As has been said, the work of decorators in America is mostly of period character, inclining more each year toward the liberal interpretation of that manner of furnishing: there are some, however, who devote themselves to the Modern style, and many private individuals have adopted this method in their own homes without professional aid.

PLATE 75. DINING-ROOM IN MODERN STYLE IN PIETER MYER's OWN APARTMENT, GREENWICH VILLAGE, NEW YORK CITY.

By Courtesy of Good Furniture Magazine.

Mr. Pieter Meyer, sometime of Java and Holland but of late years of Greenwich Village, New York City, is doing beautiful work in the direction of furniture and batiks. His own dining-room with furniture in ivory and red (Plate 75) is a fine example of Modern furnishing; while his pieces in the Chinese vein are unsurpassed (Plate 76). A number of these were illustrated in the issue of Good Furniture Magazine of July, 1918, where an account of his life is also given.

PLATE 76. CHINESE DRESSING-TABLE IN BLACK AND IVORY LACQUER BY PIETER MYER, NEW YORK.

The Drawer-pulls are of carved ivory.

By Courtesy of Good Furniture Magazine.

Mr. Edward H. Aschermann, also of New York, is prominent in this style of decoration and a considerable body of his work is illustrated in Plates 3, 41, 77-81.

It usually shows the influence of the Vienna Secession, though a professional office pictured in "The Practical Book of Interior Decoration" is in a different manner, and the retention of the columns in one of his principal interiors (Plate 79) and the shade designed for the Wedgwood lamp in Plate 41 prove that he has also a feeling for the Classic.

The two dining-rooms shown in Plates 3 and 77 are excellent examples of his work. Both are simple in their colour-schemes and planning, but both present a decided degree of novelty. The wall-treatments of both are extremely well adapted to this method of decoration, affording interest but lying back well in place. The chairs in Plate 3, while decidedly odd, are nevertheless most sensible in that they may be pulled well under the table without obstruction from their arms.

The studio-living-room shown in two views (Plates 78 and 79) is of handsome character and, as will be seen from the scheme mentioned below it, is to the last degree colourful.

Two views are also given of a bachelor's living-room in a New York apartment, also notable in colour but of much richness of effect (Plate 80).

Mr. Aschermann's work shows much invention, always combined with strong constructional ability and, beneath its colour and novelty, a direct simplicity of aim.

The door, standard-lamp and lamp-shades in Plates 81 and 41 are examples of this in minor matters. To be critical, this decoration is best where it is least stiff; this quality being largely produced by the upright lines of the furniture in Plates 77-79 and the large-scale striking design back of the standards in Plate 80. His divans, however, are always indicative of comfort.

PLATE 77. SCHEME FOR A DINING-ROOM CARRIED OUT IN A BACHELOR's HOME AT FOREST HILLS, LONG ISLAND.

The Aschermann Studio, New York.

PLATE 78. A STUDIO LIVING-ROOM IN MODERN STYLE.

The Aschermann Studio, New York.

Walls, ceiling and furniture, bright yellow carpet, red-violet with coloured border: Furniture-covering, blue-green silk velvet: Draperies, yellow with silk appliqué; Decorations on ceiling, walls, and furniture, blue-green with coloured flowers.

See also following plate.

PLATE 79. THE OPPOSITE END OF STUDIO LIVING-ROOM.

The Aschermann Studio, New York.

PLATE 80. SIDE WALL OF BACHELOR's LIVING-ROOM.

The Aschermann Studio, New York.

PLATE 80. CORNER OF LIVING-ROOM IN A NEW YORK APARTMENT.

The Aschermann Studio, New York.

Colour-scheme, Corn colour, Royal Purple, Black and Gold, Emerald Green.

PLATE 81. LAMP IN SILVER AND BLACK.

Upper shade, black silk.

Lower, grey lined with yellow.

PLATE 81. DOOR TREATMENT. Panel of glass with painted design in bright colours.

The Aschermann Studio, New York.