,illustration3 ,,selling ,,home ,,furnishings ,,vocational ,,division ,,bulletin ,,no4 #baf ,federal ,security ,agency ,u4,s4 ,,office ,,of ,,education 99 99 99 99 99 ,vocational ,division ,business ,education ,bulletin ,no4 #baf ,series ,no4 #ad 99 99 99 99 99 ,,selling ,,home ,,furnishings ,a ,training ,program ,,roscoe ,r4 ,,rau1 ,executive ,vice ,president and ,secretary ,national ,retail ,furniture ,association and ,,walter ,f4 ,,shaw1 ,regional ,agent1 ,business ,education ,service ,u4 ,s4 ,office of ,education 99 99 99 99 99 ,,federal ,,security ,,agency ,paul ,v4 ,mc,nutt1 ,administrator ,u4 ,s4 ,,office ,,of ,,education ,john ,w4 ,studebaker1 ,commissioner 99 99 99 99 99 ,,united ,,states ,,government ,,printing ,,office ,,washington3 #aida 99 99 99 99 99 ,for sale by the ,superintendent of ,documents1 ,washington #be1 ,d4 ,c4 ,price #ge cents ,,contents ,page ,,foreword v ,,unit ,i4 ,,the ,,salesman ,,as ,a ,,business ,,builder ,specialized selling of home furnishings as a career #c ,increasing sales and earnings #e ,fundamentals for good selling #h ,the daily check-up--,a perpetual inventory #aj ,,unit ,,ii4 ,,technique ,,of ,,salesmanship ,sale objectives #ag ,starting the simple sale #ag ,the all-important interview #bj ,three general considerations for closing sales #bc ,meeting the customer #bd ,,unit ,,iii4 ,,salesmanship ,,applied ,how to demonstrate values #bi ,contrast in buying methods of women and men #ce ,enriching your vocabulary #dj ,hidden factors that increase sales #db ,,unit ,,iv4 ,,style ,,as ,a ,,selling ,,factor ,significance of style #di ,period styles from ,renaissance to ,early ,colonial #ej ,american styles #gj ,using style appeal in selling #gd ,,unit ,v4 ,,furniture ,,woods--,,their ,,origin ,,and ,,use ,value and price in relation to home furnishings #hc ,principal furniture woods #he ,making the most of wood structure and its appeal to the eye #hf ,importance of craftsmanship #ib ,,unit ,,vi4 ,,selling ,,sleep ,,equipment ,selling equipment to meet customer's needs #ajg ,mattresses and springs #aab ,pillows #abc ,studio couches and sofa beds #abf ,,unit ,,vii4 ,,an ,,introduction ,,to ,,the ,,art ,,of ,,interior ,,decoration ,interior decoration as a selling method #aca ,emotional values of light1 color1 line1 and proportion #acc ,color management in decoration #aci ,principles of furniture arrangement #ada ,,unit ,,viii4 ,,floor ,,coverings ,,and ,,fabrics ,drapery and upholstery fibers and fabrics #aec ,floor coverings #aei ,selling coverings for other floors #aga ,use of ensembles in selling #agb ,,unit ,,ix4 ,,furnishing ,,the ,,living ,,room1 ,,hall1 ,,and ,,dining ,,room ,furnishing the living room #agi ,distinctive hall furniture #ahf ,securing hospitable dining room atmosphere #aij ,ensemble selling #aif ,,unit ,x4 ,,furnishing ,,the ,,bedroom1 ,,sunroom1 ,,kitchen1 ,,and ,,breakfast ,,room ,furnishing the bedroom #bje ,furnishing the sunroom #bad ,equipping the breakfast room and kitchen #bag ,final emphasis for alert salespersons #bba ,,unit ,,xi4 ,,accessories ,,that ,,mean ,,plus ,,sales ,lamps and lighting #bbg ,pictures and mirrors #bcb ,wall decorations #bce ,plastics enter the home furnishings field #bcg ,do's and ,don't's for the salesperson #bda ,,appendixes ,a4 ,glossary of terms #bdg ,b4 ,general reading list #bej ,c4 ,a suggested teaching outline for a group leader #beb ,d4 ,the leading furniture woods #bee ,e4 ,common rug terms #bfc ,f4 ,an advertising check list #bfe ,g4 ,fivefold selling plan for floor coverings #bff ,h4 ,color and style in modern advertising copy #bfg ,i4 ,check list for planning a store-wide promotion #bfi ,j4 ,ready reference index #bga ,,foreword ,this bulletin has been prepared for use by those who seek self-improvement as members of a group engaged in the study of home furnishings and how to sell them agreeably1 intelligently1 and competitively4 ,more than #b1ejj1jjj1jjj is expended annually in this country for home furnishings4 ,under present conditions the layman cannot become an expert on the multitude of things he has to buy1 and he must purchase many articles more or less blindly4 ,since much structural detail is hidden from view1 the integrity of the dealer is more than merely an advantage--it is a necessity4 ,there are hundreds of interesting and vital facts concerning home furnishings which consumers may learn from retail dealers and members of their sales organizations and which1 if they become generally known1 will result in greater discrimination and economy in buying and will be reflected in more charming1 suitable1 and comfortable furnishings in the home4 ,this bulletin presents at once opportunity and challenge to those who sell home furnishings3 ,opportunity to those who see furniture as a symbol of achievement and distinction4 ,these hear the call to bring beauty out of drab surroundings1 and to shape the visible garments of life1 and even life itself1 making it finer1 richer1 and a thing of greater worth4 ,challenge to those who in selling home furnishings must be conscious of the wide extension of education in the home furnishing art1 the rapid improvement in the general taste and specific knowledge of the customer1 the tendency to shop in the large centers1 the increasing number of small decorators1 and the trend to furnished rooms and apartments4 ,for the convenience of users of this bulletin1 the subject matter has been arranged in the form of units1 each of which is intended to be made the basis for a minimum of #b hours discussion and study4 ,with each unit is a set of stimulating questions and a brief reading list4 ,a more detailed reading list will be found in the appendix4 ,this bulletin1 hence1 may serve as a short unit course for those who can spare time for no more than #h or #aj group meetings4 ,certain groups may prefer not to follow the units in the order suggested and to concentrate for a longer time on such important topics as period furniture1 interior decoration1 the furniture woods1 or various room arrangements4 ,for these1 selected material may be used for short unit courses in specialized fields4 ,for instance1 the last five units1 taken together1 may serve many salesmen of home furnishings as a basic course in the art of interior decoration4 ,attention also is called to the grouping of subject matter to accommodate those who may wish to use this bulletin for reference purposes and in sales meetings called by the management4 ,the individual salesman who uses this material in such a manner will be aided in building up a body of related and organized knowledge which may have application any day in his work with his customers4 ,at times the text makes generous use of the personal pronoun4 ,this has been done deliberately with the thought that there should be present in every meeting of a group a feeling of comradeship and personal loyalty to a common cause4 ,hence1 at times the text employs the pronouns we1 our1 you1 and yours1 to replace the more formal terms1 the salesperson1 the retailer1 or the representative of the store4 ,especial acknowledgment is due ,rosalie ,flank1 style authority and a former director of advertising and public relations for the ,american ,furniture ,mart1 for many contributions to1 and much valuable criticism of1 the last five units1 which deal with problems of interior decoration4 ,most of unit ,,xi1 which discusses ,accessories and ,facts ,that ,mean ',plus' ,sales1 and section ,d of unit ,,iii1 ,hidden ,factors ,that ,increase ,sales1 were prepared by her4 ,to ,frier ,mc,collister1 representing the ,national ,association of ,bedding ,manufacturers1 credit is due for much of the material in unit ,,vi1 ,selling ,sleep ,equipment4 ,the authors also have consulted freely ,clark ,b4 ,kelsey's ,furniture--,its ,selection and ,use1 ,national ,committee on ,wood ,utilization1 ,united ,states ,department of ,commerce1 and ,the ,road to ,higher ,earnings issued by the ,national ,retail ,furniture ,association4 ,the authors gratefully acknowledge contributions and assistance in editorial reading and criticism from ,marie ,white1 agent1 ,home ,economics ,education1 ,u4 ,s4 ,office of ,education1 ,washington1 and ,william ,j4 ,cheyney1 vice president1 ,national ,retail ,furniture ,association1 eastern office1 ,new ,york1 ,n4 ,y4 ,others who assisted in the preparation of special material for this training program are3 ,helen ,arms1 stylist1 ,john ,m4 ,smyth ,furniture ,co41 ,chicago1 ,ill4 ,smith ,cady1 director1 ,home ,furnishings ,industry ,committee1 ,chicago1 ,ill4 ,charles ,e4 ,close1 secretary1 ,the ,veneer ,association1 ,chicago1 ,ill4 ,burdett ,green1 secretary1 ,american ,walnut ,manufacturers ,association1 ,chicago1 ,ill4 ,chester ,k4 ,hayes1 executive director1 ,household ,science ,institute1 ,chicago1 ,ill4 ,phillips ,a4 ,hayward1 ,chief1 ,forest ,products ,division1 ,bureau of ,foreign and ,domestic ,commerce1 ,washington1 ,d4 ,c4 ,leo ,j4 ,heer1 managing editor1 ,national ,furniture ,review1 ,chicago1 ,ill4 ,j4 ,p4 ,kramer1 advertising department1 ,bigelow-,sanford ,carpet ,co41 ,new ,york1 ,n4 ,y4 ,george ,n4 ,lamb1 secretary1 ,mahogany ,association1 ,inc41 ,chicago1 ,ill4 ,kenneth ,lawyer1 ,state supervisor for distributive education1 ,springfield1 ,ill4 ,robert ,b4 ,palmer1 advertising manager1 ,duff ,repp1 ,kansas ,city1 ,mo4 ,a4 ,m4 ,sullivan1 director for vocational education1 ,board of ,education1 ,chicago1 ,ill4 ,jay ,van ,den ,berg1 ,van ,den ,berg ,bros41 ,grand ,rapids1 ,mich4 ,illustrations1 charts1 and tabulations have been reproduced with permission of the ,american ,furniture ,mart2 ,the ,merchandise ,mart2 ,american ,walnut ,manufacturers ,association1 ,chicago1 ,ill42 ,the ,floor ,covering ,advertising ,club1 ,new ,york1 ,n4 ,y42 ,grignon1 furniture photographer for the ,american ,furniture ,mart2 ,henri1 ,hurst1 ,mc,donald1 ,inc41 advertising1 ,chicago1 ,ill42 ,home ,furnishings ,news ,bureau1 ,chicago1 ,ill42 ,institute of ,carpet ,manufacturers of ,america1 ,new ,york1 ,n4 ,y42 ,delmar ,kroehler1 president1 ,kroehler ,manufacturing ,co41 ,naperville1 ,ill42 ,mahogany ,association1 ,inc41 ,chicago1 ,ill42 ,national ,association of ,bedding ,manufacturers1 ,chicago1 ,ill42 ,national ,committee on ,wood ,utilization1 ,u4 ,s4 ,department of ,commerce1 ,washington2 ,national ,furniture ,review1 ,chicago1 ,ill42 ,national ,retail ,furniture ,association1 ,chicago1 ,ill42 ,the ,seng ,co41 ,chicago1 ,ill42 ,u4 ,s4 ,department of ,commerce1 ,forest ,products ,division1 ,washington1 ,d4 ,c42 and ,the ,veneer ,association1 ,chicago1 ,ill4 ,special acknowledgment is made to the following publishers for permission to quote from one or more of their publications3 ,the ,american ,home1 editorial department1 ,new ,york1 ,n4 ,y4 ,dodd1 ,mead ,co41 ,inc41 ,new ,york1 ,n4 ,y4 ,frederick ,j4 ,drake ,co41 ,inc41 ,chicago1 ,ill4 ,house ,beautiful1 ,new ,york1 ,n4 ,y4 ,j4 ,b4 ,lippincott ,co41 ,philadelphia1 ,pa4 ,the ,new ,york ,school of ,interior ,decoration1 ,new ,york1 ,n4 ,y4 ,the ,seng ,co41 ,chicago1 ,ill4 ,this ,bulletin has been prepared at the direction1 and under the supervision of ,b4 ,frank ,kyker1 ,chief of the ,business ,education ,service1 ,u4 ,s4 ,office of ,education1 ,federal ,security ,agency4 ,j4 ,c4 ,,wright1 ,assistant ,u4 ,s4 ,commissioner for ,vocational ,education4 ,unit ,i ,,the ,,salesman ,,as ,a ,,business ,,builder ,specialized ,selling of ,home ,furnishings as a ,career ,increasing ,sales and ,earnings ,fundamentals for ,good ,selling ,the ,daily ,check-up--,a ,perpetual ,inventory ,illustration3 ,photograph by ,grignon4 ,figure #a4--;,contemporary ,french grouping is expressed in this attractive chair with natural finished wood frame1 tufted back1 and rust figured beige damask upholstery4 ,the combined lamp stand and plant table is a modern favorite4 ,,selling ,,home ,,furnishings ,unit ,i4--,,the ,,salesman ,,as ,a ,,business ,,builder ,,specialized ,,selling ,,of ,,home ,,furnishings ,,as ,a ,,career ,selling home furnishings at retail is one of the most pleasant and fascinating of occupations4 ,it is clean work1 physically agreeable1 mentally stimulating1 and free from deadening routine4 ,moreover1 it is a growing field with limitless possibilities4 ,true1 there always will be malcontents who proclaim that the people of ,america are losing interest in their homes1 that restless excitement is their god4 ,facts indicate1 however1 that our people are turning their thoughts and aspirations1 in increasing measure1 to the enduring satisfactions of the home4 ,,modern ,,methods ,,are ,,designed ,,to ,,meet ,,changing ,,conditions ,all available data on buying habits indicate that selling methods should be revised to meet the buyer's interest as it shifts from what furniture is to what furniture will do4 ,this is a logical development4 ,for many years ,american women have been influenced by the cleverest advertising in the world to desire and to buy finished products on the basis of performance and with little or no concern as to how they are made4 ,to these women1 rugs1 chairs1 tables1 and lamps are parts whose interest depends chiefly on how they are combined with other parts to form harmonious wholes4 ,according to a number of comprehensive surveys1 three out of every five women who are interested in furniture are concerned chiefly with its effect in making their homes more attractive4 ,if this is true1 those who sell home furnishings must have a sound knowledge not only of their merchandise but also of the art of arranging and combining that merchandise to insure comfort and beauty in completely furnished rooms4 ,this specialized selling of home furnishings as a career1 therefore1 means mastery of the art of interior decoration4 ,if interior decoration be defined as the sum of the processes by which a home is made beautiful to look at and comfortable to live in1 then all who sell home furnishings must understand style1 design1 materials1 and construction4 ,every furniture salesman who consistently maintains a high sales volume as a result of his own skill will be found to employ the methods of the interior decorator whether he adopts the professional title or not4 ,illustration3 ,figure #b4--;,a suggestive progress-program for those who sell home furnishings which may be modified in terms of situations4 ,promotion steps are shown on five training levels of increasing difficulty and responsibility4 ,the fighter who carries a punch in one hand only will lose a good many bouts4 ,the carpenter uses a ripsaw for one operation and a crosscut for another4 ,the salesman is in precisely the same situation4 ,he always can make some sales merely by showing furniture and quoting prices4 ,he always can make more sales by a skillful presentation of style1 design1 materials1 and construction4 ,but in order to build a personal following and to sell to the highest possible percentage of his customers the largest possible amount of merchandise1 he must become a competent adviser in the creative processes of home furnishings4 ,figure #b is a diagram of an educational program which1 starting with preparatory training in the early years of the secondary school1 continues through a period of cooperative part-time training which combines education in the school and on the job1 until full-time employment assures continued opportunity to study progressively on three training levels of increasing difficulty and responsibility4 ,mastery in ability to sell home furnishings implies adequate understanding of materials and selling techniques acquired at each of these training levels4 ,,increasing ,,sales ,,and ,,earnings ,there are three ways by which one can increase his sales and earnings3 #a4 ,increase the daily average number of customers waited on4 #b4 ,increase the average percentage of customers sold4 #c4 ,increase the average volume of each sale4 ,,increase ,,the ,,daily ,,average ,,number ,,of ,,customers ,in order to increase your daily average of people waited on1 you must 7a7 arrange to secure customers for the otherwise idle hours of the day2 and 7b7 develop the ability to speed up the selling process1 which will enable you to sell to more people during the active hours4 7a7 ,to secure customers for the otherwise idle hours of the day1 begin with the lookers and your call trade4 ,the woman who has been planning what is to her an important purchase frequently will want to consult her husband or a friend in whose judgment she has confidence4 ,if you have been successful in creating real interest in your merchandise1 it will not be difficult to make an evening appointment1 obviously as a means of saving the time of the husband or the friend4 ,when you suggest an early or late appointment you may readily promise exceptional service4 ,you will be assured of the individual attention of your group under conditions removed from the confusion of regular store traffic4 ,if the appointment is during the early morning hours or during evening hours1 it will be easy to group the pieces as they are to be used and thus show them as they might actually look in the home4 ,then1 too1 you always will have some sales under way or coming up with old customers1 and in many cases you can1 by acting in advance1 arrange appointments which will occupy otherwise empty time1 thus leaving the more active periods of the business day open for routine selling4 ,time which cannot be spent with customers should be devoted to developmental work4 7b7 ,among many ways to speed up the selling process are the following3 #a4 ,get down to business1 and stay there4 ,much time is wasted both before the sale is made and afterward in purely extraneous talk1 not calculated in any way to advance the sale or build confidence4 ,within the limits imposed by courtesy1 confine the conversation to the business in hand4 ,and don't yield to the easy temptation to talk about yourself4 #b4 ,so far as is possible1 eliminate the element of guesswork in showing merchandise4 ,find out enough about your customer's room and what is in it1 and about her tastes and plans1 to enable you to avoid confusion and resistance1 and to cut down the amount of time spent in showing goods there is no chance to sell4 #c4 ,be sure that your appearance1 manner1 and language are such as to inspire quick confidence4 ,this will make it unnecessary to spend too much time in demonstrating the fitness and value of your merchandise4 ,alertness1 faultless courtesy1 and unfeigned interest in the customer's comfort and convenience are vital4 #d4 ,know your stock1 including the small occasional pieces whose location is often shifted1 so thoroughly that you can go directly to any piece you want to show4 ,in a sale involving several articles1 particularly if they must be shown on different floors1 plan and route the selling process to eliminate unnecessary movement1 and if the display is made during regular store hours1 try to close the sale somewhere above the first floor1 with its noise1 confusion1 and beckoning suggestion of the open door4 ,,increase ,,the ,,average ,,percentage ,,of ,,customers ,,sold ,much of our study will be directed toward discussing methods for increasing the percentage of sales made to customers waited on4 ,everything is important1 and every improvement in equipment will help4 ,doubtless what is most needed is more knowledge1 which we can acquire2 more patience1 which we can force ourselves by a sheer effort of the will to summon and employ2 and more energy1 which we can and will develop in the degree that we recognize and desire its rewards4 ,,increase ,,the ,,average ,,volume ,,of ,,each ,,sale ,trade ,up ,consistently4 ,the first requirement of one who would increase the size of individual sales is that he shall trade up consistently4 ,obviously1 this does not mean that the salesmen should disregard prudence and common sense and try to sell a #ajj article to the buyer who can afford to spend only #ej or #ge1 nor does it mean use of high-pressure selling methods4 ,it does mean that he should develop the ability to estimate the buyer's tastes1 means1 and real needs1 and to present elements of value in his merchandise other than price4 ,ten years ago a woman who made a shopping tour through #ab department and furniture stores reported that #h out of #aj salesmen quoted the price of every article immediately1 with strong emphasis upon its low price4 ,a number of salesmen mentioned the wood and finish of the article1 quoted the price with the usual comments1 and stopped--their entire stock of ideas apparently exhausted by this effort4 ,this same kind of selling is still too prevalent4 ,today's emphasis upon service for specific needs rather than upon low price to build sales volume has given us an ever-increasing number of salespersons who understand that it is foolish to start a sale from the bottom1 foolish to assume that no one desires or can afford to buy good things1 and not only foolish but dishonest to discuss furniture of poor quality and low price in terms which fairly could be applied only to better quality and higher price4 ,suggest ,related ,merchandise4 ,a second and extremely important way to increase the size of your average sale is by the skillful suggestion of related merchandise4 ,a great many persons buy home furnishings only when they need them as a physical utility4 ,quite naturally1 they get along with