapes, and colors was the answer to his earlier problem. used as reservoirs for oil. Though the But in spite of his every effort to profit extent of their manufacture has made by the results of his discovery, Argand, iron standards a trifle common, if a good
design can be found it is a safe purchase by reason of a certain air of stability and dignity which wrought iron possesses. But individuality in design is rarely to be found in wrought-iron standards, though the use of iron in manual train ing schools has developed occasional artistic efforts in that direction. New York City has a colony of Russians, the excellence of whose work in wrought iron has created a market for their wares. The designs are for the most part oriental in character, a favorite one being a dragon supporting the light standard in his mouth.
Excellent shades for iron lamps are those imported from Japan in eightpaneled screen effects. The framework of black bamboo is well suited to the base in tone, the exquisite thin paper panels showing a multiplicity of designs, now some simple floral effects in delicate but effective colors, again a bit of summer sky, across whose soft, white clouds two or three light-winged birds are flitting. Charming as are these Japanese shades by day, they have an effect of flatness of tone by night, and seem to absorb rather than throw out the light. For comfort to the eye, they should be used only on low lamps, as they leave an unshaded ray below their base, very trying if the lamp is at a height much above the head. They are quite perishable and are now being imitated by home producers, though the imitation may usually
be detected by a careful purchaser. AN ELECTRIC-LIGHT STAND
The black of the iron standard has the Designed by Miss Preston
virtue of reserve as to color, and a touch
of black in a room is rarely offensive. above it.
above it. The thick edges of the openQuite contrasting in tone are the new work were heavily silvered, a narrow lamps in the metal known as Kayser- silver line on the upper white surface zinn, whose silvery surface has much outlining still more clearly the open beauty. Showing usually reservoirs of design, so connecting it with the silver excellent, substantial form, the surface background as to do away with any hint pressed in simple flowing designs of of stiffness or of the prentice-hand. blossoms or leaves, they could be used The design was large, and had much diswith good effect in a room not unsuited tinction, and the lower edge of the to hard, brilliant bits of reflecting metal. shade was finished with a soft silver A daring shade was shown with one of fringe. The whole effect, if a trifle them, whose effect, if startling, was cer- hard and cold, was very clean and pure, tainly very fit. Such a shade might be suggesting the dainty blue and white made at home by dextrous fingers, boudoir of some vestal virgin of the coupled with considerable patience. It twentieth century—a latter-day saint, was of the empire style. A cover of whose luxurious necessities in the way of silvered cardboard was first shaped to lamps would doubtless startle greatly the fit the frame; over this an openwork classic simplicity of her earlier prototype. white cardboard cover fitted exactly, Reproductions of the antique are now the under shade of silver forming a so cleverly made that he must be a purbackground to display the open pattern chaser wise as a serpent who can distinguish them from the genuine. There slender shaft, supporting a circular is, of course, not the slightest objection shelf, from which depend those clear cutto a correct, well-made reproduction, un- glass prisms, to maintain whose crystal less the buyer is a collector, and the brightness was one of the objects in life imitations of Pompeiian lamps are beau- of our great-grandmothers. The whole tiful and often reasonable as to price. is surmounted by a shade of ground A quaintly designed standard lamp of glass, a design in clear glass relieving moderate height, in black metal, orna- the dull translucent background. These mented with dull brass decoration in lamps are distinguished more by quaintdelicate tracery, and said to be a genuine ness than actual beauty, and speak plainly antique, is fitted with a very modern and of care to the ear of the burdened dame artistic shade in dull Pompeiian red of to-day, yet they are almost indispencardboard. Running up from its base sable if one wishes to furnish an entire is an outlined pattern of rich, dull gold, room in harmony with colonial ideals. which suggests the leaping flame of a All tastes may be gratified in the many torch. Nothing could be better for one sorts of brass lamps to be found ranging of the many side-lights necessary in a from the simple, perfectly plain brass large room, and the whole may be pur- standard through all the possibilities of chased for about ten dollars. Muchhammering, cutting, perforating, and more costly are the tall brass colonial twisting of the tortured metal until lamps. These run up a long, rather shapes well-nigh grotesque are bronght
forth. A soft finish is sometimes produced, smooth and velvety, really appealing to sense of touch, and these in simple shapes are often very beautiful. Excellent, also, are the copper cans to which lamp fixtures are fitted. Even the Russian samovar has been diverted from its fragrant purpose to minister to the insatiable demand for novelty in lamps.
More elaborate, and well suited to an oriental room, are some interesting brass lamps from Maradabad, India, the groundwork incrusted with an intricate design in dull blue and red enamel. The most remarkable of these is in the form of a hooded cobra in the natural size, reared and spread for striking, in a manner so lifelike that it might well have stolen but recently from the too human jungle of Kipling. The curves of the tail support the slender, graceful head, which in turn balances a small brass bowl holding the oil. Had this but been the mythical apple, fruit of the tree of knowledge, one could well sympathize with Eve's original weakness in yielding to the serpent's tempting.
Ornate lamps are shown of Benares brass in many styles. The story of
their evolution is remarkable. We do ELECTRIC-LIGHT STAND
not, for example, commonly associate Designed by Miss Preston
student-lamps with the artisans of East