The description and picturing of museum pieces would be of little value to the average householder. Par better will be some treatment of such lamps as are not absolutely prohibitive in price, together with simple but, in their way, artistic products. At first the variety seems bewildering, but a little consideration will consign most of them to certain classes.

Bowl or Vase and Pedestal or Standard Lamps comprise most of them, though there are attractive things which do not come under these heads and which must be treated separately. These two may be equally handsome or equally simple, and consequently a choice is apt to resolve itself into the selection of the particular example which best pleases us. It may be noted, however, that, speaking generally, the bowl shape has the more homelike appearance, while the pedestal possesses the more formal quality. If space on the table is any consideration, the pedestal lamp is naturally the one chosen; or else a tall and slender bowl

Bowl Shapes

These are made of almost every conceivable material, but among the best are those of porcelain and pottery with silken or parchment shades. These bases may be found in many beautiful shapes, colourings and textures, and in plain tones, mottled, blended or decorated. The shades, likewise, are of many shapes and colourings, and plain, brocaded, embroidered, or with figures, birds, plants, etc. Not only do these lamps of plain or blended colouring come from Europe and the Orient, but it is pleasing to be able to say that many kinds, and some of them among the very best, are made right here in our own land.

Two good styles of handsome lamps without decoration may be especially mentioned

vase shaped bowl of pottery mottled in the baking, soft rose or tan, with dark metal base, with shades in richer tones of the same and handsome silk fringe of the same or of gold: black porcelain, vase-shaped, with teak-wood base, the porcelain having a strongly reflective surface; dome-shaped shade of Burgundy silk with fringe of the same and four heavy silk cornering tassels depending but slightly below the fringe. When illuminated, the effect of the shade reflected in the upper surface of the bowl is of extreme richness.

If the reader has not long ago reached the conclusion that the most beautiful vase lamps extant are the Chinese, he will probably do so when he studies the examples shown in the accompanying plates.

Of Chinese pottery one almost fears to let himself go in eulogy, but nothing approaching it has ever been accomplished in other Keramic art except in that of their neighbours of Japan. In form the Greeks have always been acknowledged supreme, yet it is doubtful if even they exceeded the grace of some of the Chinese contours, while in the realm of colour, either lavish or restrained, the Oriental stands alone.

For the person of average means there are reproductions. Eemarkably good ones were made by the Chinese themselves, and in some of the famous European factories in early days, but these are probably now also practically unprocurable. Modern European reproductions are usually poor and so are some of the modern Oriental ones, but many of the latter are of great beauty - certainly of greater beauty for lamps than any other porcelain at our command.

Though some writers have dwelt upon the difference in spirit between Oriental and European art, Orientalism runs through the whole cycle, of Western 22 decoration. It was even rampant Among the Italians, many Renaissance motifs being of Asiatic influence, to say nothing of the wave of "Chinese taste" which swept eighteenth century England, France and Italy. We need, therefore, have no more hesitation in introducing Chinese lamps than Oriental rugs into any rooms where the general scale of richness and colour makes them appropriate. Those of simple design and colouring may with equal discretion be used in simple rooms and some of the tones of yellow, grey-blue and green are so exquisite that it seems as if no decoration could enhance their loveliness. A lamp of this simple contour and with a handsome but not unduly elaborate shade is shown at the left of the group of three Chinese lamps illustrated (Plate 107).

One may sometimes see in an Oriental store a vase which particularly takes his fancy and which can be bought for from $8 to $20. Base and fittings can be added by an electric-light fitter and a shade of any desired style made to accompany it.

The art of Japan is second only to that of China. The bronze lamp illustrated is an excellent example (Plate 108 C). The modern work is known to us all. Speaking in general only, the designs in the modern Keramic pieces are apt to be large and effective and usually less adapted to Western interiors than are Chinese ware and the finer patterns in the pottery and porcelain of Japan.

For rooms done in the "modern" vein, some of the plain colours previously mentioned would be admirable. The greys could have shades in rose, or yellow, and a bowl of Chinese yellow might be accompanied by a shade to match, edged and panelled in black or deep blue. A grey lamp with shade of translucent grey edged in the same way with Chinese red would be equally good. The lamps of plain colour Japanese pottery with brown wicker and silk shades - also wickered - are excellent for many simple rooms, and those surrounded with basket work are equally good for porches.

The dull green pottery lamps, both American and European, have been a good deal overdone and they are neither particularly interesting nor individual.

One of the lamps illustrated has a design of peacock-feathers in blue and grey (Plate 104 B), and there are many other charming things of odd design. Wedge-wood ware is dignified and appropriately accompanies eighteenth century English furniture. Those of Dresden and similar European wares are likewise attractive in appropriate situations.

In metal there are many good shapes in bowl lamps; and one should not close this section without a mention of those of this style now made in mahogany. As the wooden bowl, even in this wood, does not seem either particularly logical or elegant they are better painted or decorated. They may simply be painted and then lined about the turning with a harmonising or contrasting colour, or, as their forms are usually classical, they would be excellent with an Adam design on the bowl, or medallions, in addition to the lining. Before painting, the finish should be rubbed down with fine sandpaper, so that the colour will take well and evenly.