the minimum number of pieces and buy for the lowest prices consistent with their ideas of desirable quality4 ,to be prepared for this type of emergency or suggestion selling each salesman should work out for himself1 with the help of other salesmen1 and by wide reading of trade journals1 magazines1 newspaper articles1 and books in his field1 a list of articles in the home-furnishings field which naturally belong together4 ,these lists of naturals should be memorized for ready recall at any moment4 ,specials1 modern accessories1 new designs in small occasional pieces1 when advertised to the public1 lend themselves to a suggestion-selling program used in connection with a carefully selected call list4 ,in suggestion selling1 emphasis should be upon the quality of charm or fitness to be added to a particular room1 with the furnishings of which the salesman already is familiar4 ,sell ,more ,than ,utility and ,price4 ,those who buy furniture for satisfactions other than utility naturally buy--insofar as their means will permit--whatever pieces they believe to be necessary in order to insure those satisfactions4 ,it is clear that salesmen in order to sell to this type of customer must be able to arouse the interest of these utility and price buyers in other satisfactions4 ,to do this1 they must be able to sell something more than furniture4 ,they must sell on the basis of the enticement of comfort and cushioned ease1 the lure of beauty1 the appeal of smartness and style4 ,they must sell distinction1 the acclaim of friends and guests1 the pride and pleasure of the children1 and the joy of living in an attractive home4 ,does this tend to provoke a skeptical smile from those who have been selling furniture for years8 ,well1 let those smile whose earnings have been wholly satisfactory4 ,as for the others1 let them remember that in diminished volume is told the story of those who consistently have attempted to sell furniture as nothing more than furniture and who have stolidly ignored the power of imagination and sentiment in quickening interest and deepening desire4 ,,fundamentals ,,for ,,good ,,selling ,sales experts are agreed that it is impossible to formulate a selling plan that will apply to all salespersons4 ,there are no magic words to be spoken in the presence of potential buyers that will cause them to call loudly for an order blank and reach for a fountain pen4 ,there are certain fundamentals which will help a man to become a better salesman4 ,,be ,,tactful ,webster defines tact as a nice discernment of delicate skill in saying and doing what is expedient or suitable in given circumstances4 ,tact is one of the most valuable assets in salesmanship and must be exercised at all times4 ,many sales of home furnishings have been lost in discussions with a prospect who was inclined to be belligerent4 ,under no circumstances enter into an argument4 ,you have heard the well-known axiom1 ,win an argument and lose a sale4 ,the fact that you have sound sales arguments to use in presenting your sales story does not mean that you must argue with the prospect to prove your point4 ,explain tactfully your side of the story and1 if your statement is questioned1 try to prove it4 ,but rather than enter into an argument about it1 pass on to another point1 and1 if necessary1 refer later to the point in question from a different angle4 ,,don',t ,,interrupt ,,and ,,don',t ,,exaggerate ,some salesmen are so anxious to tell all they know about their product that unquestionably they develop a habit of interrupting a prospect every time he speaks4 ,this reflects adversely on the salesman2 often it prevents the prospect from telling of the features particularly liked or the real objection to the proposition4 ,when your prospective customer starts to speak1 listen1 and above all1 when answering a question1 don't exaggerate4 ,many a sad failure in selling has resulted from an exaggeration of facts to the point where the prospect will not believe anything the salesman has said4 ,,be ,,sincere ,sincerity breeds conviction and if you are convinced of the statement you make1 your attitude will go a long way in making your prospective customer believe your story4 ,know your product and its advantages2 be sincere and enthusiastic when you are presenting them4 ,be natural4 ,it will pay4 ,,don',t ,,talk ,,too ,,much ,all have known salesmen who have talked themselves out of sales4 ,this is a fault common to many4 ,some types evidently believe that if they talk fast enough1 do not permit the prospect to bring up objections or say anything1 and put the pen in the prospect's fingers and get him to sign on the dotted line1 a good sale has been made4 ,the day for this kind of selling is gone4 ,today's buyer wants information and she wants a chance to think about that information after she gets it4 ,make your statement about your product and let your customer think about it4 ,be careful not to bury one important sales feature by showering several more on top of it before the customer has had time to decide on the merits of the first4 ,give your customer an opportunity to ask questions and express her opinion4 ,often1 if allowed to talk1 the prospect will sell herself4 ,,be ,,ready ,,to ,,answer ,,objections ,an objection or reason for not buying may be real or it may be merely an excuse4 ,in any event1 the salesman must be able to answer it effectively in order to close the sale4 ,if the customer raises an objection1 be sure you understand it4 ,don't jump at conclusions as to what the objection is going to be4 ,after you understand it clearly1 repeat it4 ,sometimes when an objection is repeated the customer immediately can see for herself that it is not a valid objection4 ,,points ,,to ,,remember ,,in ,,selling ,salesmen interested in fundamentals will do well to remember four points of value in selling3 #a4 ,talk to your customer as though she knows about the product but explain everything as though she knew nothing about it4 #b4 ,treat your customer with unfailing courtesy4 #c4 ,assume that she is able financially to buy anything on the floor even if her general appearance leaves room for some doubt4 ,when basic facts are established1 suggest justifiable time-payment plans as an arrangement she might prefer--but do this tactfully since many women are sensitive about money and credit ratings4 #d4 ,make your sales story complete4 ,tell it simply1 directly1 earnestly1 and honestly4 ,,the ,,daily ,,check-,,up--,a ,,perpetual ,,inventory ,elementary fundamentals should be brought up time and again4 ,you may know you are beyond the stage where you need to be told to keep the ears clean1 the hair combed1 the shoes polished1 and suits pressed1 but there are some angles on this matter of keeping a perpetual personal inventory which may be reviewed profitably many times4 ,consider the advantages of a daily check-up4 ,some women are inclined to trust to first impressions of appearance and manner4 ,a salesman may find it difficult and sometimes impossible to win their confidence if there is anything in his appearance1 manner1 language1 or actions to detract attention or arouse prejudice4 ,if these important personal matters are neglected1 it means reduced income through the loss of some sales and an unnecessary loss of time in many others4 ,one of the best ways to guard against these losses is to work out a sort of perpetual inventory of your own good and bad points1 and to keep this inventory up to date1 making a systematic check-up4 ,certain principles as to proper dress for men in home-furnishing stores of dignity have been established4 ,one metropolitan store insists that salesmen wear dark suits2 black shoes always2 white collars either attached or detached1 not necessarily starched2 neckties1 dark preferably1 and in harmony with the suit4 ,this store never permits removal of coat or vest even in summer4 ,many stores1 however1 permit vests off in summer and supply uniform coats to all salesmen--dark palm beach or similar material4 ,arbitrary rules without reason are worse than none4 ,the store mentioned above feels that the factors listed as important simply conform to the laws of good taste in reflecting the store to its clientele4 ,no store can afford to tolerate slovenly attire1 shoddy language1 or indifferent effort4 ,if1 in good faith1 interested salesmen will run through the following list of questions before they go to work each morning for #b or #c months1 they will find the results in increased sales unexpectedly profitable4 ,,appearance ,have ,i had the food1 sleep1 and exercise necessary to enable me to meet all customers1 even on the longest and busiest day1 with energy and enthusiasm8 ,do ,i feel and look fit1 alert1 competent1 and prosperous8 ,is there anything to attract unpleasant attention to my hair1 fingernails1 teeth1 tie1 or shoes8 ,,manner ,do ,i meet all customers without reference to age1 sex1 or dress1 as if ,i were genuinely glad to see them and sincerely interested in serving them intelligently and well8 ,am ,i businesslike without being brusque8 dignified without being stiff8 unvaryingly polite but never oily or servile8 ,do ,i treat all customers with real courtesy1 and none with cheap or offensive familiarity8 ,do ,i ever permit myself to look or act bored1 tired1 indifferent1 or sullen8 ,,language ,is my voice pleasant8 ,do ,i talk enough1 or too much8 ,do ,i talk carefully and well1 without grammatical blunders or slang1 and with an adequate command of words1 or do ,i stumble1 use poorly chosen words1 and repeat myself until my customers are bored or repelled8 ,,action ,do ,i slouch1 or get into awkward and ungraceful postures1 or sit on the arms of chairs or sofas8 ,do ,i play with a pencil1 watch chain1 or sales book1 or jingle keys or money in my pocket8 ,do ,i ever show merchandise carelessly1 as if it were of no value or importance8 ,do ,i ever get into an argument with a customer when there is the slightest possibility of giving offense8 ,whatever your present earning power may be1 wide experience warrants the belief that you can raise it appreciably by improving your present rating in these factors which together give outward expression to your personality as your customers see it4 ,,questions #a4 ,do you think a salesman can be sincere and use high pressure methods at the same time8 #b4 ,do you feel you are doing a customer a favor or imposing on her in urging her to come to a decision1 particularly when grading-up8 #c4 ,a customer says3 ,i like this suite1 but the price is a little more then ,i'd counted on paying4 ,what is the best way of handling this customer to close a sale8 #d4 ,a customer says3 ,i've just about decided on this one1 but ,i'd like my husband to see it4 ,what is the right way to handle this situation8 ,should an attempt be made to close the sale then and there8 ,what has been your experience8 #e4 ,a customer is sold on a modern suite1 and has her mother with her4 ,her mother is not sold on modern furniture4 ,how would you handle this situation8 #f4 ,a customer wants an ,early ,american bedroom1 is apparently satisfied with the suite1 which happens to be birch1 and asks3 ,is it solid maple8 ,how do you answer8 #g4 ,if the president of the ,first ,national ,bank and his wife came in at #e3cj to look at a dining-room suite1 how would you handle the first #e minutes of the conversation8 #h4 ,select a bedroom suite from the floor selling for #ii and one selling at #agi1 and demonstrate the points of superiority in the more costly set8 ,,suggested ,,reading ,,list ,,bolling1 ,,cunliffe ,l4 ,retail ,salesmanship4 ,sir ,isaac ,pitman ,sons1 ,ltd41 ,london1 #aicj4 ,the ,spirit of ,salesmanship1 ,,ii1 pp4 #ad-bf4 ,aptitude for ,salesmanship1 ,,iii1 pp4 #bf-cg4 ,sales ,demonstration1 ,x1 pp4 #aeb-afe4 ,,kenagy1 ,h4 ,g4 and ,,yoakum1 ,c4 ,s4 ,the ,selection and ,training of ,salesmen4 ,mc,graw-,hill ,book ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aibe4 ,the ,measures of ,successful ,selection1 ,,xi1 pp4 #bae-bdi4 ,mental ,alertness ,tests for ,salesmen1 ,,xii1 pp4 #bdi-bgg4 ,personality and ,aptitude ,tests1 ,,xiii1 pp4 #bgg-cjj4 ,training ,salesmen1 ,,xiv1 pp4 #cjj-cai4 ,,kelsey1 ,,clark4 ,furniture3 ,its ,selection and ,use4 ,national ,committee on ,wood ,utilization1 ,united ,states ,department of ,commerce4 ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c4 ,budget1 ,buying ,plans1 ,need1 ,utilities1 ,i1 pp4 #a-ai4 ,national ,retail ,dry ,goods ,association1 #aja ,west ,thirty-first ,street1 ,new ,york1 ,n4 ,y4 #aice4 ,furniture ,sales ,manual4 ,,pelz1 ,v4 ,h4 ,selling ,at ,retail4 ,mc,graw-,hill ,book ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aibf4 ,personal ,qualifications of the ,retail ,salesman1 ,,viii1 pp4 #aai-aci4 ,how to ,make ,sales-,talk ,effective1 ,,xi1 pp4 #ahe-bae4 ,sales by ,suggestion1 ,,xviii1 pp4 #bic-cac4 ,following ,up the ,sale1 ,,xix1 pp4 #cac-cae4 ,,reyburn1 ,,samuel ,w4 ,selling ,home ,furnishings ,successfully4 ,prentice-,hall1 ,inc41 ,new ,york1 ,n4 ,y4 ,,simmons1 ,,harry4 ,how ,to ,get ,the ,order4 ,harper ,bros41 ,new ,york1 ,n4 ,y4 #aicg4 ,sales1 ,leads1 ,customers1 ,i1 ,,ii1 ,,iii1 ,v1 ,,vii1 ,,viii1 pp4 #a-gh4 ,,stewart1 ,,ross and ,,gerald1 ,,john4 ,home ,decoration4 ,garden ,city ,publishing ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 #aich4 ,buying ,furniture1 ,,xii1 pp4 #bai-bcj4 ,,whitehead1 ,,harold4 ,how ,to ,run a ,store4 ,the ,thomas ,y4 ,crowell ,co41 ,new ,york1 ,n4 ,y4 #aiba4 ,developing ,organized ,loyalty1 ,,xxi1 pp4 #bec-bfe4 ----4 ,the ,business of ,selling4 ,american ,book ,co41 ,new ,york1 ,n4 ,y4 #aibc4 ,the ,mental ,law of ,sale1 ,v1 pp4 #dd-ea4 ,the ,salesman's ,personality1 ,,xviii1 pp4 #bba-bcd4 ,how ,to ,develop ,personality1 ,,xix1 pp4 #bcd-bdb4 ,unit ,,ii ,,technique ,,of ,,salesmanship ,sale ,objectives ,starting the ,simple ,sale ,the ,all-,important ,interview ,three ,general ,considerations for ,closing ,sales ,meeting the ,customer ,illustration3 ,figure #c;,a4--,a block front ,chippendale secretary4 ,the pulls are all pierced chased brass4 ,the broken pediment is ornamented by the unusual addition of a hand-carved leaf carving4 ,the ribband back chair has the cabriole ball and claw and leaf carving on the knees and is upholstered in a hand-blocked tapestry4 ,illustration3 ,figure #c;,b4--,this copy of a ,sheraton corner stand has tambour sliding front drawers and a copper-lined plant container at the back4 ,the chair at the side is a ,sheraton decorated armchair1 in black with gold decoration4 ,the upholstery is green and ivory striped satin4 ,unit ,,ii4--,,technique ,,of ,,salesmanship ,,sale ,,objectives ,when you start toward the display floor with a customer who has asked for a particular article1 you have--or should have--five objectives3 #a4 ,to close a sale1 if possible1 for an article of the best quality warranted by the customer's needs and means4 #b4 ,to sell any additional merchandise in which you can arouse an interest4 #c4 ,to make the sale in such a way that the merchandise will stay sold1 and the customer will become a loyal business friend4 #d4 ,to secure and record any information as to the customer's home and tastes that may lead to possible future sales4 #e4 ,to do these things without wasting time so that you may get another customer and repeat the process4 ,in order to attain these objectives you must gain the confidence of the buyer1 and here your success will depend upon what happens in the first #e minutes4 ,it is during these crucial minutes that the customer forms the impressions which so often lead her either to bestow her confidence or withhold it4 ,,starting ,,the ,,simple ,,sale ,the experienced salesman is accustomed to form a quick judgment of the customer and to base his opening procedure on that judgment4 ,the technique presented here is designed particularly to help this salesman make large sales or handle small sales which may be expected to produce future business4 ,let us assume that your customer has not asked for an advertised chair1 and that there is nothing in her appearance or manner to enable you to make a close guess as to her tastes and means4 ,all you know is that she is interested in an easy chair4 ,since she has not told you exactly what kind of chair she wants1 it is safe to assume that she doesn't know4 ,on the other hand1 you may be certain she wants a chair to serve some particular purpose of her own4 ,the chances are that she has only a vague idea as to the particular type of chair which will best serve this purpose2 you as yet have no idea whatever4 ,accordingly1 you must choose one of three methods for starting the sale4 ,,the ,,haphazard ,,method ,the first is to lead her through your stock in the hope that she will see a chair that pleases her and buy it4 ,this sometimes will happen1 and there are some customers--though few--who can be sold in no other way4 ,however1 this method wastes so much time1 and results in such a heavy percentage of lost sales1 that it should be your last resort4 ,it is open to three serious objections3 ,first1 it will not help you win the customer's confidence4 ,by relinquishing all control of the interview1 you forfeit her respect for you as a competent adviser in the processes of home furnishing1 and become merely an order taker4 ,if she happens to like your merchandise1 you are fortunate2 but you can do nothing to influence her toward liking it4 ,second1 no one can look at a great many different things1 however interesting and beautiful1 without becoming confused and losing the power of discriminating judgment4 ,the woman who is shown furniture by this undirected method is likely to become tired and certain to become confused1 and may be expected to decide to think it over1 look around1 or bring her husband4 ,moreover1 you cannot show many chairs1 even by this method1 without making some comments about them4 ,if you are like many salespersons you will fall into the habit of describing half the pieces shown either as the most beautiful1 the smartest1 the most comfortable1 the latest1 or the best bargain4 ,if this happens1 any normally intelligent person will suspect that you are either insincere or incompetent4 ,third1 if a sale results1 it is likely to be at an unnecessarily low-price level unless the question of credit limit is involved2 and in any event there will be no sale of additional merchandise1 no information of future value1 no loyal business friendship4 ,,the ,,high-,,pressure ,,method ,you may decide to make a persistent and1 if necessary1 a high-pressure effort to sell her something4 ,this method1 like the first1 will work with a limited number of buyers4 ,however1 it results in much wasted time by reason of the high percentage of returns for credit or exchange1 and in ill-feeling and impaired confidence which over a period of years make it difficult for the salesman to build up a personal following among the buyers of his community4 ,as a matter of cold fact1 this method of selling home furnishings has caused the retailers an immense loss in public confidence1 as well as in money4 ,because of wrong selling methods1 multitudes of women now stay out of certain stores except on those rare occasions when they are forced by actual needs to enter4 ,although these women want to buy1 they are afraid of being sold4 ,more accurately1 they are afraid of being sold the wrong thing4 ,most of the women who ask to see a chair or rug or other home-furnishings merchandise really want something much more important to themselves1 although they do not tell us about it4 ,they want beauty1 comfort1 distinction1 or social prestige4 ,in other words1 they want to buy furniture as a means of making their homes more attractive2 but their past experience1 or the experience of their friends1 often leads them to believe that the salesman will not really help them4 ,to overcome their hesitancy1 they must be made to feel at the beginning of the interview that no one is trying to sell them1 or even to let them buy1 but rather that the desire of the salesman is to help them buy4 ,,the ,,scientific ,,method ,the third possible course of action is based upon a study of the customer's needs4 ,the salesman will seek to discover the customer's purpose in looking at easy chairs and then to show her the particular pieces in stock which are best adapted to serve that purpose4 ,he will need information about the size1 style1 and coloring of the chair required1 and the amount that the buyer is able or willing to pay for it4 ,do not1 at the outset1 ask for this information4 ,in selling home furnishings avoid questions which will force the buyer to make definite commitments in advance as to her tastes or the amount of money she is prepared to spend4 ,in the first place1 it is probable that if she had fixed ideas on these subjects she would have told you exactly what she wanted at once4 ,if you force her by direct questions to make a statement1 she may feel impelled to abide by it later2 you thereby have placed yourself and your stock under an unnecessary handicap4 ,in the second place you run the risk of annoying her1 since few women welcome a direct question at the beginning of a sales interview as to how much they are prepared to spend4 ,finally1 such questions may be so clumsy and amateurish in technique as to under-mine a customer's confidence in your