THIS century has been referred to as the Century of the Child, but thus far it seems to have been principally the century of the baby!

The modern American nursery is, indeed, a tribute to the taste and intelligence of American mothers. The right of the baby to the best location in the house is frequently given precedence over that of his parents, and more thought and pains are usually expended on his quarters than upon any other portion of the house. All the sweetness and light so important to the little budding life, all the appliances for hygiene and comfort, and all the simple beauty which can make direct appeal to his dawning intelligence, have been brought to his service, but very often the mother's conscientious interest in her child's surroundings begins and ends with the nursery.

After the nursery age, little boys and girls generally succeed to rooms of pink-and-white prettiness - the conventional adult interpretation of the child spirit -which, in reality, have little interest or meaning in the child's life. Or they are left in the nursery long after their minds have outgrown its decorations and their bodies its furniture, until such a time as they are considered ready for the dignity of a "grown-up" room.

While the decoration of the nursery, where the child gets his first impressions, is undoubtedly important, the character of his surroundings a little later when his mind begins to reach out, to react to things, and to consciously form impressions, is obviously still more important; and at the adolescent period, environment exerts a strong influence upon the formation of tastes, habits, and temperament for the remainder of life.

In order to reach the mind of the small child at all, it is necessary for his surroundings to speak his language. That means they should be sturdy and simple, elementary and straightforward. In order to attract his interest, they must be virile and striking; and in order to hold it, they must satisfy his practical needs and desires.

The ideal quarters for the child should be located in a part of the house where his play will not disturb his elders, and where his elders will not, in turn, disturb his play. It should consist of a separate bedroom and playroom, and, if possible, an outdoor bedroom which can be converted into an outdoor playroom at will.

For the bedroom, the child's own individuality should furnish the decorative inspiration. This will afford the opportunity of making it distinctive and different, and of appealing to his interest and sense of ownership. But the playroom should be dedicated to the spirit of universal childhood - growth through play.

One charming bedroom designed for a winsome lass of seven, grew out of an inimitable Boutet de Monvel illustration. The walls were salmon pink and the woodwork robin's-egg blue, the rug a shadowy green and the furniture deep ivory with touches of blue. The masterly touch, however, was in the selection of the fabric for the simple window hangings, the bedspread and the little chair seats. Instead of using fabric of dainty design and colorings to match the other decorations which would have rendered the room flat and insipid, a sturdy little figured pattern of light red and white cotton material supplied the necessary piquancy to the scheme. A note of real feminine charm was added by a little red wicker work-basket and red leather writing-case.

The mother of another little girl had a much more difficult problem. Betsy was a boisterous young miss of eight, whose brown pigtails were always awry, who much preferred sleeping in the kitchen with her dogs than in the pleasant nursery with her younger sister. While she was away visiting her grandmother one vacation, her mother decided to surprise her by fitting up a separate room which she hoped might encourage her to be more orderly and to care a little more about her possessions and her appearance.

She knew that flowered cretonne and ruffled muslin would have little effect on Betsy. Her only hope of reaching her at all was in making the room exert a strong personal appeal. Suddenly the inspiration dawned of using Betsy's favorite dress, a bold red and white checked gingham, as the foundation for the scheme, and of making one of the most important features in the room a bed for Betsy's pups.

The walls, woodwork, and ceiling were painted oyster white and a fine quality of red and white checked gingham used for the hangings, the upholstery, and curtains for the little glass panes of the built-in closet. Green furniture of a very primitive nature was used and there were two red chairs. A wide window ledge supplied with a few red and blue pillows provided an excellent place for a tired little girl to snatch forty winks. The niche between the wall and the built-in closet was utilized for two deep drawers and a luxuriant dog bed. A very attractive blue and yellow bowl was supplied for the dogs' drinking water, and, as a last subtle suggestion, a small, quaintly framed mirror was hung in the center of each of the four walls. The room was essentially striking and childlike, and, needless to say, it "got" Betsy.

A very unique and personal boy's room grew around a quaint little four-posted bed which was picked up in Brittany and to which the child was strongly attached. The room was situated at the top of the house and the wall finished with rough plaster tinted a grayish green. The woodwork was an inconspicuous gray except for the trim of a row of casement windows extending along one side of the wall, which was painted a bright green. There was a sturdy old table which looked as if it had once served in the capacity of chopping block, and some chairs found in a shop in Sienna which had probably graced some royal child's apartment. They had stubby carved backs, small square seats, and twisted legs of abbreviated dimensions. Originally the upholstery had been in leather, but it was replaced by unbleached muslin on which was appliqued a conventional design in red and blue. The straight valence of the bed and the window hangings were also of unbleached muslin with the red and blue applique. In place of a conventional bureau there was a diminutive cabinet inlaid with blue and red mosaics which opened out, with a little mirror on the inside and a fascinating array of small drawers. The floor was painted dark green and three small Indian rugs of a very primitive pattern were used in front of the principal articles of furniture.