ability4 ,your questions at the outset should be directed toward determining her needs4 ,if such questions are skillfully put1 she will welcome them as evidence that you are trying to help her buy economically and intelligently4 ,,the ,,all-,,important ,,interview ,upon leaving the elevator take your customer directly to an easy chair which you know to be good-looking and comfortable1 conservative both in design and coloring1 and neither your cheapest nor your most costly quality4 ,by choosing a conservative rather than an extreme style you run no risk of impairing her confidence in your taste and judgment1 and by picking a piece in the middle price range you run no risk of offending her if she is in the market for a costly chair1 or of alarming her if she is a buyer for a cheap chair4 ,moreover1 you are in the safe position of being able to shift ground in either direction without loss of prestige4 ,don't ask her how she likes this chair1 and don't make any flattering comments on it4 ,merely say1 in effect3 ,i don't know how close this particular chair comes to what you have in mind2 but at least it is attractive and comfortable4 ,if you care to sit down in it for a moment1 and to tell me a little about your requirements1 or about your room1 perhaps ,i can save you the time and trouble of looking at a great number of unsuitable pieces4 ,is the chair for your living room8 ,if the answer is ,yes1 proceed3 ,then it will of course have to fit in with your other things in that room4 ,at this point you may wish to draw up a small table and lay the living-room floor plan#a on it with the first page so placed that the customer can easily see it4 ,then draw up a chair for yourself4 ,it is important to move with a poise and assurance which will cause the buyer to know you are following the usual procedure4 ,by the time you are seated she will likely have read enough of the first page to be interested and awaiting your next move4 ,,opening ,,the ,,interview ,in many simple sales it will be unnecessary to ask many questions1 or to enter the answers on the plan4 ,since you cannot know this at the start of the interview1 however1 it is usually wise to show the plan1 even if you make no actual use of it4 ,the effect of this procedure catches interest1 places the transaction on a more professional basis1 and helps create confidence in yourself and your store as skillful and competent advisers in the selection of furniture4 ,illustration3 ,figure #d4--,room arrangement plan ,,note ,,to ,,salesperson4--,if you do not have a floor plan and have not seen the room in question1 take blank paper and pencil4 ,block in window and door openings and location of other furniture4 ,then proceed as suggested1 recommending nothing that will not enhance the attractiveness of the room for its particular use4 ,always date your sketch2 place upon it the name of your customer1 and file for later reference4 ,if you decide to use the plan1 spread it on the table1 and say1 in effect3 ,this device helps us to serve our patrons who are interested in buying furniture that will add to the comfort and beauty of their homes4 ,in your own case1 for example1 we have scores of chairs that are good looking and that are good values4 ,yet1 if you were to look at all of them you would undoubtedly find that some are too large or too small and that the great majority will not harmonize perfectly in design1 style1 or coloring with the other things in your own particular room4 ,by using this device you can give me a clear picture of your room as you want it to look4 ,then ,i can show you only such pieces as promise to meet your requirements1 and you in turn may select the one chair that seems most suitable4 ,do you have a guest chair in mind1 or one for the special use of a member of the family8 ,if for a member of the family1 the sex1 size1 and individual preference must be taken into account2 if for guests1 the general decorative character of the room only4 ,the new chair will be seen against the background of the walls and the floor coverings1 and as a part of the group to which it belongs4 ,hence1 we must be sure it will harmonize with these other elements4 ,your rug1 for example1 is----8 ,enter important information which is given on the floor plan under the heading ,floor covering4 ,information needed includes the type of rug 7which may give you an idea of the buyer's price level72 coloring2 and type of design 7which will indicate to you the characteristic features of the new chair necessary to insure harmony74 ,then proceed in the same way with the walls1 woodwork1 draperies1 and principal upholstery fabrics4 ,if by this time your customer shows signs of impatience1 you may wish to say in effect that you can show her several chairs that will fill the requirements admirably4 ,then go to work4 ,,utilizing ,,the ,,customer',s ,,answers ,if1 on the other hand1 the buyer clearly is interested1 ask for the size of her room and for the description and location of her other furniture1 and block in the information on the floor plan1 using the method shown in the typical floor plan1 page #ba4 ,here the best procedure is to start from the point of intersection of the #b heavy lines1 or axes1 and count in #d directions1 using the scale of -inch square for each foot4 ,for example1 if the room is #af #bd feet1 count #ab squares from the center in both directions to locate the end walls1 and #h squares in both directions to locate the side walls4 ,when this information is recorded you will get an idea as to the correct size and proper location for the new chair4 ,be sure to locate windows and doors accurately and indicate the exposure of the room with reference to the compass points4 ,these preliminaries when completed will give a clear picture of the room1 a fair idea of your customer's price range1 and a good start toward her confidence4 ,thank her and introduce yourself simply by saying1 ,i am ,mr4 ,smith4 ,if you are pleased by what ,i have shown you today1 ,i shall hope to see you again as other living-room needs arise4 ,may ,i fill in your name and address1 so that this plan may be filed for use when you are next in the store8 ,,use ,,judgment ,,in ,,showing ,,merchandise ,you must be guided by your best judgment4 ,if you have reason to think the customer has confidence in you1 show first the particular chair that you honestly believe is best for her purpose1 introducing it with a brief1 pointed1 and purely impersonal comment on its beauty1 style1 and peculiar fitness for her own purpose4 ,don't use superlatives4 ,she may not like this piece well enough to buy it immediately1 in which case you will be seriously handicapped in trying to interest her in another one4 ,if1 on the contrary1 you do not feel assured of her complete confidence1 probably it will be wiser to show your second or third best piece first1 holding the best in reserve4 ,as soon as you detect signs of real interest in a chair1 build up a little group based on the principles of harmony which are stated and illustrated in unit ,,vii1 page #adb4 ,in some cases a small table will be enough2 but usually it will be better to use a larger table1 a lamp1 and often a small rug and a length or two of drapery fabrics1 if you stock them4 ,the purpose of this procedure is to help the customer see your chair as an integral part of her own room and to emphasize its desirability as a means of making that room more attractive4 ,if she already has the pieces necessary to form a complete group when the chair is added1 select pieces as nearly like her own as possible4 ,if not1 select pieces that harmonize perfectly with the chair4 ,don't tell her that she ought to have these pieces4 ,merely show them without comment1 and defer any attempt to sell anything more than an easy chair until after the chair has been sold4 ,,three ,,general ,,considerations ,,for ,,closing ,,sales ,,be ,,prepared ,,to ,,close ,a ,,sale ,,at ,,any ,,point ,some salesmen make the serious and costly mistake of assuming that every customer will be exacting and hard to sell1 and that a large percentage of them enter the store with no real intention of buying4 ,the really able salesman knows that this is not true4 ,under present conditions the woman who enters a furniture store or department may be presumed to have an active interest in furniture4 ,when you have found her real needs and offered her something that satisfies them1 there in an excellent chance that she will be ready to buy4 ,if so1 take the order at once4 ,don't make the tactical blunder of showing additional merchandise1 or of completing all the steps necessary to close a difficult sale4 ,many salesmen talk themselves out of a sale by suggesting unnecessary alternatives4 ,in other words1 prepare carefully and intelligently for the order1 expect it1 and take it at the first opportunity4 ,,proceed ,,with ,,caution ,,until ,,you ,,know ,,the ,,customer',s ,,buying ,,motives ,at the start of a sale it is safe to assume that the buyer is thinking in terms of her own interests4 ,don't tell her that a given chair is in the latest or most popular style until you know that she is interested in the latest rather than the best style for her particular room4 ,don't tell her that it is your best-selling number2 or that ,mrs4 ,jones just bought a piece like it2 or that you think1 or the buyer thinks1 or the head of the house thinks it wonderful4 ,,don',t ,,quote ,a ,,price--,,unless ,,you ,,are ,,asked ,,for ,,it ,as a general1 but by no means invariable1 rule1 don't quote a price--unless you are asked for it--until you see definite signs of interest in the piece under consideration2 and even then not until you have prepared for it by a brief but convincing statement as to quality or desirability4 ,however1 when you are asked the price of an article1 give it immediately and without apology or comment4 ,,meeting ,,the ,,customer ,all first impressions and most sales start at the front door of your store or department4 ,for any lack of promptness and courtesy at this point there will be a penalty4 ,anyone who enters the store should be met immediately4 ,if it happens to be a customer1 whether man or woman1 a long delay for any reason will be resented1 and even a moment's pause to finish a conversation may be regarded as an affront4 ,it is impossible to overestimate the importance of this matter1 both to yourself and to your house4 ,in a competitive market few persons will buy from the man who treats them discourteously1 nor will they return to the store where they have met with discourtesy if another store with better methods is accessible4 ,moreover1 one offended customer can do more damage through word-of-mouth advertising than a thousand lines of newspaper space can repair4 ,the visitor should be greeted with a smile1 a bow1 and the words ,good morning or ,good afternoon4 ,test both your smile and your bow before a mirror and improve them if any improvement is possible4 ,a genuine infectious smile is literally a priceless asset4 ,after this greeting usually you will be told what is wanted4 ,if not1 after a slight pause1 ask3 ,may ,i show you something8 or ,what may ,i show you8 ,don't ask3 ,can ,i help you8 ,are you interested in furniture8 ,what can ,i do for you8 or ,anything1 today8 ,for the purpose of illustration1 suppose the customer is a woman who asks to see a sofa bed4 ,don't ask her how much she wants to pay1 or even what sort of sofa bed she wants4 ,if the stock is on another floor it will be enough to say3 ,we will take the elevator1 please1 and indicate the direction4 ,do not precede her4 ,walk abreast1 and1 if the aisle is crowded1 drop behind4 ,if she is carrying a parcel of burdensome size ask her if you may have it4 ,although many successful salesmen begin at once to draw out information as to the customer's requirements1 it is better practice to defer such questions until you are in the presence of your merchandise and beyond the possibility of noise and confusion4 ,whether it is wise to try a few impersonal remarks1 or to keep still1 from the front door to the sales floor1 will depend upon your judgment of the individual customer4 ,,questions #a4 ,this unit discussed three methods of starting the sale4 ,how would you proceed to sell furnishings for the new clubhouse at the community center8 #b4 ,what would you do to correct a wrong attitude toward use of certain types of furniture in a living room8 #c4 ,a woman tells you that she cannot afford costly furnishings4 ,what steps would you take to show her that good taste is not necessarily expensive8 #d4 ,of what advantage is the study of advertising to the young man who expects to become a furniture salesman8 #e4 ,what use should be made of dealers' aids furnished by the manufacturer of products you are to sell8 #f4 ,give five sources of information regarding prospects which a retail furniture salesman may use4 #g4 ,what should a good furniture salesman know about the history of his firm8 #h4 ,why is the excessive use of superlatives an indication of ignorance of the article being sold8 #i4 7a7 ,of what value is a knowledge of competing goods8 7b7 ,how should such knowledge be used8 ,,suggested ,,reading ,,list 7,most libraries will have other excellent books discussing retail salesmanship and these should be consulted freely47 ,,rolling1 ,,cunliffe ,l4 ,retail ,salesmanship4 ,sir ,isaac ,pitman ,sons1 ,ltd41 ,london and ,pitman ,publishing ,co41 ,new ,york1 ,n4 ,y4 #aicj4 ,studying the ,customers1 ,,vii1 pp4 #hi-ajg4 ,receiving the ,customers1 ,,viii1 pp4 #ajg-aca4 ,sales ,persuasion1 ,,ix1 pp4 #aca-aeb4 ,methods of ,increasing ,sales1 ,,xi1 pp4 #afe-ahf4 ,,de ,,schweinitz1 ,,dorothea4 ,occupations in ,retail ,stores4 ,international ,text ,book ,co41 ,scranton1 ,pa4 #aicg4 7,study sponsored by ,national ,vocational ,guidance ,association and the ,u4 ,s4 ,employment ,service74 ,hiring1 ,training1 ,promotion1 ,,iv1 pp4 #da-fe4 ,hours1 ,vacations1 ,earnings1 ,v1 pp4 #fe-ic4 ,,jackson1 ,,alice and ,,bettina4 ,the ,study of ,interior ,decoration4 ,doubleday ,doran ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 ,furnishing the ,home1 ,,xvi1 pp4 #cea-chh4 ,,pelz1 ,v4 ,h41 ,selling ,at ,retail4 ,mc,graw-,hill ,book ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aibf4 ,the ,psychology of the ,retail ,sale1 ,,iii1 pp4 #ai-ca4 ,studying the ,merchandise1 ,,vi1 ,,vii1 pp4 #ha-aai4 ,customer ,types and ,characteristics1 ,x1 pp4 #aei-ahe4 ,how to ,meet ,objectives1 ,,xiv1 pp4 #bce-bei4 ,substitution ,sale1 ,,xv1 pp4 #bei-bfe4 ,,richert1 ,g4 ,,henry4 ,retailing ,principles and ,practices4 ,gregg ,publishing ,co41 ,new ,york1 ,n4 ,y4 #aich4 ,the ,retail ,sales ,process1 ,,xi1 pp4 #bai-bde4 ,customer ,service1 ,,xiv1 pp4 #bie-caa4 ,,simmons1 ,,harry4 ,how to ,get the ,order4 ,harper ,bros41 ,new ,york1 ,n4 ,y4 #aicg4 ,the ,futility of ,price ,appeal1 ,,xi1 pp4 #ig-ajf4 ,buyer ,slants on ,selling1 ,,xiv1 pp4 #aba-abh4 ,,whitehead1 ,,harold4 ,the ,business of ,selling4 ,american ,book ,co41 ,new ,york1 ,n4 ,y4 #aibc4 ,the ,buyer's ,motives1 ,,vii1 pp4 #fa-gd4 ,the ,customer1 ,,xiv1 pp4 #aec-agc4 ,,footnotes3 #a ,suitable floor-plan diagrams to aid in making unit sales are available for any room in the house4 ,unit ,,iii ,,salesmanship ,,applied ,how ,to ,demonstrate ,values ,contrast in ,buying ,methods of ,women and ,men ,enriching ,your ,vocabulary ,hidden ,factors ,that ,increase ,sales ,illustration3 ,courtesy of ,merchandise ,mart ,news ,bureau4 ,figure #e4--,useful because it can be placed behind a divan or against a wall is this low eighteenth century cabinet for books1 radio1 magazines1 or bric-a-brac4 ,beside the cabinet is an eighteenth century lounge chair1 upholstered in rose and white striped satin4 ,unit ,,iii4--,,salesmanship ,,applied ,,how ,,to ,,demonstrate ,,values ,old or young1 rich or poor1 we are much alike4 ,what interests us is what touches ourselves4 ,when we make our choices we do not always accept or reject things because of their intrinsic worth but because they appeal strongly to the group of instincts1 emotions1 and habits which just then is motivating the inner life and influencing decisions4 ,the salesman who is clever enough to present his merchandise in the ways that appeal most directly and powerfully to these inner controls enjoys a great advantage over one who lacks this ability4 ,,knowledge ,,of ,,merchandise ,,must ,,come ,,first ,it goes without saying that this ability presupposes thorough knowledge of the merchandise4 ,this is fundamental4 ,a given rug which enters our stock from the receiving room may have #cj points of possible interest to buyers1 but not all these points will appeal to all buyers4 ,carefulness and system will enable us to pick and emphasize the strongest points for each buyer provided we know the entire #cj4 ,but if we know #bj only1 or #ae1 or #aj1 no amount of skill can save us from losing some sales4 ,under present conditions it is extremely difficult to acquire full and accurate knowledge of the merchandise we are called upon to sell1 but we can get this information now if we want it badly enough2 we must get it if we seriously desire to increase our earning power4 ,all possible information is important1 because any part of it may be necessary1 in a given situation1 in order to make a sale4 ,we must get this information wherever we can find it4 ,in the case of a newly arrived easy chair1 for example1 it may come from three sources3 #a4 ,from personal inspection4--,a cursory inspection will tell us that the chair is a medium-size piece1 slenderly and gracefully proportioned2 with open padded arms2 loose cushion seat2 a back of pronounced rake2 cabriole front legs with carved claw feet2 covered in a small-figure reseda green damask2 and priced at #he4 ,we should be able to identify its style1 and the tag may indicate the name of the manufacturer4#b ,a more careful inspection will tell us that the exposed wood is solid mahogany1 finely finished2 the front legs skillfully carved2 all legs with a degree of curvature that eliminates danger of breaking under strain2 frame corner-blocked2 seat springs set on webbing1 or steel frame1 with a dustproof bottom of cambric2 loose cushion of spring construction2 and the covering a close-woven1 wear-resisting fabric with silk warp and cotton waft4 #b4 ,from the buyer or manager4-- a4 ,name of manufacturer1 in order that we may be governed in making statements about this chair by our general knowledge of his line1 as to quality of materials1 skill of workmen1 and inspection standards1 and also in order to use the name in cases where we believe that it will have prestige value4 b4 ,details of concealed construction1 including frame2 method of springing2 build-up of seat1 back1 and arms2 stuffers used2 strength of fiber and color in the covering4 c4 ,information as to whether the piece can be duplicated1 and if so1 at what price and in what time2 also as to whether it can be supplied in other colors1 or in other materials1 and if so1 location of samples1 method of figuring price1 and time required for delivery4 d4 ,historic source of the design1 and any interesting information as to its fashion value1 gained by the buyer at the markets4 #c4 ,from books and magazines4-- a4 ,the historical background of the style to which the chair belongs1 and the most effective methods of developing its style appeal4 b4 ,types of rooms and color schemes with which it can be used harmoniously4 ,equally comprehensive information is necessary for all other items in your stock4 ,without it the percentage of purchasers that we can be sure of reaching with a key appeal will be reduced1 and our earning power correspondingly limited4 ,,selling ,,materials ,,and ,,construction ,assuming that we have acquired adequate knowledge of the materials and construction of our merchandise1 how are we going to use it effectively4 ,we suggest a few general principles as guides to sound practice3 ,both materials and construction normally are factors to be employed in closing a sale1 but not in opening it4--,if you went into a store and asked to see a pair of shoes and the salesman1 seizing the first model at hand1 assured you that it was made of tanned box calf1 with waterproof soles1 cork filling1 and tacked insoles1 by a process involving more than #aej separate operations1 all of which made it a wonderful value at #h4ej1 would you tell him to wrap up a pair8 ,hardly4 ,neither materials nor construction would interest you until you were comfortably fitted with a shoe that satisfied your ideas of style and color1 and at a price within your buying limit4 ,when a customer asks for an advertised article and seems pleased with its appearance1 the demonstration of its value can start at once4 ,in any other situation it must wait until you find something with which she is pleased4 ,there are those who appear to believe that selling is a game in which the object is to beat down the customer's opposition and make her buy4 ,in dealing with customers of any type above the most unenlightened1 this idea always has proved a boomerang4 ,in talking materials and construction1 preserve a sense of relative values4--,when we say about a #ce chair everything that properly could be said about one priced at #fe1 our customer either believes or disbelieves us4 ,if she disbelieves1 the sale is lost4 ,if she believes1 our chance to get more than #ce of her money is lost4 ,even if we leave out of account the basically important matter of business honesty1 it is unwise to overstate the values of any article4 ,in a well-managed furniture store every article possesses points of merit sufficient to sell it on the basis of what can be fairly claimed for it4 ,to claim more1 whether intentionally or through ignorance of the facts1 is to deceive our customers1 and--inevitably--to cut down our sales volume4 ,demonstrate the value of all merchandise under serious consideration whether you believe it to be necessary or not4--,many sales of advertised articles or merchandise chosen on the basis of its decorative appeal can be closed without discussion of materials or construction4 ,as a safety-first measure1 these factors should be mentioned somewhat carefully after the order has been booked4 ,sometimes a customer will buy an article in complete good faith1 and yet within the next half hour will start shopping in other stores to see whether or not she has bought wisely4 ,even more important is the fact that in every case the new purchase1 when delivered1 is subject to inspection and criticism not only by members of the family but also by neighbors and friends4 ,some of this criticism is bound to be adverse1 and unless we have taken the precaution to build up an unshakable confidence in the excellence and value of our merchandise there may be a telephone order to come and get it1 or at least a loss of goodwill and future patronage4 ,these precautionary build-ups can of course be brief4 ,for example1 if you have sold a bedroom suite on the basis of appearance only1 it will be enough to say in substance3 ,you have bought this suite because of its beauty and style1 which will continue to delight you always4 ,but before you leave ,i want you to realize that these fine qualities rest on a foundation of sturdy construction4 ,this dresser1 for example1 is 99 99 994 ,contacting the ,i'll-buy-later prospect4--,there is always the chance that the sale can be closed4 ,a woman's statement that she is not yet ready to buy is in many cases merely a defense mechanism--a psychological device to serve as an excuse to leave if she senses that high-pressure selling effort is being applied4 ,it is possible that if we answer1 in effect1 ,please don't think of yourself as a customer1 but rather as a valued guest of the store4 ,this is not a busy hour for me1 and while you are here ,i hope you will let me show you some more of the new things1 which are particularly interesting this season1 we may be able to develop the confidence and desire necessary to effect a sale4 ,if we fail to do this1 we can at least see to it that the customer leaves with a clear impression of the value of the pieces she has been considering4 ,if this impression is sufficiently clear and deep she may come back4 ,otherwise1 in all likelihood1 she will not4 ,the shopper in a hurry4--,many of us habitually make little or no effort with the customer who enters with the warning ,i am in a great hurry1 or ,i have just a moment to look around today1 and will come back later when ,i have more time4 ,this is a mistake4 ,such statements may or may not be entirely true4 ,in many cases they are another form of defense mechanism--a way out1 prepared in advance4 ,in other cases1 they are merely a form of exhibitionism--a native desire to appear important4 ,such customers1 properly handled1 often can be held indefinitely1 with the average chance to make a sale4 ,price important in judging value4--,those who sell are rightfully apt to think of value as the total sum of a number of costs4 ,while this method of evaluation is not fundamental economically1 nevertheless our opinions often crystallize when we view the cost records4 ,our customer1 however1 is dually interested in what it costs to make and distribute what we sell her and in what our product means to her through its uses in her home4 ,the merchant's1 and hence the salesman's obligation1 is to satisfy her that the price she pays is in strict conformity with the actual reasonable costs of making and delivering the goods4 ,simultaneously1 however1 we must teach her how our product will fit into her home1 the satisfaction it will give her1 the use it will stand through the years1 in order that she may correctly weigh her satisfaction against her cost and reach a final conclusion as to her purchase4 ,this does not mean1 of course1 that the price should be stated first1 but simply that it must be stated at the time it becomes important in the mind of the buyer4 ,assuming a skillfully conducted preliminary talk1 this will normally be after an article has been tentatively accepted on the basis of appearance1 and fitness1 but before the beginning of a serious effort to close the sale4 ,avoid resistance1 and answer unspoken objections4--,use of the ,how do you like this8 type of question sets up unnecessary hazards of resistance and should be avoided4 ,the same is true of positive assertions not susceptible of immediate proof1 and also of statements which tend to suggest inner doubts4 ,if you say of a certain sheen-type rug1 ,this rug1 in pattern and coloring reproducing one of the celebrated ,isphans of seventeenth century ,persia1 is woven of a special brand of imported oriental wools1 by methods which give to its deep1 close pile almost unlimited durability1 plus this rich1 velvet-like softness and luster1 you add to its value without setting up a possible source of resistance to unspoken objections4 ,but if you say1 ,the construction of this rug makes it the best value on the market1 you cannot prove your statement1 which may serve to remind the buyer that other stores are offering special values1 or that her friend is enthusiastic about a rug bought recently at ,blank's4 ,unproved assertions destroy confidence4--,suppose you are trying to sell a table with mahogany-veneer top and red gum legs4 ,to call it a mahogany table will lose the sale immediately1 if the customer knows woods4 ,to say that it has a mahogany-veneer top and mahogany finish gum legs may suggest to the buyer that a veneer is a poor substitute for solid wood1 and that gum cannot be desirable if it must be finished to look like something else4 ,to ignore the whole matter of materials and construction and to try to sell the table on its beauty and fitness alone may cause the customer to wonder just what you are trying to conceal1 which will mean loss of confidence in yourself and your merchandise4 ,the wise course is to tell the entire truth about the piece in a perfectly matter-of-fact way designed to avoid any invidious comparisons of woods or processes4 ,for example3 ,this table whose design and coloring you so much admire is as sturdy as it is good looking4 ,following the practice of some old eighteenth century cabinetmakers1 the maker of this piece has combined several woods4 ,those used in the top are built into the modern five-ply construction1 which brings out the full beauty of grain of the mahogany upper ply1 ensures freedom from any danger of warping or splitting1 and provides the strength of steel4 ,for the legs he has used the beautiful straight-grained red gum of the ,south4 ,it is a costly folly to try to sell one material or process by condemning another4 ,we show a table1 for example1 and speak of solid ,american walnut as if no other wood or construction were worthy of consideration2 and #e minutes later1 finding that we have misjudged her price level1 we stammer and stumble over an attempt to convince her that plywood is an acceptable substitute4 ,these are the dangerous devices of mental laziness4 ,when a customer asks us if mahogany is better than birch1 or ,axminster carpets better than velvets1 or solid construction better than veneer1 a positive answer is misleading4 ,we certainly should know that mahogany1 like birch1 varies in excellence according to the individual board2 that some ,axminsters are better than some velvets1 and vice versa2 and that the construction is best which best meets the particular requirements of design and purpose1 in furniture precisely as in shoes or ships4 ,the fact is that everything used in making home furnishings of worthy quality has stood the test of time1 and therefore is interesting and desirable in its own right4 ,if we cannot make it seem so to customers1 we have not learned enough about it4 ,in selling materials and construction1 repetition is needed4--,we must be governed by the results of our preliminary talk in picking out for emphasis the particular points which promise to be of interest to each customer4 ,having made these points1 we sometimes need to repeat them1 in varying language and in different parts of our sales talk4 ,moreover1 we must never forget that many things which are as familiar to us as the multiplication table are strange to our customers1 and therefore difficult to remember4 ,we know1 for example1 that concealed differences in construction may make one easy chair worth twice as much as another of identical appearance2 that in sliced walnut veneers1 figured woods may cost #e or #aj times as much as plain2 but most buyers do not know such things4 ,accordingly1 if we merely state such facts1 but fail to groove a memory channel by one or more repetitions1 there is an excellent chance that even the customer who wants and can afford good things will look elsewhere1 completely forget what we have told her1 and buy a cheaper article in the honest belief that she is getting something equally good4 ,what too often happens is that in building up the value of our merchandise we fail to fix the facts in the customer's mind4 ,treat merchandise carefully1 and show it under the most favorable conditions4--,it is self evident that valuable merchandise must be so handled as to imply that it is of distinguished excellence4 ,respect in handling inspires respect4--,a woman will not buy an article unless and until she has identified it with herself--conceived of it as belonging to herself1 and in her own home4 ,suppose that we are showing her a length of drapery fabric4 ,if we crush it1 or handle it as if it were calico or cheesecloth1 or chance to step on it before she makes this unconscious identification with herself1 she will think less of it2 if after1 she will think less of us4 ,either reaction will be harmful4 ,in departments using rug racks1 often it is necessary to remove a rug and show it on the floor before the sale can be closed4 ,if we do this in a way that permits the piece to fall in a wrinkled heap on the floor we will not damage the rug1 but we will hurt the buyer's opinion of it4 ,a shrewd salesman will ask his customer to walk on the rug2 but he will not walk on it himself4 ,the same care applies to showing furniture4 ,it is folly to jerk a drawer violently1 or pound a table or dresser top1 or thump the seat of an easy chair1 or sit on the arm of a sofa4 ,such actions reveal an awkwardness and lack of poise which one does not associate with good homes and their furnishings4 ,then1 too1 your customer1 if she is seriously considering a purchase1 thinks of you subconsciously as pounding her table or sitting on the arm of her sofa4 ,similar care should be given to the language with which you characterize or describe your merchandise4 ,many an automobile salesman has lost a live prospect because he insisted on calling a beautiful car a job4 ,this stuff1 or even these goods1 may lose the sale of a fine damask4 ,wrong inflection in phrases like ,it is veneered1 ,this is a cretonne1 often is fatal4 ,,contrast ,,in ,,buying ,,methods ,,of ,,women ,,and ,,men ,,who ,,buys ,,the ,,home ,,furnishings8 ,in this bulletin the buyer of home furnishings is referred to as she4 ,this is done partly for simplicity1 and partly because most buyers are women4 ,as a matter of fact1 men do play an extremely important part in the purchase of home furnishings1 and they are likely to be the determining factor in large sales4 ,this is so much the case that clever salesmen and decorators frequently try to get the man involved even in the earlier stages of a large sale1 while many highly successful oriental-rug men make no serious effort on a sale of any importance until the man is actively interested4 ,accurate percentages impossible4--,such data as we have indicate that1 in the purchase by average-income families of the kinds of merchandise carried by furniture stores1 #e percent or less of the buying is done by men alone1 #ej percent or more by women alone1 and the remaining #dj percent by men and women together4 ,the percentages1 which are of approximate accuracy only1 vary widely with different classifications of merchandise4 ,women probably buy from #ge to #he percent of all curtains1 draperies1 mattresses1 and pillows2 men alone buy considerably more than #e percent of lamps1 refrigerators1 and small electric appliances2 and men and women together buy from #fj to #gj percent of room-size rugs and the more important items of furniture4 ,,why ,,first ,,impressions ,,are ,,vital ,these figures indicate that women have some part in considerably more than #ej percent of all sales in our business4 ,there is reason to believe that they initiate fully #he percent of all sales4 ,this means1 among other things-- #a4 ,that we must expect and be set for competition and delayed sales in the majority of cases1 because three women out of every four shop in more than one store before buying furniture4 #b4 ,that we must conduct every interview with a woman shopper in a way calculated to influence her to return in case an immediate sale cannot be made4 ,this will demand-- a4 ,prompt and skillful service1 with every effort to save her time2 because women of the intelligent classes in recent years have come to attach great value to their shopping time and to resent any waste of it as a result of inefficient salesmanship or store service4 b4 ,careful attention to those elements of salesmanship discussed under ,the daily check-up1 unit ,i1 p4 #aj1 because women are strongly influenced by first impressions1 and in a competitive market rarely return to the salesperson who made an unpleasant first impression4 c4 ,belief that high-pressure selling is a mark of inadequacy both in the salesman and the firm he represents4 ,the customer of today is rightfully resentful of it1 although it is true that some seem to react positively to it4 ,intelligent selling is marked by efficiency in fitting merchandise to a customer's desire and need1 coupled with an understanding of her capacity to purchase without financial strain1 and readiness to offer the best value commensurate with these limitations4 d4 ,convincing demonstration of the value of merchandise under consideration1 even in cases where we are morally certain that there will be no immediate sale2 because in the absence of such demonstration there will assuredly be no later sale4 ,this is a point at which many consistently fail1 with an enormous total loss in sales as an inevitable result4 #c4 ,that salesmen and merchants alike discard any smug conviction that our old customers will always come back to us when new purchases are under consideration1 and must turn to the development of an efficient follow-up system4 ,the repeat purchases of old customers are not as a rule sufficient to assure the continued success of any retail business4 ,surveys in #aidj show that #fj percent of the home furnishings customers of the country shift to another store for their next purchase4 ,this does not mean that they never return to the original establishment4 ,it does show the need for salesmen and merchants to keep in touch with those whose confidence they have once developed4 ,properly handled1 the customer likes the friendly follow-up and unquestionably it affects her shopping habits4 ,,dealing ,,with ,,women ,,customers ,while generalizations on human motives and thought patterns always are dangerous1 a few observations are set down here for consideration4 ,as buyers of home furnishings1 women are in general more conservative in matters of price than men4 ,women's traditional role has been that of the conserver1 rather than of the earner4 ,her attitude in the furniture store is due partly to this fact1 partly to the fact that under present conditions she feels that a larger measure of personal and social satisfaction is to be gained by expenditure in fields other than home furnishings4 ,her capacity as family purchasing agent compels her to keep constantly in mind a wide range of immediate and future needs1 and to plan the division of her dollar on that basis4 ,women are more interested in details than men2 more inclined to postpone decisions2 more indirect in their thinking2 more responsive to appeals based upon instinctive and emotional reactions2 less attentive2 and less responsive to complete-explanation sales talk4 ,women respond more strongly than men to appeals based upon time saving1 efficiency1 durability1 quality1 and the guaranty of performance1 and far less strongly than men to appeals based upon family affection or sympathy4 ,appeals to elegance or modernity make a stronger appeal to men than to women4 ,women respond more quickly to appeals made to their dislikes than to their likes1 but with men the case is reversed4 ,this fact1 coupled with woman's habit of indirect thinking and her reluctance to go on record1 makes questionable the use of the yes-channel method of selling which is often successful in dealing with men4 ,the theory is that by asking questions to which the logical answer will be yes in the earlier stages of the sale1 you groove the way for a final yes4 ,it is good theory1 but fails with women buyers4 ,for the same reason the habit of repeating the question ,how do you like this piece8 or ,isn't this beautiful1 desirable1 etc48 is dangerous4 ,women do not like to be cross-questioned1 or forced to declare themselves4 ,their inner response to a don't you like question is likely to be destructively negative1 no matter what they may choose to say out loud4 ,women respond more directly and strongly to the appeal of color than do men1 and less strongly to the appeal of line and form4 ,they often have strong prejudices against certain colors1 certain types in texture1 pattern1 and proportion4 ,these the salesman must uncover skillfully and avoid in showing merchandise4 ,the buying psychology of a woman naturally is influenced by her age1 social position1 experience1 and income4 ,on the upper levels of intelligence and income women buy much as men do4 ,they are interested in reason why talk2 their thinking is direct and their decision prompt4 ,on the low levels we find women who1 however shrewd in buying foodstuffs or clothing1 have had little experience in the purchase of furniture and floor coverings4 ,lacking both taste and knowledge1 these women often are childishly credulous4 ,they buy on the basis of easy terms and what is to them eye-appeal1 and have little or no concern with what would constitute value in the upper levels4 ,,recent ,,survey ,,reveals ,,new ,,viewpoints ,,of ,,vital ,,interest#c ,seeking to eliminate guesswork in designing a #aidj line1 the ,kroehler ,manufacturing ,co4 conducted a ,nation-wide survey on consumer furniture-buying habits4 ,in #di cities #a1hag families of all classes and age groups were interviewed in their homes4 ,by virtue of scientific statistical sampling and complete coast-to-coast geographic coverage the survey should correctly represent the typical viewpoint of no fewer than #bf million people and more than #f million families4 ,since the ,bureau of the ,census shows that #ea4b percent of our families own their own homes1 approximately one-half of these interviewed in the survey must have been home owners4 ,because three-fourths of our people live in one-family dwellings1 about three-fourths of those interviewed must have been thus housed1 and one-fourth lived in apartments conforming likewise to census specifications4 ,the summary of the survey's results provides a basis for analyzing buying habits and style preferences4 ,but more important to us here1 the study developed certain inescapable conclusions for all those who actually sell home furnishings4 ,fewer than one-third had bought their last furniture at the same store from which their last previous purchase had been made4 ,two-thirds went elsewhere4 ,why this huge turn-over8 ,is it because furniture stores and departments1 as a whole1 fail to do constructive selling8 ,is it the result of dissatisfaction with previous purchases8 ,thirty-three months elapse between major furniture purchases of the average family4--,a lapse of nearly #c years between large furniture purchases is astonishing4 ,the ,chicago ,automobile ,trade ,association says the average family buys an automobile every #b years--not because the car is worn out1 but because of model changes4 ,to increase furniture purchases dealers must put more emphasis on style changes through better display1 better advertising1 and better merchandising4 ,over one-half of all furniture buyers shopped more than one store or department4--,better selection1 better floor display1 and better selling might have converted many shoppers into buyers in the first store4 ,what happened there8 ,fewer than #aj percent of actual buyers simply bought to replace out-of-style furniture4--,furniture lined up in ranks along aisles like wooden soldiers1 and advertising which shouts nothing but price1 will not motivate purchases4 ,six out of ten customers wait until they are in the store before they choose a style4 ,floor displays that confuse will not help4 ,drab window displays will repel4 ,doubting words will not highlight lovely furnishings4 ,,enriching ,,your ,,vocabulary ,ability to talk well is an invaluable asset to the salesman of home furnishings4 ,it will not take the place of a winning personality1 or of energy1 enthusiasm1 and knowledge2 but it will raise any or all of these factors to a higher power1 and make them vastly more productive4 ,an unpleasant voice1 stumbling and hesitant utterance1 faulty grammar1 and a narrowly limited vocabulary are serious handicaps4 ,even in small and ordinary transactions1 and in dealing with customers whom you might not suppose to be observant1 careful choice of words is highly important4 ,avoid slang1 bad grammar1 and careless habits of expression because these will not help you with any customer1 while with many they will arouse a sort of intellectual contempt likely to result in sales resistance4 ,how often do we meet with salespersons whose only descriptive words seem to be3 ,nice1 swell1 smart1 grand1 slick1 gorgeous1 elegant1 stunning1 pretty1 and lovely4 ,it is particularly important to avoid the easy habit of using the same few words over and over again for description or characterization4 ,many of us1 without the least realization of what we are doing or its probable effect will assure the same customer that #aj pieces in succession are beautiful4 ,that certainly will not increase her desire to buy2 but it may well diminish her confidence in us as intelligent and discriminating guides to such a purchase4 ,a varied vocabulary is a wonderful asset in selling4 ,training to use a wider range of words4--,it is easy to form the habit of using a wider range of words since we know the words already1 and nothing is required but practice in employing them4 ,and it is highly important1 because in order to make sales of any importance1 we must first sell ourselves1 and language is a close third1 at least1 to appearance and manner as a means to customer confidence4 ,with many buyers it comes first4 ,a few lists of words are set down here in the hope that they may prove of some value3 ,an article may be beautiful1 handsome1 good looking1 lovely2 or of charming1 pleasing1 delightful1 satisfying1 smart1 modish1 stylish1 or fashionable appearance2 of flawless1 superb1 appealing1 moving1 striking1 notable1 gorgeous1 picturesque1 distinguished1 colorful1 or exquisite beauty4 ,its design may be sturdy1 staunch1 vigorous1 structurally sound or adequate1 impressive1 stately1 dignified1 chaste1 delicate1 dainty1 refined1 simple or of a charming simplicity2 ornate1 ornamental1 elaborate1 highly decorative2 with trim1 smart1 or graceful lines1 in good1 rare1 or perfect taste2 of great1 unusual1 or rare distinction4 ,its surface may be ornamented1 embellished1 adorned1 decorated1 garnished1 arrayed1 or beautified with ornament that is intricate1 gem-like1 jewel-like1 or of exquisite1 or finely wrought detail4 ,its lines may be straight1 direct1 strong1 vigorous1 virile1 incisive1 clean1 forceful1 masculine2 curved1 soft1 luxurious1 graceful1 gracious1 suave1 sinuous1 yielding1 flowing1 or feminine4 ,its colors may be rich1 vivid1 brilliant1 gorgeous1 glowing1 gay1 stimulating1 inspiring1 exhilarating1 cheerful1 flushed1 clear1 unfaded2 soft1 sober1 mellow1 softly blended1 quiet1 restrained2 polychromatic1 many colored1 a rich mosaic of color2 its color scheme1 smart1 in today's mode1 direct from ,fifth ,avenue2 popular1 intriguing1 refreshing1 satisfying1 or delightful4 ,its texture may be fine1 smooth1 satiny or satin-like1 velvety or velvet-like1 lustrous1 glossy1 caressing2 vigorous1 open1 or rough4 ,it may be comfortable1 comfort-giving1 restful1 reposeful1 soothing1 inviting2 give an impression of ease1 easy comfort1 cushioned ease2 invite rest1 repose1 or relaxation4 ,these words will be especially useful in the process of high-lighting or introducing a piece with a brief characterization designed to enhance its value before the serious work of selling it is undertaken1 as in the phrase1 ,here is an armchair of flawless beauty1 employed in introducing the ,chippendale chair4 ,technical terms1 provided you explain them almost immediately1 are effective4 ,to speak of the cabriole or the term leg1 the ,spanish or the bun foot1 the saltire or the silhouette stretcher1 or of marquetry1 vernis martin 7pronounced1 roughly1 ver-nee mar-tang7 bombe fronts or varquenos will not harm you with any customers1 while with many it will serve to intrigue interest1 deepen appreciation of the importance of furniture1 and add to your own prestige as a man who knows the details of his business4 ,,suggestions ,,for ,,building ,,your ,,vocabulary ,any salesperson in the home furnishings field will find it convenient to adopt some simple plan of acquiring the expanding vocabulary which always is an asset3 #a4 ,purchase a book of synonyms4 ,take an article you are to offer for sale1 for instance1 an armchair4 ,try1 first1 to use correctly a dozen different descriptive words which apply to this particular armchair4 ,then take the idea of design or texture or surface of this armchair and add a list of #aj to #bj adjectives which might well be used in discussing this chair with a customer4 ,you may depend upon it--she will prefer1 ,here is an armchair of flawless beauty to ,here's another pretty number4 #b4 ,read descriptions of latest offerings shown at the furniture markets2 study closely the choice of words in presenting illustrations of special thumb-tuft carpeting1 a drop-leaf table1 wing chairs1 any simply styled grouping2 use these newly found friends exactly1 confidently1 and constantly in your own selling procedures4 ,practice6 ,practice6 #c4 ,give close attention to the diction of others who have achieved vocabulary masteries beyond your own4 ,seek ever to acquire a facility in expression which will impose no handicap to you at any step in your sales procedure4 #d4 ,subscribe to one or more trade journals in the home furnishings field and cultivate the habit of selecting for study those articles which will add something to your steadily growing vocabulary1 and enhance your appreciation of the power of words4 ,,hidden ,,factors ,,that ,,increase ,,sales ,since ancient times1 the sense of touch and the sensation of feel have been important factors in the buying and selling of practically all commodities4 ,to see a piece of smooth satin partially sells a prospective customer1 but to feel its soft texture in her fingers makes the luxury of the fabric a reality1 something to own and cherish which will enhance her loveliness1 and this hidden value1 expressed in the sense of touch1 is usually the factor which makes the customer buy better merchandise than she might have considered and which climaxes the sale4 ,in selling home furnishings1 the hidden value revealed by touching the piece under consideration is extremely important4 ,fine furniture which has been hand rubbed has a luxurious feeling which is as soft as satin4 ,only by rubbing your fingers over a lovely finish can you appreciate1 to the fullest extent1 the exquisite fineness of a hand-rubbed finish4 ,feeling the smooth pull of a drawer which slides properly on its guides1 tracing the design of inlaid marquetry with the fingertips1 searching for rough spots in drawer interiors with sensitive fingers and caressing soft-textured upholstery fabrics with the fingers all vividly bring to the attention of the customer the quality and true hidden beauty of the piece under consideration1 which may not have been discernible to the naked eye4 ,the sensation of feel should be made to augment the sense of touch whenever possible1 but salespersons should bear in mind that a woman's hand is extremely sensitive and the sense of touch should first be brought into action before the sense of feel2 for example1 let us suppose a woman is considering a rug1 which has a particularly fine texture4 ,invite her first to feel the texture of the rug beneath her fingers2 have her compare this feeling with a less expensive rug so that she may mentally compare the difference2 then ask her to step on the rug4 ,get her to feel the luxury of it under her foot2 bring to her attention the spring of the wool1 the comfort of stepping into the deep pile and other factors which excite the sensation of feel4 ,you will find these powerful factors not only in helping her decide upon a better rug but in assuring her that she is getting quality for her investment4 ,illustration3 ,courtesy ,bigelow-,sanford ,carpet ,co4 ,figure #f4--,the feminine touch4 ,when selling upholstered pieces1 always have the customer sit in the chair or on the sofa4 ,ask specifically if it is small enough1 or if she thinks it will be large enough1 for her husband or whoever is to use the chair4 ,stress the comfort angle2 notice if she can sit gracefully in the piece and whether or not she has difficulty in getting up1 once seated4 ,as she touches the fabric bring out facts about the texture and the weave4 7,see fig4 #f47 ,as she experiences the various reactions she is silently selling herself and only suggestions on your part which help her to recognize the various sensations of touch and feel are necessary4 ,bear in mind in all phases of selling home furnishing1 whether the customer is considering a chest of drawers1 a chair1 rug1 lamp1 or cigarette box1 getting her to touch it to get the feel of the article and to try it for comfort1 luxury1 restfulness1 or other sensations are potent hidden factors in better selling4 ,,questions ,,and ,,exercises #a4 ,how will a knowledge of the processes of manufacturing of an article enable the salesman to explain its wearing qualities1 its price1 its sanitary qualities1 its fitness for a particular location within a room1 and its appearance8 #b4 ,what types of information may a home furnishings salesman get from a public library8 #c4 ,what sources of merchandise information are available to you and how familiar are you with them8 #d4 ,what five kinds of special information are needed by retail salesmen8 #e4 ,what steps do you take systematically to acquaint yourself with the correct descriptive words and phrases currently used with newly arrived merchandise8 #f4 ,there is a vocabulary of suitable words and phrases for use when showing furniture to all types of customers4 ,the same words are not equally effective with all customers4 ,what plan or device do you use in making a wise selection of these descriptive words and phrases8 #g4 ,make a list of words which under any ordinary selling situation you would never use4 #h4 ,why is the excessive use of superlatives an indication of ignorance of the article being sold8 #i4 ,for each of the following make a statement which involves the opinion of a recognized authority3 ,reading lamp4 ,glowing colors4 ,floor coverings4 ,glass curtains4 ,telephone stand4 ,wallpaper4 ,armchair4 ,pictures4 #aj4 ,in the light of the discussions in this unit1 what profitable work may a retail salesman attend to when not actually waiting on customers8 ,,suggested ,,reading ,,list ,,armold1 ,,perry ,b4 ,the ,road to a ,sale4 ,the ,armold ,sales ,training ,institute1 ,los ,angeles1 ,calif4 #aice4 ,the ,human ,element in ,business1 ,,iv1 p4 #fg4 ,putting ,biz in ,business1 ,v1 p4 #hh4 ,,duncan1 ,,dorothy4 ,you ,can ,live in an ,apartment4 ,farrar ,rinehart1 ,inc41 ,new ,york1 ,n4 ,y4 #aici4 ,furniture--and ,stuff1 ,,iv1 pp4 #hd-aaa4 ,,hayter1 ,,edith ,,fletcher4 ,retail ,selling ,simplified4 ,harper ,bros41 ,new ,york1 ,n4 ,y4 #aici4 ,habits and ,your ,job1 ,,xv1 p4 #aaa4 ,poise in ,selling1 ,,xviii1 p4 #abd4 ,the ,customer and the ,merchandise1 ,,iv1 p4 #ba4 ,,ivey1 ,,paul ,w4 ,successful ,salesmanship4 ,prentice-,hall1 ,inc41 ,new ,york1 ,n4 ,y4 #aici4 ,know ,salesmanship1 ,,viii1 pp4 #ai-be4 ,a ,rug ,salesman ,who ,was ,success ,minded1 ,section #c1 p4 #bh4 ,know ,your ,merchandise1 ,,ii1 ,sec4 #d1 pp4 #cf-fg4 ,build ,good ,will1 ,,xii1 ,sec4 #cd1 pp4 #dej-dfc4 ,,richert1 ,g4 ,,henry4 ,retailing ,principles and ,practices4 ,gregg ,publishing ,co41 ,new ,york1 ,n4 ,y4 #aich4 ,customers1 ,x1 pp4 #aii-bai4 ,merchandise ,study1 ,,xii1 pp4 #bde-bgc4 ,,van ,,brussel1 ,,emily4 ,behind ,the ,counter4 ,d4 ,appleton-,century ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aich4 ,the ,colonel's ,lady and ,judy ,o',grady1 ,,ii1 p4 #h4 ,what ,is ,this ,thing ,called ,merchandise8 ,,iii1 p4 #ca4 ,good-by1 ,caveat ,emptor1 ,v1 p4 #gb4 ,,walters1 ,r4 ,g4 ,fundamentals of ,salesmanship4 ,south-,western ,publishing ,co41 ,inc41 ,cincinnati1 ,ohio4 #aicb4 ,the ,salesman's ,english1 ,v1 p4 #fi4 ,know ,your ,goods1 ,,vii1 p4 #aja4 ,the ,demonstration1 ,,xv1 p4 #bca4 ,,footnotes3 #b ,this is a matter of store policy4 ,some stores believe that they gain more than they lose by suppressing the name of manufacturer4 #c ,this summary prepared with permission of ,delmar ,kroehler1 president of the ,kroehler ,manufacturing ,co41 ,naperville1 ,ill41 and ,henri1 ,hurst1 and ,mc,donald4 ,inc41 #ebj ,north ,michigan ,ave41 ,chicago1 ,ill4 7#aici74 ,unit ,,iv ,,style ,,as ,a ,,selling ,,factor ,significance of ,style ,period ,styles from ,renaissance to ,early ,colonial ,american ,styles ,using ,style ,appeal in ,selling ,illustration3 ,american ,furniture ,mart ,photograph by ,grignon ,figure #g4--;,a directoire piece in lacquer and gold1 upholstered in a rich gold and green brocade fashion1 this interesting stool4 ,an ideal hall piece1 the ornate stool lends itself to an interesting setting when used with the lovely ,duncan ,phyfe mirror and mirrored glass wall sconces4 ,the mirror has a dull green panel across the top--the lyre and laurel branches appearing in a deep green and gold4 ,the arabesque ,axminster rug has a tracery leaf design in sculptone effect4 ,it is a greyed green tone4 ,unit ,,iv4--,,style ,,as ,a ,,selling ,,factor ,,significance ,,of ,,style ,salespersons frequently find it necessary to deepen a customer's appreciation of the fitness and beauty of a piece by the presentation of one or more additional selling features1 of which the most important are construction or technical excellence1 attractiveness of materials or finish1 and beauty of design or style4 ,this should do two things3 #a4 ,enhance the value of your merchandise4 #b4 ,enable you to reveal technical or artistic knowledge which will increase the customer's respect4 ,there is no fixed or logical order for the presentation of these various selling features4 ,many salesmen begin with construction1 but this often is a mistake4 ,there is reason to believe that more women are interested in materials than in construction1 and more in style than in materials4 ,what style means to you4--,style is a powerful buying motive of great and growing importance in furniture4 ,most of us attempt to use the style appeal only in connection with period furniture4 ,most women1 on the other hand1 identify style with fashion4 ,they think of style in decoration as substantially the same thing as style in dress2 that is1 as something smartly harmonious and in the accepted mode4 ,unquestionably we must develop the power to capitalize on style as our customers understand it4 ,the successful salesman also must be able to exploit style in the historic or period sense4 ,the history of furniture is a selling tool of immense value1 whether we are trading upon high1 medium1 or low levels4 ,the sections which discuss the more important period styles contain a mass of highly condensed information4 ,all of this information and much more will be necessary to the man who wants to reach the higher levels of his profession1 but just how much of it you will need to remember and organize for your present work is a matter to be determined by yourself4 ,the first thing to do is to read it through carefully two or three times in order to get the broad outlines of the subject4 ,after that study more carefully those parts of the section on ,period styles from ,renaissance to early colonial1 page #ej1 and ,the ,american style1 page #gj1 that can be related to your own merchandise4 ,make use of the suggested reading list at the end of the unit1 page #gi4 ,glossary and reading list4--,many terms used in the section on ,period styles from ,renaissance to early colonial are uncommon and not widely understood in the furniture trade1 although they are freely used in books and magazines which deal with the home furnishing art4 ,these terms are defined in the glossary included in the appendix1 pages #bdg to #bdi4 ,,period ,,styles ,,from ,,renaissance ,,to ,,early ,,colonial ,furniture is and always has been a utility and an expression of human ideals4 ,in order to understand period furniture and to talk about it with convincing enthusiasm we must be able to see beyond it to the people who created and used it4 ,for our purpose1 we confine this summary to the historic period beginning about #ejj years ago1 which covers the development of furniture as we know and use it today4 ,speaking broadly1 the social trends during this period were from insecurity to security2 from despotism to political liberty2 from austerity to luxury2 and from simplicity and few wants to sophistication and multiplied wants4 ,accompanying and expressing these social changes we find corresponding changes in architecture and decoration4 ,the trends are from homes of fortress-like construction to homes easily accessible and amply lighted by low windows2 from immense rooms with high ceilings to small rooms with low ceilings2 from massive1 heavy forms and thick proportions to small1 light forms and slender proportions2 from the austerity and virility of straight lines to the softness and femininity of curved lines2 from strong dark colors to soft light colors2 from vigorous1 open textures to smooth1 close textures2 and from a few types of furniture to the extraordinary variety of today4 ,most period furniture was designed for the rich and powerful4--,we must remember that most of the historic styles were expressions of the life of the court and the aristocracy4 ,period furniture was made by great artists1 and often was elaborately ornate1 sumptuous1 and enormously costly4 ,the metal mounts alone on the cabinets made for the mistresses of ,louis ,,xv1 for example1 cost far more than the ground1 building1 and complete furnishings of an ordinary ,american home4 ,the essence of these styles is to be found in their line1 proportion1 color1 and texture4 ,we can adapt them to machine production and mass distribution4 ,we sell these reproductions or adaptions for what they cost in a machine age4 ,but we can add to their desirability by explaining their aristocratic ancestry4 ,thousands of customers enjoy the sentimental satisfaction that comes with the knowledge of style and period sources and even the anecdote plays its part in giving merchandise its full measure of value in use4 ,europe before the ,renaissance4--,when the ,roman power was broken in the fifth century of our era1 ,western ,europe was given over to anarchy and darkness4 ,in the beginning of the feudal period1 the great barons with their families1 retainers1 and dogs1 lived in bare fortresses or one-room castles4 ,the floors were of dirt4 ,the lord and his lady had a great bed1 two chairs of state1#d and a few hutches4#e ,the retainers had stools on which to sit1 and ate at a great table made by laying hewn planks on trestles4 ,by the time of the ,norman conquest of ,england in #ajff a measure of civilization had been achieved4 ,a great love of color developed with the age of chivalry4 ,the period of the ,crusades 7seven attempts during the eleventh1 twelfth1 and thirteenth centuries to recover ,jerusalem and the ,holy ,land from the infidels7 brought the knights of ,western ,europe into contact with the developed arts of ,sicily and the far more luxurious life of their ,saracen enemies1 and the returning crusaders brought back great quantities of the rich and colorful fabrics of the ,east4 ,that tremendous out-flowering of the human spirit which we call the ,renaissance 7,french for rebirth7 started in ,italy in the fourteenth century2 it grew there in full vigor in the fifteenth1 attained to its maturest powers in the sixteenth1 and sank to its decline in the seventeenth4 ,the whole era was a time of great achievement4 ,the ,new ,world was discovered and explored1 learning was revived and extended1 international trade was developed1 and masterpieces were created in the arts1 which still stand among the greatest monuments of human genius4 ,the ideas and decorative practice of the ,italian ,renaissance quickly spread to the west1 where they overcame or fused with the existing ,gothic1 resulted in the ,renaissance styles of ,spain1 ,france1 ,flanders1 ,holland1 and ,england1 and started the long course of development which has created the immensely rich heritage possessed by lovers of furniture today4 ,in studying the decoration of this first period1 we must remember that the construction of rooms adapted to the comfort1 privacy1 and intimacy of modern life was an eighteenth century development4 ,life was lived in the public eye and in rooms of state4 ,the apartments of the palaces were large1 the ceilings high1 and the furniture sparse and designed for its decorative value rather than for use and comfort4 ,,the ,,italian ,,renaissance ,it is customary to divide this era into three periods2 the ,early ,renaissance1 characterized by a rich simplicity and a dignity almost austere2 the ,high ,renaissance1 by a showy but restrained magnificence2 and the ,late ,renaissance1 by a baroque magnificence over-ornate and unrestrained4 ,during the first period1 walls were chiefly in rough plaster1 bare save for tapestries or panels of damask or brocade1 or finished with a smooth coat decorated with colored frescoes2 ceilings were largely in dark woods1 cross-beamed1 and with the heavy beams and corbels ornamented in color2 and floors were of stone1 tile1 and marble4 ,there was some use of oriental rugs1 and a free use of rich decorative textiles4 ,during the high or middle period 7about #aejj-aeej7 many of the rooms were rich with pattern and color4 ,walls were in colored marbles1 or covered with frescoes and gilding1 or with gorgeous brocades1 ,genoese velvets and tooled and gilded leather2 ceilings frescoed and gilded2 floors paved with many-colored patterns in gleaming marble4 ,furniture of the period was straight-lined1 rectangular1 and of dark woods4 ,carving1 in low relief and in the round1 always was employed with a fine sense of the value of contrast with plain spaces4 ,gesso ornament1 gilding1 and painting were much employed1 and the panels of chests and other pieces often were decorated by the greatest artists4 ,chairs of the period were of 7a7 the rectangular type1 with or without arms1 with high or low back1 and with or without upholstery2 7b7 the curule1 a sort of four-legged camp stool with back1 sometimes of metal and with fabric seat2 and the ,x-type1 adapted from ancient ,greece and ,rome1 called in ,italy ,dante and ,savonarola chairs4 ,these chairs of wood or metal often were made to fold1 and later became popular in ,england4 ,tables included the single-slab refectory type2 draw tables of the same construction used today2 pedestal tables with round1 square1 hexagonal1 and octagonal tops2 and a variety of writing tables with a front box or drawer section which could be lifted for writing4 ,the larger tables were supported by heavy turned legs with stretchers near the floor1 or by trussed or columned end supports connected by a stretcher1 often arcaded4 ,illustration3 ,painted ,commode #ahth ,century ,venetian ,dante ,chair ,italian ,renaissance ,armchair ,italian ,renaissance ,armchair ,spanish ,renaissance ,armchair ,italian ,renaissance ,vargueno ,spanish ,renaissance ,table ,spanish ,renaissance ,figure #h4--;,italian and ,spanish styles 7#adjj-agei74 ,beds1 which were usually set on a dais or low platform and always richly embellished1 included the heavy four-poster with canopy2 the four-poster with low posts and no tester1 with or without footboard2 and the paneled type with head and foot board and no posts4 ,chests1 chiefly bridal chests 7,italian3 ,cassone or cassoni in plural71 were a most conspicuous feature of ,italian decoration4 ,credenzas1 which served either as buffet or console1 were wall pieces about #d feet high and of varying length4 ,other forms included the armadio 7,french armoire1 a large cupboard or cabinet for linens71 small cupboards1 chests or drawers1 desk1 benches1 and stools4 ,renaissance ornament was enormously rich4 ,the forms1 taken chiefly from classical antiquity1 included the acanthus leaf1 human and chimerical figures1 cherubs1 scrolls1 foliage1 flowers1 swags1 rosettes1 and drapery festoons4 ,velvets were used largely for upholstery1 with brocades1 brocatelles1 damasks1 needlepoint1 and leather1 and strong rich colors were used throughout as would be expected of so vigorous an age4 ,strong reds1 blues1 and greens1 set off by gold1 were the favorite hues4 ,although a long period of decadence followed the ,high ,renaissance much beautiful work was done in eighteenth century ,italy4 ,furniture was chiefly of walnut1 mahogany1 and many highly figured woods1 with carving1 painting1 bone inlay1 pietra dura1 marble tops and ornamental metal mounts the favorite methods of embellishment4 ,the painted furniture1 particularly that made in ,venice1 is of interest to us today1 and is used in suites for bedroom and breakfast room1 and as occasional pieces in other rooms4 ,in using this furniture today it is unimportant to attempt to reproduce the historic backgrounds4 ,,the ,,spanish ,,renaissance ,spanish interiors of the sixteenth and seventeenth centuries differed sharply from contemporary rooms in ,italy1 ,france1 and ,england1 chiefly by reason of old ,moorish art and custom1 which the incoming wave of the ,renaissance was not strong enough to wash away4 ,old ,spanish decoration is characterized by a severe dignity1 relieved by concentrated masses of strong colors and by a wide variety of ornamental forms4 ,furniture of the period was straight-lined and rectangular and chiefly of walnut1 mahogany1 chestnut1 oak1 and pine4 ,carving1 straight and spiral turning1 inlay of ivory1 bone1 ebony1 colored woods1 tortoise shell1 silver1 and bronze1 often with outlines in black and vermillion1 and ornamental iron work were the principal means of embellishment4 ,elaborate and beautiful mounts of iron and brass were common4 ,chairs1 though not common1 included both the curule and rectangular types1 the latter with or without arms and with or without upholstery4 ,other varieties included carved and straight spiral turned legs2 ,spanish scroll1 bell1 ball and bun feet2 carved1 splat1 and arcaded backs2 and wood1 flat upholstered1 and squab-cushioned seats4 ,beds were large1 and mostly of the arcaded headboard type4 ,tables were mostly of large size and rectangular4 ,,the ,,french ,,renaissance 7,,francis ,i1 #aeae-dg2 ,,henry ,,ii1 #aedg-ei7 ,french ,gothic art early began to give way before the constantly widening flood of ,renaissance art which flowed in from ,italy4 ,the transition was practically complete when ,francis ,i was crowned1 and less than #ej years later1 under ,henry ,,ii and his ,italian wife ,catherine de ,medici1 the richly ornate yet restrained style of the ,french ,renaissance was fully formed4 ,the style is too palatial for adaptation to ,american homes4 ,the ,french ,styles4 #a4 ,louis ,,xiv 7,louis ,quatorze#f71 #afdc-agae4 ,louis ,,xiv surrounded himself with the airs and trappings of majesty4 ,furniture of the period was formal and dignified1 and for the most part1 massive4 ,it retained the straight lines characteristic of the earlier styles1 but with less of angular harshness4 ,walnut was chiefly used for exposed parts together with oak1 chestnut1 ebony1 pine1 and sycamore4 ,many exotic woods were used for veneers and inlay4 ,caning was common for seats and backs4 ,every known form of embellishment was employed1 including carving1 chiefly in the acanthus leaf1 shell1 cartouche1 cupid1 ram's head1 and other classic motives4 ,louis ,,xiv ,furniture4 ,chairs of the most characteristic type were rectangular1 with high broad backs having a top straight or slightly rounded at the corners1 back and seat solidly upholstered2 legs term-shaped 7term3 ,a four-sided pillar1 usually tapering toward the bottom71 carved1 and under-braced by ,gothic or saltire cross stretchers2 arms as long as seat1 and usually straight and upholstered4 ,other seating included the sofa or canap1#g the chaise longue1 and the bench1 tabouret1 and stool4 ,upholstery fabrics were exceedingly rich and gorgeous1 ,gobelin and ,aubusson tapestries1 silk velvets1 damasks1 and brocades being chiefly used4 ,furniture was upholstered en suite1 a common arrangement including one sofa1 two arm chairs1 and nine stools or tabourets4 ,etiquette prescribed the use of stools by most members of the court1 and prudence demanded it of the ladies1 who at this time wore hoop-skirts1 so enormous that they couldn't sit in an arm chair4 ,all furniture was placed against the wall1 with the center of the room left clear4 ,the old-fashioned four-poster bed with drapery belongs here4 ,most fashionable was the lit d'ange 7bed of the angel71 canopied but without posts1 which was of enormous size and always richly carved and embellished4 ,while tables were of many kinds and sizes1 the rectangular shape with term legs was most characteristic4 ,screens1 either one-panel or folding1 were used in most rooms1 and mirrors1 pedestals1 and tall clocks became common1 in addition to such older forms as armoires1 commodes1 cabinets1 and desks4 ,the colors of the period were fairly dark and strong1 with crimson1 green1 and gold still favorites2 some new and lighter colors became popular2 among them aurora--the yellowish pink hue of the dawn--flame1 flesh1 and amaranth4 #b4 ,louis ,,xv 7,louis ,quinze7#h #agae-gd4 ,great-grandson of the old king1 ,louis ,,xv was but #e years old when the latter died1 and for #h years ,philippe of ,orleans governed as regent4 ,louis ,,xv was too young to continue the constant round of formal receptions1 and state functions4 ,court life turned from the great salons to the smaller apartment and the boudoir4 ,furniture became smaller and more dainty2 the hard and virile straight line gave place to the soft and feminine curved line2 and dark colors to light and delicate tones4 ,pale tints of rose1 blue1 green1 and yellow were the favorite colors4 ,an extraordinary variety of cabinet woods was used--among them walnut1 mahogany1 oak1 rosewood1 cherry1 violet1 and tulipwood4 ,embellishment included carving2 ornamental veneers2 marquetry2 plaques of porcelain2 painting in ivory1 soft yellow1 gray1 or sea green with fine lines of white1 gold1 or color2 and lacquer1 which became immensely popular4 ,louis ,,xv ,furniture4 ,the chairs1 all curvilinear1 with and without arms1 upholstered or caned1 include the fauteuil#i or large armchair2 the bergere1 a smaller armchair with solidly upholstered arms and often with loose cushions2 the causeuse 7the word means talkative1 chatty71 an easy arm chair2 the confessional1 large winged chair1 often with a high seat matching a large tabouret and put together to form a chaise longue1 and many others4 ,illustration3 ,table ,french ,renaissance ,armchair ,louis ,,xiv ,writing ,desk ,louis ,,xv ,armchair ,louis ,,xv ,armoire ,louis ,,xiv ,commode ,louis ,,xv ,figure #i4--;,early ,french styles 7#aejj-agej74 ,beds were as varied as the chairs4 ,alcove and sofa or boudoir beds were favorites1 the latter having headboard1 footboard1 and back4 ,four-poster canopy beds were common1 and were sometimes made of iron1 draped4 ,another fashionable favorite was the day bed1 often with a fabric-covered headboard1 and placed with either head or side against the wall4 ,among the multitude of tables were many of elliptical and other curvilinear shapes2 the crescent or kidney writing table2 the powder table1 which we have lately revived after more than #aej years2 and the ladies' work table4 ,the chiffonier1 a small piece with drawers1 came into use about #agej1 as did the corner cabinet and the wall shelves1 now known as hanging book racks4 ,present-,day ,practice4 ,louis ,,xv furniture is used often in the drawing room or dining room of important ,american houses1 where a suitable background will be ensured by the architecture4 ,most of us1 however1 have occasion to sell it only for bedroom use4 #c4 ,louis ,,xvi 7,louis ,seize#aj7 #aggd-id4 ,louis ,,xvi1 grandson of ,louis ,,xv1 was married at #ae to ,marie ,antoinette of ,austria4 ,he was popular for some time1 but was swept aside by the ,french ,revolution in #aghi and was killed on the guillotine4 ,the style which bears his name 7sometimes known as the style of ,marie ,antoinette7 was in reality fully formed before his accession to the throne4 ,it resulted directly from a wave of enthusiasm for the delicate type of classic ornament revealed by the excavations at ,pompeii and ,herculaneum1 which were discovered early in the eighteenth century4 ,the ,adam style in ,england came from the same source4 ,the furniture of the period returned to straight lines and rectangular shapes1 with curved lines freely employed but not dominant4 ,a great variety of cabinet woods was used1 fashionable favorites1 including mahogany1 walnut1 sycamore1 and satinwood4 ,carving1 architectural moldings1 marquetry1 figured veneers1 lacquer1 painting1 and porcelain inlays were the usual methods of embellishment4 ,much furniture was painted4 ,illustration3 ,bed--,louis ,,xvi ,armchair ,louis ,,xvi ,armchair--,empire ,armchair ,french ,provincial ,bed--,empire ,figure #aj4--,later ,french styles 7#agej-ahae74 ,new ,types of ,furniture4 ,among the new chairs was the voyeuse 7vw-yz71 a lyre-back armless chair with the top rail upholstered as an elbow rest1 and used by dandies who bestrode it backward in order not to crush the tails of their coats4 ,favorite beds included the sofa1 usually upholstered with damask or brocade1 and supporting at the four corners a light open frame bearing a small canopy2 and the day bed with or without back4 ,during the period the tea table1 breakfast table1 and extension dining table1 with four1 six1 or eight legs1 came into common use4 ,the ,directoire#aa 7#agie-ahjd7 and ,empire 7#ahjd-ae7 ,styles4 ,after ,france had rid itself of royalty and aristocracy through the ,revolution1 under the direction of the painter ,david a new style was created2 it was made and molded of things past4 ,inspired by the classic ,roman decoration1 it was known at the time as the antique style and today is known as the ,directoire4 7,see fig4 #g47 ,the ,directorate was succeeded in #agii by the ,consulate1 with ,napoleon as ,first ,consul1 and the ,consulate in #ahjd by the coronation of ,napoleon as ,emperor4 ,style trends were continuous2 for our purpose it is enough to discuss briefly the style known as the ,empire 7l',empire74 ,it is of interest because of its influence upon ,american furniture of the ,federal period4 ,furniture was for the most part rectangular1 massive1 and architectural in design1 but curvilinear in ,roman and gondola chairs1 and in many beds and sofas4 ,legs included the straight term form2 round1 either plain or carved2 rectangular and turned outward at both front and back as in the chair illustrated 7p4 #ei72 flat truss supports and winged chimerical figures for tables and beds4 ,feet included the paw1 ball1 scroll1 often with leaf shoe4 ,mahogany was the favorite wood1 with some use of rosewood1 walnut1 oak1 and yew1 and with a wide variety of materials for inlay4 ,carving1 veneer1 paint1 turning1 and gilding on metal or carved wood were usual methods of embellishment4 ,tapestry1 damask1 satin1 brocade1 velvet1 and worsted damask were used for upholstery1 with fringes and gimps common4 ,the ,french ,provincial ,styles4 ,french ,provincial refers to furniture made in the ,french provinces1 by local craftsmen and usually of local woods1 in close reproduction of the styles dominant at the court4 ,the styles which were widely copied1 and which resulted in the most graceful and charming pieces1 were those of ,louis ,,xv and ,louis ,,xvi4 7,see fig4 #a47 ,,the ,,english ,,styles ,because ,england was ruled by four dynasties--,english1 ,scotch1 ,dutch1 and ,german--,english furniture reveals the effects of a series of strong foreign influences4 ,the ,elizabethan ,style4 ,with the accession of ,elizabeth 7#aeeh7 the ,english ,renaissance was firmly established4 ,rooms of the period were paneled in oak with small rectangular panels1 plain or carved1 and usually carried to the ceiling2 ceilings in ornamental plaster 7parge71 or in beamed-wood or open-timber construction2 and windows large1 with leaded casements separated by mullion4 ,most important rooms had oak-plank flooring2 there was considerable use of oriental rugs1 then known as ,turkey carpets4 ,many rooms still had dirt floors strewn with rushes1 which were changed but twice a year1 with such results that the ,englishman of the period called his floor the marsh1 and kept his feet off it when possible by use of chairs and tables with low1 solid stretchers4 ,oak was the dominant furniture wood1 with some use of elm1 beech1 yew1 pine1 and ,scotch fir1 which was called deal1 and valued highly4 ,carving1 mouldings1 and paneling were used for ornament1 with marquetry for panels in walnut1 ebony1 rosewood1 pear wood1 cherry1 yew1 and holly4 ,furniture was massive1 architectural in character1 straight-lined1 and rectangular4 ,the beds1 which were used only by the great1 were the most important article of furniture4 ,they were of great size with a high headboard supporting a very heavy cornice1 the other end of which was borne by posts set at the lower corners and often detached from the bottom of the bed4 ,the ,jacobean ,style 7#afbe-afhe74 ,this style evolved directly from the ,elizabethan1 with the development of new forms of furniture and increased use of upholstery4 ,when1 at the ,restoration in #affj1 ,charles ,,ii returned from ,france1 he brought back something of the ,french taste and the ,french desire for luxury4 ,illustration3 ,draw-top ,table ,elizabethan ,armchair ,elizabethan ,armchair ,late ,jacobean ,chair ,late ,jacobean ,gate-leg ,table ,jacobean ,figure #aa4--;,english styles 7#aefj-afij74 ,oak remained the principal furniture wood1 with walnut fashionable after #affj4 ,furniture design1 strongly influenced by ,flemish practice1 tended to increasing slenderness and grace4 ,the melon and acorn bulb legs remained in favor for several decades2 were superseded during the ,commonwealth by spiral turning2 and in turn gave way to the scroll1 or ,flemish legs characteristic of ,charles ,,ii furniture4 ,chair backs became high and narrow1 and were of the ladder type or caned1 carved1 or upholstered4 ,chair backs were raked1 and later in the period the back legs of chairs--at first perpendicular to the floor as in ,elizabethan practice1 were bent outward to counterbalance the rake of the back4 ,stretchers continued to follow frame line1 but were gradually made lighter1 set a little higher1 and turned4 ,toward the end of the century the front stretching was raised1 widened1 and carved with a cresting and ,c-scrolls1 as were many of the chair backs4 ,gate-leg tables and day beds appeared early in the period--the latter usually caned1 and with a sloping head and without footboard or back4 ,the couch took the place of the settee1 and was made first with the squab seat1 and after the ,restoration with the same construction and ornament as the arm chair4 ,sofas were made like the high-back upholstered chairs1 with arms solidly upholstered4 ,tall clocks and wall clocks appeared1 and many small stands4 ,the ,style of ,william and ,mary 7#afhi-agjb74 ,james ,,ii1 last of the ,stuart kings of ,england1 was followed by the ,dutchman ,william of ,orange and his wife ,mary4 ,these names stand for a rich but confused style which marks the transition between ,old ,english practice and the ,dutch style1 fully developed a few years later in the reign of ,queen ,anne4 ,architectural backgrounds were lighter and richer1 and the walls were often covered with velvets1 damasks1 and brocades in large baroque patterns1 or with papers in ,chinese designs4 ,walnut was the fashionable wood1 but oak1 elm1 pine1 chestnut1 pearwood1 cedar1 and painted beech were used1 with marquetry of many woods1 plus bone and ivory4 ,furniture was rectangular in outline1 with a free use of curves4 ,carving was used for the legs and backs of many chairs1 but flat panels were embellished with veneers1 marquetry1 and lacquer4 ,furniture legs were mostly turned1 of trumpet shape and with bun feet1 though the ,dutch cabriole legs1 with pad feet and a single shell carved on the knees1 were not uncommon4 ,william and ,mary brought from ,holland the vogue for ,chinese ornament4 ,everyone collected porcelain and drank tea2 new types of cabinets1 small chairs1 and occasional tables appeared in profusion4 ,the ,style of ,queen ,anne 7#agjb-ad74 ,the style of ,queen ,anne persisted1 with unimportant changes1 throughout the reign of ,george ,i4 ,it was less magnificent and impressive than preceding styles1 but lighter1 more graceful1 and more comfortable4 ,the walls were often paneled1 but in deal rather than oak1 either in the natural color or painted1 and panels were frequently embellished with high-relief carving4 ,for un-paneled walls1 cheap printed cotton fabrics largely replaced the sumptuous materials of the previous style1 while many walls were covered with wallpapers in landscape or mythological subjects1 or in imitation of veined marble or wood wainscots4 ,ceilings were painted as in the ,stuart period4 ,windows were increased in size1 and hung with figured velvets1 satins1 damasks1 and chintzes4 ,lacquer continued to be vogue1 and was used on cabinets1 screens1 occasional tables1 and chairs4 ,carving and painting--in black and gold1 red1 blue1 and green with gilding--were favorite methods of embellishment4 ,caning was common4 ,for upholstery needlepoint1 figured and plain velvet1 and damask were chiefly employed4 ,in this style curved lines supplanted straight lines for the first time in ,england4 ,cabriole legs were almost universal2 chair backs were high and narrow1 with open framing and a fiddle splat1 usually plain but sometimes simply carved or pierced4 ,chair-back crests and the legs of most furniture were ornamented with a carved shell which reached ,england from ,italy by way of ,holland4 ,high curved stretchers1 connecting front and back legs only and tied at the middle by a single cross stretcher1 were in general use but sometimes omitted4 ,the love seat became an important piece of furniture at this time1 and was usually made with a double chair back1 six legs1 and upholstered seat4 ,dining tables were of the gate-leg type1 usually of elliptical shape4 ,tallboys became common1 and contained from six to nine drawers4 ,the ,georgian ,era4 ,georgian ,england produced the decorative style created by ,robert ,adam1 and the individual furniture styles of ,chippendale1 ,hepplewhite1 and ,sheraton4 ,,early ,,georgian ,,furniture ,the development of ,english furniture between #agae and #agbg is of little interest save to the expert4 ,the period was a time of lowered taste4 ,mahogany1 introduced from the ,west ,indies as a curiosity about #agaj1 became within two or three decades the dominant cabinet wood4 ,,the ,,chippendale ,,furniture ,,style ,there were three ,chippendales1 all cabinetmakers4 ,the second1 ,thomas ,chippendale 7born #agaj2 died #aggi71 came to ,london with his father in #agbg to open a shop4 ,by #agce the firm was prospering1 and #ae years later ,thomas ,chippendale was a great success4 ,as is usual with men of genius1 however1 he was undervalued by his contemporaries2 and it was not until a hundred years later that he came to be recognized as the greatest furniture designer of his race4 ,illustration3 ,settee ,william and ,mary ,armchair ,chippendale ,chair ,late ,queen ,anne ,armchair ,chippendale ,wing ,chair ,queen ,anne ,armchair ,chippendale ,cabinet ,william and ,mary ,figure #ab4--;,english styles 7#afij-agfj74 ,chippendale served the world of fashion1 observed and followed style trends closely1 and successively developed the ,dutch1 ,rococo1 ,chinese1 and ,gothic styles4 ,he lost popular favor when the classic revival1 led by ,robert ,adam1 became the dominating influence about #agfb1 and much of his time thereafter was spent in executing work for ,adam1 who designed furniture for houses but did not make it4 ,taking the period from #agbg to #agfe1 ,chippendale's career as a designer took the following course3 #agbe ,dutch mode1 with early ,georgian heaviness4 ,the chairs had bandy legs1 ball and claw feet1 broad seats and fiddle backs1 carved and sometimes pierced4 ,gradually the proportions were refined1 a shorter and squarer back with rounded corners was developed1 and the splat was replaced by a richly carved member4 #agce ,dutch influence yields and blends with the ,french styles of the ,regency and ,louis ,,xv1 resulting in more slender and graceful proportions and a free use of ,rococo ornament4 #agde ,french influence predominant1 with floral and ,chinese lattice detail gradually introduced and the ,chinese influence growing stronger4 ,lightness of effect sought after1 and achieved by means of pierced work4 #agee ,chinese influence stronger1 waning after #agfj4 ,between #agej and #agfj he developed the ,gothic style1 sometimes blending it with ,chinese motives4 ,for ornament ,chippendale used mahogany and depended upon carving1 of which he was a great master1 set off by gilding1 japanning1 and lacquer4 ,he made furniture for every purpose1 including mirror and picture frames1 girandoles1 pier tables and brackets1 and china shelves and cabinets 7see fig4 #c47 ,doubtless his chairs are his most significant creations4 ,his chair backs fall into three classes3 #a4 ,splat or upright center bar1 passing from plaint splat to jar shape pierced and carved with scrolls and foliage1 and culminating in the elaborate ribbon back4 #b4 ,all-over patterns1 covering in equal fashion the whole of the back1 and characteristic of his ,chinese and ,gothic designs4 #c4 ,ladder-back or horizontal rails4 ,chippendale made a free use of colorful textiles for both squab seat and upholstered pieces1 employing tapestries1 worsted damask1 ,spanish tooled leather1 and close-stitch embroidery4 ,,the ,,adam ,,style ,the classic revival1 discussed under the ,french style of ,louis ,,xvi1 was initiated in ,england by the ,scotch architect1 ,robert ,adam4 ,he was appointed architect to the ,king in #agfb2 designed many important homes for private owners2 and with his brother ,james1 under the firm name of ,the ,adelphi 7,greek for brothers71 carried out an extensive program of fine residence construction in ,london4 ,robert ,adam died in #agib4 ,adam designed everything that went into his houses1 including the fire grates1 girandoles1 upholstery1 carpets1 and furniture4--,he was not a cabinetmaker1 but the furniture made to his designs by other men--including ,chippendale and ,hepplewhite--was called ,adam furniture4 ,the ,adam style perfectly reveals the classic qualities of fine proportions and symmetrical balance1 combined with a delicacy strongly influenced by ,pompeian decoration4 ,walls were paneled and painted1 with paneling and cornice enriched by painted compo ornament4 ,ceilings were in relief1 designed from a center to fit the room with the motives repeated in the floor coverings4 ,adam furniture was in mahogany1 satinwood1 and painted wood4 ,this was embellished with low relief carving1 narrow moldings1 inlays of exceptional delicacy and beauty1 and painted decoration4 ,forms were basically rectangular1 but softened by a free use of curves4 ,chair legs were straight and tapering1 square or round1 and plain1 fluted1 reeded1 or carved4 ,chair backs were square1 round1 elliptical or shield-shaped1 upholstered or filled with carved wheel1 lyre1 urn1 or other ornament4 ,console tables and cabinets were often of semielliptical shape1 and sideboards frequently were formed of two pedestal cabinets1 surmounted by knife urns1 and connected by a shelf table4 ,,the ,,hepplewhite ,,furniture ,,style ,george ,hepplewhite 7or ,heppelwhite--both spellings are used7 was a designer and cabinetmaker whose proclaimed purpose was to unite elegance and utility in furniture4 ,his work was in the neoclassic style2 was very strongly influenced by ,louis ,,xv and ,louis ,,xvi decoration1 and by the work of ,robert ,adam2 and enjoyed a great popularity from #aghe to #agie4 ,hepplewhite died almost at the beginning of his vogue1 and his business was carried on by his widow1 ,alice1 under the firm name of ,a4 ,hepplewhite ,co4 ,hepplewhite's furniture was distinguished by lightness1 refinement1 and elegance4 ,it was chiefly in mahogany or satinwood1 with cheaper woods employed as a base for painting or japanning4 ,carving and marquetry were employed for embellishment1 with the ornament drawn from the same sources as that of ,louis ,,xvi and ,adam1 but with special emphasis upon wheat ear1 garrya husk1 and three-feather ,prince of ,wales' plume4 ,illustration3 ,sideboard ,hepplewhite ,settee--,sheraton ,armchair ,hepplewhite ,chair--,adam ,armchair ,sheraton ,side ,table--,adam ,figure #ac4--;,english styles 7#agfj-ahjj74 ,except for his furniture which used the cabriole legs and ,rococo ornament of ,louis ,,xv1 ,hepplewhite employed the straight tapering leg1 square or round1 and plain-fluted or reeded1 with straight1 collard1 or spade feet4 ,chair backs were most characteristically of shield shape1 filled with carved styling1 urns1 the feather back1 or the interlocking heart form4 ,these backs were supported by a construction of the back legs1 and were not attached to the seats4 ,front legs 7except in the case of the cabrioles7 were perpendicular to the floor1 while back legs curved outward to balance the rake of the back4 ,console cabinets were often semielliptical1 and sideboards were rectangular except for concave curves near the ends4 ,for covering1 ,hepplewhite insisted upon silks and satins1 and he was especially fond of narrow stripes4 ,he often designed or selected the draperies used with his furniture and chose the narrow stripes of plain lines and serpentine pattern of the ,french styles1 as well as designs of ribbons1 festoons and tassels1 shields1 circles1 and garrya husks4 ,,the ,,sheraton ,,furniture ,,style ,thomas ,sheraton 7born #agea2 died #ahjf7 was the last of the great ,english furniture designers4 ,he was strongly influenced by ,louis ,,xvi and ,adam designs4 ,sheraton was not a money maker1 although1 in addition to cabinetmaking1 he worked as a drawing master1 preacher1 author1 and publisher4 ,however1 he was a great cabinetmaker and a great designer1 unsurpassed and probably unequaled by any man of his race in the making of cabinets1 secretaries1 sideboards1 dressers1 and tables4 7,see fig4 #c;a1 p4 #af47 ,he used mahogany for dining-room1 library1 and bedroom furniture2 and rosewood1 satinwood1 and painted furniture for the drawing room4 ,inlay was his favorite method of embellishment1 with turning1 some carving1 ornamental veneering1 and painting4 ,his ornaments included swags1 the star1 cockleshell1 fan1 and disk4 ,notwithstanding its apparent delicacy1 ,sheraton's furniture was structurally sound4 ,the legs were very slender1 usually round but sometimes square1 tapered1 and often reeded4 ,some of his later pieces have spiral-turned legs4 ,the feet were inconspicuous1 usually spade or straight and collard4 ,chair backs were characteristically square1 with a central panel rising slightly above the top rail1 and the lower rail kept the back well up from the seat4 ,for upholstery ,sheraton used plain1 striped1 and flowered silks1 and gold and silver brocades4 ,he was especially fond of blue as a color1 three of his favorite schemes being in blue and white1 blue and black1 and very pale blue and yellow4 ,the ,hepplewhite and ,sheraton styles are similar and cannot always be distinguished without careful study4 ,sheraton used more underbracing1 and his sideboards have convex instead of concave corners4 ,beside the characteristic difference in chair backs1 ,hepplewhite pulled his seat covers well over the apron1 while ,sheraton permitted a part of the seat frame to show4 ,,american ,,styles ,the early colonists came from ,england to ,virginia1 ,new ,england1 and parts of ,pennsylvania2 from ,holland to the ,hudson ,river country and ,delaware2 and from ,germany to parts of ,pennsylvania4 ,the little furniture brought with them1 as well as the ideas upon which they proceeded to build and furnish their homes in the ,new ,world1 were representative of the common houses of the small towns and countryside of their native lands4 7,see fig4 #de1 see page #bab47 ,the interest in ,early ,american art is now so widespread1 and the sales of ,colonial furniture so great1 that every salesman should have sound working knowledge of the subject4 ,many books are available1 a few of which are mentioned in the reading list4 ,one of the most useful is ,a ,handbook of the ,american ,wing of the ,metropolitan ,museum#ab--;a book every furniture store can well afford to own4 ,,the ,,early ,,colonial ,,period ,the earliest ,new ,england houses were solid but simple and primitive4 ,walls were of whitewashed rough plaster or of wide molded boards1 which were used vertically to form partitions2 ceilings of wood1 with exposed joists resting upon heavy supporting beams2 and floors of plank4 ,furniture was of ,jacobean type1 some of it brought from ,england1 but for the most part made here from oak1 pine1 maple1 and other native woods4 ,the forms were few and simple and included cupboards1 chests1 trestle tables1 and chairs of the turned or wainscot types4 ,most furniture was left unfinished4 ,later there came the chest of drawers1 and chairs of the ,cromwellian and ,carolean types1 often with spiral turned legs and scroll feet1 and either caned or with seats and backs upholstered in needlework4 ,near the beginning of the eighteenth century the open-construction rooms began to give way to complete interior finish1 with paneled walls4 ,the ,american form of the ,windsor chair which reached its highest development at about this time1 was mostly of hickory because of the adaptability of that wood for bows and spindles4 ,illustration3 ,courtesy ,merchandise ,mart ,news ,bureau4 ,figure #ad4--;,harmony in periods in rugs and furniture is shown by this figured ,axminster1 accurate reproduction of an old floral hooked rug shown with ,early ,american4 ,the design is red1 rust1 and green on wood tones1 harmonizing with the green of the ivy in the wallpaper pattern1 and the rust of the draperies4 ,,the ,,late ,,colonial ,,period ,by #agej the production of good furniture was well under way1 with designs based upon ,early ,georgian models1 and #aj years later1 in the period of the strongest ,chippendale influence1 the fine homes of the ,colonies were filled with very distinguished furniture of ,american design1 of which the highboy is a perfect example4 ,the ,adam influence appeared here shortly before the ,revolution4 ,sheraton and ,directoire models were adapted and combined by ,duncan ,phyfe of ,new ,york1 who shares with ,william ,savery of ,philadelphia the distinction of creating some of the finest ,american furniture4 ,,the ,,federal ,,period ,the work of ,duncan ,phyfe belongs to this period1 and it is supposed that the ,white ,house was first furnished by ,thomas ,jefferson with furniture of that style4 ,destroyed by the ,british in #ahad1 the ,white ,house was rebuilt and furnished by ,james ,monroe in #ahag with ,empire originals imported from ,france4 ,this style1 as modified in the ,united ,states1 with its heavy1 classic ornament1 and gilt mountings1 remained dominant until it was replaced by the ungraceful and ugly adaptations of the style of ,louis ,,xv which appeared in ,victorian ,england and were copied here4 ,,the ,,modern ,,style 7,l',,art ,,moderne7 ,modern art is a term used to include aspects of present-day practice which depart widely from traditional or conventional models4 ,it regards period styles as survivals of a past1 dead and gone4 ,avoiding mere prettiness1 it seeks dominant simplicity through elimination of ornament on structural forms1 and an adaptation of design to function as complete as that revealed by today's motor car or skyscraper4 ,literally1 it is streamlined for comfort and beauty in the modern way4 ,broadly speaking there are two modern developments in functional furniture3 #a4 ,there is a classic-modern development deeply rooted in tradition but adapted to the needs of today4 #b4 ,there is a functional-modern development which1 forsaking the past1 is giving us a fresh1 practical angle in furniture design4 ,both developments seek comfort1 simplicity1 and beauty in all ways4 ,the simplicity features of functional furniture are triumphs in finish and in structure4 ,surfaces are flat and smooth without applied ornament4 ,the completed pieces are sharp and vigorous in outline1 perfection in finish1 with long continuous curves replacing the old sharp angles4 ,in the new metal furniture it is not uncommon to note that the entire frame of a chair1 settee1 or table has been made from a single length of metal tubing4 ,grace and lightness are natural attributes of these flowing lines4 ,this contemporary furniture also achieves a sincerity which marks a new high4 ,without ornamental features which characterize the classic-modern development it is impossible to hide flaws in workmanship4 ,construction accordingly is emphasized rather than concealed4 ,there are no fake antique effects about this functional furniture4 ,no one is trying to make these materials look like something else4 ,metal is called metal2 maple is maple2 and neither1 sparkling under a brown graining1 pretends to be walnut4 ,finishing processes continue to be used but they aim at developing the individual grain1 color1 and texture of each species4 ,the following statement quoted from the ,april #aidj1 ,bulletin of the ,national ,retail ,dry ,goods ,association1 is a forcible expression of this viewpoint3 ,the majority of consumers interpret such expressions as all mahogany or genuine ,honduras mahogany or all maple or all walnut literally1 i4 e41 that furniture so described is made wholly of mahogany or maple or walnut according to the wood named4 ,the ,national ,better ,business ,bureau recommends that such terms be applied only to those articles of furniture in which all the exposed parts are made wholly of the wood named4 ,if the exposed parts are composed of more than one kind of wood such article should be described by the names of the principal woods used1 viz1 mahogany and gumwood1 walnut and gumwood1 not by such description as combination mahogany1 and combination walnut4 ,also it is recommended that furniture employing veneered construction be frankly described in advertising as veneered4 ,to achieve the finish and structural beauty of functional furniture the modern craftsman works with various materials4 ,the whole world is bringing to the markets choice cabinet woods to be used in producing hitherto undreamed-of effects4 ,magnolia1 amboyna1 bubinga1 macassar1 satinwood1 narra1 makore1 padouk1 and thuya--these are familiar names4 ,glass--clear1 white1 and colored--has won acceptance as a structural material4 ,aluminum1 stainless steel1 and chromium plate are popular4 ,cork veneer with its velvety texture and warm coloring is excellent surface finish for wood furniture4 ,metal frames with veneer tops often are shown in designs suitable for use as kitchen1 sunroom1 porch1 and even living-room furniture4 ,linoleum tops for tables and desks afford variety in color4 ,various synthetic products are converted into tops which have been proofed against heat and liquid stains1 thus popularizing them for cocktail and coffee tables4 ,colored lacquers reminiscent of the orient have been appropriately used4 ,textile designs which are largely depended upon to supply the necessary ornament for rooms1 employ the straight lines1 acute angles1 and whirling curves of the futurists as well as natural forms drawn with little or no attempt to representation4 ,the end is not yet predictable1 but there is much to be learned now4 ,,using ,,style ,,appeal ,,in ,,selling ,we may use style appeal in selling furniture of any quality except the poorest to customers of any level of taste except the lowest4 ,the salesperson should have some appreciation of the importance and dignity of furniture1 and a fair working knowledge of the forms1 materials1 and ornament of the several period styles4 ,,how ,,furniture ,,knowledge ,,is ,,spreading ,we must remember three things3 #a4 ,all furniture is derived1 however remotely1 from earlier forms and therefore can be identified with a style appeal4 #b4 ,american women have become style-conscious in matters of decoration4 #c4 ,the home-furnishing art is studied in colleges and secondary schools2 books dealing with it are widely read2 at least #be million persons read national magazines which devote space to it2 hundreds of newspapers publicize it2 powerful agencies are actively engaged in widening popular knowledge of it4 ,,what ,,successful ,,style ,,selling ,,involves ,in order to enhance the desirability of an article through an appeal to beauty of design or style1 we must cause the customer to see in it something desirable which she has failed to see for herself4 ,to do this we must be able to notice this extra something ourselves1 and to convey a clear and interesting picture of our observations4 ,many never see more than a part of the sales possibilities of what we have to sell4 ,our merchandise is as common to us as an old shoe4 ,we are prone to forget that its forms are the result of age-long processes of development1 its ornament the heritage from an immemorial past4 ,often we forget its romance1 its quickening appeal to the imagination1 its promise as a way to richer and more stimulating life4 ,to us a chair is a chair1 and a rug is just another rug4 ,you will sometimes find it effective in building up appreciation of a fine machine-made rug to tell how much time would have been required for weaving alone had it been made by hand4 ,count the number of tufts per square inch2 multiply by #add to get the number per square foot2 then by the number of square feet in the rug1 divide the total by #b1ejj--the average number of knots tied by a ,persian weaver in a full day's work--to arrive at the number of working days4 ,make a few of these calculations based on rugs of standard weave and size at your leisure1 and remember the results for use when required4 ,to equip yourself to emphasize style in furniture1 first go through your stock carefully1 and identify the style of all pieces that are accurately reproduced or closely adapted from historic designs4 ,it may surprise you to learn how many pieces can be definitely assigned to one of the historic styles4 ,the ideal way1 of course1 would be to have each piece styled and marked by the manufacturer2 this may come in time4 ,another way would be to have the style names agreed upon by the entire sales force1 after discussion1 and marked on the tags1 so that everybody will be telling the same story4 ,but if no definite plan is used1 study the stock by yourself4 ,after all1 the man who wants to travel ahead of the crowd must expect to do some pioneering1 and you will be the one to profit4 ,every clever oriental-rug man realizes the sales value of an identifying name4 ,he knows that women particularly like to know the name or weave of a rug and any facts connected with its design1 because these things make them feel more assured in buying and give them something to talk about pridefully to their friends4 ,in presenting your furniture under its historical names1 be careful not to make claims you cannot establish4 ,they will expose you to the ridicule of a well-informed buyer1 of whom there are many4 ,never say that a piece is a reproduction unless really it is4 ,say that it is in the style of or inspired by1 or derived or adapted from1 or a present-day adaptation of1 or a twentieth century interpretation of the style to which you have assigned it4 ,having said this1 proceed at once to give it whatever additional importance or value you can draw from your knowledge of the history1 personalities1 or practice of the period4 ,do not lecture but try to dramatize your merchandise4 ,the highest use of language is pure self-expression4 ,only your choice of words and expression can give your customer kinship with what you feel4 ,an encyclopedia of information is not of itself complete customer service when you are dealing with style1 period1 color1 harmony1 and satisfaction4 ,,dramatize ,,your ,,merchandise ,suppose1 for example1 that you want to sell an ordinary loose-cushion sofa in blue velvet1 with machine-carved cabriole legs1 rolled arms1 and straight-lined back with curved ends4 ,it is easy to say1 ,here is a handsome1 well-made sofa in blue velvet4 ,just the right thing for your room2 the price is #ie4 ,but it is almost as easy1 and in many cases far more effective1 to say1 in substance3 ,this1 as ,i understand it1 is what you may have in mind4 ,there is nothing striking or extreme about the design4 ,notice the graceful curves of the cabriole or f scroll legs1 which are completely adequate to hold up the heavy body2 note how those same curves are echoed in the arms and suggested in the back1 so that the whole piece reveals harmonious lines4 ,this sofa expresses the quality of repose which makes it so important in the properly furnished modern home4 ,or1 suppose you have a reproduction of a ,chippendale ladder-back chair4 ,with #i possible buyers out of #aj1 it would be foolish to try to sell such a piece through the bald statement that it is a beautiful ,chippendale chair4 ,a better approach would be as follows3 ,here is an armchair reproduced from one of ,chippendale's masterpieces4 ,if you will set it off by itself you will see its extraordinary grace and harmony of line4 ,in this piece we have ,chippendale's conception of the ladder back--a very old form of chair expressed in flowing curves which descend rhythmically from top rail to floor4 ,as a chair it is perfect--staunch1 thoroughly comfortable1 and enduring2 it is even more desirable as a work of art4 ,anyone may well be proud to own it4 ,this language is not intended to be stilted4 ,if delivered casually1 with no thought of reciting a memorized paragraph1 or of delivering a set speech1 these ideas will be effective in sustaining interest while1 informally1 you direct attention to other features4 ,high-lighting or dramatizing your merchandise is as difficult as it is necessary when one must guard against failure by enhancing the desirability of the merchandise4 ,,style ,,appeals ,,based ,,on ,,period ,,decoration ,your description should not be left to chance or to the inspiration of the moment4 ,think them out at home or in your free time in the store1 and plan just how and when you will use them4 ,these high lights may be based upon history1 beauty1 and sentiment4 ,to illustrate3 ,bedroom ,suite ,adapted ,from the ,style of ,louis ,,xvi4 ,history4--,in this suite we have a reflection of the last of the great decorative styles developed in ,france under the ,bourbon ,kings4 ,louis the ,sixteenth was king of ,france when our forefathers signed the ,declaration of ,independence4 ,there was great gratitude and admiration for ,france in those days1 which inspired the importation of a good deal of furniture of this style for the statelier homes of ,america4 ,washington bought some of it for ,mount ,vernon1 and ,jefferson for ,monticello4 ,sentiment4--,this suite called ,louis ,,xvi1 named for an era made brilliant by the later courts of ,france1 is reminiscent of the days of ,marie ,antoinette4 ,lovers of style and beauty the world over have for decades1 even centuries now1 looked back to the days of the last lavish escapades of the ,french courts whenever there is a resurge of the human appetite for the ornate1 gilded opulence of color and design that you see characterized in these pieces4 ,beauty4--,in this suite we find the slender proportions1 fine lines1 chaste ornamental forms and delicate grace of the style of ,louis ,seize4 ,see how skillfully the strength and dignity of these pieces is insured by the straight vertical lines of the frames1 and their effect of soft and luxurious ease by the curves of the top rails and mirrors4 ,cabinet1 ,chest1 or ,dining ,suite ,adapted ,from ,style of the ,italian ,renaissance4 ,history4--,this piece was certainly made in ,america1 and it may have been made within the past #b months--it is new in our stock4 ,yet in every line and detail it recalls to us the great age of the ,italian ,renaissance1 when the ,new ,world was being discovered and explored1 and the ,old ,world made over for the development of modern life4 ,sentiment4--,women1 of course1 counted greatly during the ,italian ,renaissance2 but they did not dominate the design of furniture as they do today4 ,note the virility of this design--its straight1 vigorous lines1 its solidity and strength1 its unyielding angles1 and its simple1 sparse ornament4 ,beauty4--,there are times and places when delicacy and daintiness fail to please4 ,for the room that has such a place nothing could be more appropriate and satisfying than this cabinet1 designed in the virile spirit of the ,italian ,renaissance4 ,there is a beauty in straight lines1 in strong and noble proportion1 in rich dark coloring4 ,these tabloid statements are of course to be regarded as suggestions1 not as models4 ,make up your own1 couched in your own language1 and based upon your own merchandise and your own customers4 ,but do not assume that this sort of thing cannot be done in your store and with your customers1 or that it is old-fashioned1 and of no value4 ,it must be done at certain times if we want to sell furniture in volume and on other bases than utility and price4 ,,two ,,classes ,,of ,,exceptional ,,customers ,in making a style appeal based upon period decoration you will occasionally encounter customers who belong to either of two classes1 both small1 but important enough to merit brief mention-- #a4 ,those who express contempt for modern machine-made furniture4 #b4 ,those who have no use for period design and often for the whole matter of style4 ,nothing will be accomplished by argument4 ,but the one who scorns style probably does not carry that idea over into his purchase of clothing for himself or of the automobile he drives4 ,in dealing with this type of customer it may be worth while to point out that the machine at least has enabled us to reproduce the truly beautiful pieces of the old masters with their full beauty preserved and to make them available to people of ordinary means4 ,certainly society could not support the immense number of craftsmen that would be necessary to make good furniture by hand4 ,nor is it a question of paying more for style4 ,when one chooses well-styled furniture it is true that he pays for materials and labor1 but he gets in addition the distinction that comes from rich historical associations1 and aristocratic lineage4 ,,questions #a4 ,how would you make a style appeal based upon period decoration to a customer who professed contempt for modern machine-made furniture8 #b4 ,what steps would you take in selling a reproduction of the ,chippendale splat-back chair8 #c4 ,what are the characteristics of the four outstanding furniture periods known as the ,french1 ,early ,english1 ,georgian1 and ,american8 7,consider each period from the viewpoint of historic date1 lines1 proportions1 woods1 upholstering fabrics1 and modern use74 #d4 ,why may ,sheraton1 ,hepplewhite1 and ,duncan ,phyfe furniture be used together8 #e4 ,what is meant by the following3 ,modern arises from the fact that its designers are neither bound by traditions of the past nor wedded to the present1 but move alertly up and down the centuries--combining the old and the new--with a refreshing disregard of dynasties and dates8 #f4 ,to what extent is streamlining1 now an accepted feature of kitchen equipment1 appearing in metal and wood furniture8 #g4 ,contemporary furniture finds expression in honest construction4 ,construction is emphasized rather than concealed4 ,in what ways would you say sincerity was the most revolutionary characteristic of contemporary furniture8 #h4 ,what has been contributed in domestic comfort by the idea of interchangeable unit furniture8 #i4 ,what unusual service features are afforded by the sectional sofa8 ,is this trend likely to become fixed as a furniture emphasis or is it merely seasonal8 #aj4 ,where are the great furniture manufacturing centers in the ,united ,states8 ,where and when are our big furniture style shows held8 ,by whom8 ,,suggested ,,reading ,,list ,,burrows1 ,,thelma ,m4 ,successful ,home ,furnishing4 ,manual ,arts ,press1 ,peoria1 ,ill4 #aich4 ,basic ,periods of ,influence1 ,i1 pp4 #ae-de4 ,reference ,appendix1 pp4 #abc-acc4 ,,fales1 ,,winnifred4 ,what's ,new in ,home ,decoration8 ,dodd1 ,mead ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aicf4 ,period ,furniture1 ,,viii1 pp4 #aej-agd4 ,,goldstein ,,harriet and ,,vetta4 ,art ,in ,every ,day ,life4 ,the ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aibe4 ,furniture ,arrangement4 ,harmony1 p4 #ba2 ,proportion1 p4 #eg2 ,balance1 p4 #hc2 ,emphasis1 p4 #ada4 ,,kimberly1 ,w4 ,l4 ,how ,to ,know ,period ,styles ,in ,furniture4 ,grand ,rapids ,furniture ,record ,co41 ,grand ,rapids1 ,mich4 #aiab4 ,,koues1 ,,helen4 ,how ,to ,be ,your ,own ,decorator4 ,tudor ,publishing ,co41 ,new ,york1 ,n4 ,y4 #aici4 ,period ,characteristics in ,furniture1 ,,ii1 pp4 #ab-be4 ,furniture ,arrangement1 ,,iv1 pp4 #cg-di4 ,,powell1 ,,lydia4 ,the ,attractive ,home4 ,the ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aici4 ,the ,modern ,style1 pp4 #ajd-aac4 ,the ,country ,home1 pp4 #aac-abj4 ,,seal1 ,,ethel ,,davis4 ,furnishing ,the ,little ,house4 ,century ,co41 ,new ,york1 ,n4 ,y4 ,foundations in ,good ,furniture1 ,v1 pp4 #gi-if4 ,on ,dress ,parade ,behind ,the ,scenes1 ,,xii1 pp4 #ahe-bjj4 ,,stewart1 ,,ross and ,,gerald1 ,,john4 ,home ,decoration4 ,garden ,city ,publishing ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 #aich4 ,elements of ,traditional ,styles1 ,,xiv1 pp4 #bdi-cje4 ,united ,states ,department of ,commerce1 ,national ,committee on ,wood ,utilization4 ,furniture3 ,its ,selection and ,use4 #aica4 ,part ,,iii1 pp4 #ge-ih4 ,united ,states ,government ,printing ,office4 ,,whiton1 ,,sherrill4 ,elements of ,interior ,decoration4 ,j4 ,b4 ,lippincott ,co41 ,philadelphia1 ,pa4 #aicg4 ,period ,decoration and ,furniture1 ,,iii1 ,v1 ,,vi1 ,,vii1 pp4 #ia-bcc4 ,taste1 ,style1 and ,fashion1 ,,xxi1 pp4 #fbg-fdg4 ,furniture ,arrangement1 ,,xxiii1 pp4 #ffe-fha4 ,,wright1 ,,agnes ,,foster4 ,interior ,decoration for ,modern ,needs4 ,frederick ,a4 ,stokes ,co41 ,new ,york1 ,n4 ,y4 #aiag4 ,,vii1 pp4 #ajg-afe4 ,,footnotes3 #d ,for thousands of years the chair was a symbol of state and dignity1 and not an article for ordinary use4 ,common people were not permitted to sit on chairs1 and few of the great lords were permitted to sit on chairs in the presence of the king4 ,the chair did not become common until the sixteenth century2 before that1 chests1 benches1 and stools were used4 #e ,these hutches1 or small chests1 held the clothing1 personal belongings1 and materials for the mass when the baron was en route from one castle to another1 and were carried on the backs of pack mules4 ,from this rudimentary beginning all modern forms of case goods have evolved4 #f ,the ,french qu or final que as in baroque1 is pronounced like k4 ,the accent is always on the final syllable4 #g ,the ,french e and et are pronounced like a4 #h ,pronounced ,knz4 #i ,pronounced fo-tuh-ye1 the uh having almost an r sound as in burn1 the final e practically silent4 #aj ,pronounced sehz1 practically the ,english word says4 #aa ,pronounced d'rk-twr4 #ab ,a ,handbook of the ,american ,wing2 ,metropolitan ,museum of ,art1 ,new ,york1 ,n4 ,y41 #aibh4 ,price #a4 ,unit ,v ,,furniture ,,woods--,,their ,,origin ,,and ,,use ,value and ,price in ,relation to ,home ,furnishings4 ,principal ,furniture ,woods4 ,making the ,most of ,wood ,structure and ,its ,appeal to the ,eye4 ,importance of ,craftsmanship4 ,illustration3 ,courtesy the ,veneer ,association4 ,figure #ae4--,variety in ,veneer ,slicing4 #a4 ,flat cut--,american walnut1 two-piece matched4 #b4 ,crotch--,avodire4 #c4 ,stump-wood--,american walnut1 four-piece matched4 #d4 ,quarter--,african mahogany1 mottled and fiddleback4 #e4 ,rotary--,ash 7,tamo74 #f4 ,burl--,maidou1 two-piece matched4 ,unit ,v4--,,furniture ,,woods--,,their ,,origin ,,and ,,use ,,value ,,and ,,price ,,in ,,relation ,,to ,,home ,,furnishings ,the materials in a piece of furniture1 and the way those materials are put together1 affect not only its appearance1 but also its durability and behavior in service4 ,appearance and durability both help to determine value4 ,they are factors which usually influence a customer toward or against a purchase4 ,but the customer1 unaided1 cannot be expected to see and appreciate these factors at their true importance4 ,therefore a sound knowledge of materials and construction1 plus ability to use that knowledge effectively1 is essential to the salesperson who wants to take the road to higher earnings4 ,every sale is a process of weighing one satisfaction against another4 ,those who buy from sheer necessity compare price against price1 or price against terms4 ,those who buy for any other reason weigh price against value4 ,do not forget that price and value are by no means the same thing4 ,a low price does not automatically constitute1 from the customer's viewpoint1 a high value4 ,the price of an article is fixed by the dealer4 ,the value of that article is fixed by the buyer1 since it depends1 not upon what the article costs to make or what is asked for it1 but upon what it is worth to her4 ,except for the confirmed bargain hunter1 no buyer will buy anything1 at any price1 unless she believes that it will add to her satisfactions4 ,on the other hand1 few persons will buy anything1 however satisfactory1 unless they believe it to be worth the price4 ,it follows1 as a fundamental rule of salesmanship that price is almost never the first consideration in the mind of the buyer1 but that it is almost always the second consideration4 ,for this reason1 few sales can be completed without a demonstration of value4 ,,your ,,own ,,buying ,,habits ,study your own buying habits1 and you will see that you seldom make a purchase on the basis of price alone4 ,always you consider value4 ,consciously or otherwise1 you compare the satisfaction you hope to gain against the price you are asked to pay4 ,you like a bargain1 but you recognize that low price1 by itself1 does not constitute a bargain4 ,,two ,,stages ,,in ,,selling ,the buying habits of the great majority of your customers are no different than your own4 ,people generally will not buy a piece of furniture at any price unless they first believe1 of their own initiative or as the result of your efforts1 that it will afford them satisfaction1 for their own use4 ,having found such a piece1 they still will refuse to buy it until they also become convinced that its value measured in terms of their own satisfactions1 equals or exceeds the price4 ,thus the average sale consists of two stages3 ,first1 helping the customer find the merchandise that meets her needs and satisfies her tastes1 at the price she can afford to pay 7not1 necessarily1 the price she desires1 expects1 or has expressed a willingness1 to pay74 ,second1 convincing her that the article is a good value for the price4 ,a prevalent fault among even experienced furniture salespersons is the failure to deal adequately with the first stage--that of finding out what the customer wants4 ,with interior decorators and many drapery salespersons the second stage--demonstration of value--is more often neglected4 ,moreover1 much business is lost by men who reverse the logical process1 and begin their demonstration of the value of an article before their customer has tentatively accepted it as adapted to her own needs and tastes4 ,on the other hand1 innumerable sales are sacrificed through reliance upon mere assertion of value1 or upon discounts or marked-down prices1 with a consequent failure to deliver1 at the end1 a convincing demonstration of value4 ,in such a demonstration construction and materials will occupy the spotlight4 ,,construction ,,less ,,interesting ,,to ,,women ,,than ,,materials ,american women are not too much interested1 as a rule1 in the construction of the articles they buy4 ,this is not because they regard sound construction as unimportant1 but because they have been taught to take it more or less for granted4 ,their chief concern in any product lies in what it will do for them1 and they do not care a great deal about how that result is insured4 ,an analysis of magazine advertising will reveal the fact that construction is rarely used as an advertising appeal2 a count of several current issues indicates about #a case in #bj4 ,there is a much wider interest in materials1 including furniture woods and the floor covering1 drapery1 and upholstery fabrics2 though even here the primary concern of the great majority of buyers is with the effect of these materials upon their homes and themselves rather than with the materials as such4 ,according to an industry survey1 #f women out of #ajj have no interest in furniture2 #fa are interested in it primarily as a means of making their homes more attractive2 #af are chiefly interested in furniture woods2 #ad in style or appearance2 and #c in construction4 ,,how ,,this ,,attitude ,,of ,,mind ,,affects ,,our ,,interests ,the widespread disposition of women to take construction and materials for granted tends to reduce emphasis upon quality1 forces prices toward unnecessarily low levels1 and cuts down volume and profits4 ,it encourages the production of poor merchandise1 thereby undermining public confidence in furniture and furniture dealers4 ,a sound knowledge both of materials and of construction will help demonstrate the superior value of more costly merchandise when such merchandise lies within the customer's buying power4 ,this knowledge1 properly used1 will of course enable sales to be speeded up1 a larger number of customers to be waited on1 and a larger percentage of sales to be made4 ,even when the salesman is emphasizing woods and fabrics1 the materials of which home furnishings are made1 he must win the customer's confidence in the quality of construction1 the craftsmanship with which these materials are put together1 if he would effectively minimize what to him is price resistance4 ,,principal ,,furniture ,,woods ,in all periods of high civilization men have felt a deep interest in the furniture woods4 ,the sheer beauty of these woods1 their association in sentiment and legend with the noble trees of many lands1 their never-ending1 never-repeating variations of figure and shading1 the romantic stories of their journeyings by ship or caravan from the far ends of the earth--these things always have delighted men and women of taste4 ,undoubtedly they who sell furniture know too little about the furniture woods1 talk too little about them1 make far too little use of their powerful appeal to the eye and the emotions4 ,if they can learn to know them intimately1 and to regard them1 not as merchandise merely1 but as something fine and nobly beautiful1 they cannot fail to inspire widespread admiration and desire for ownership4 ,a ,,list ,,of ,,the ,,leading ,,furniture ,,woods ,in appendix ,d1 page #bee1 will be found a brief account of leading furniture woods4 ,most of these woods are used today1 and many of them will be found in your stock4 ,ours is an age which takes great delight in colorful and beautifully figured woods4 ,an astonishing variety of new species has come into comparatively recent use as the result of exploration in ,africa1 ,australia1 and the more remote and difficult areas of ,central and ,south ,america4 ,salespersons are strongly urged1 through this and other sources1 to become familiar with the leading furniture woods in order to possess the background necessary to arouse appreciation of the beauty1 distinction1 and rarity of the woods used in furniture manufacture and to convey an adequate sense of the time1 skill1 and expense necessary to make these lovely woods available in strong and enduring form for the modern home4 ,illustration3 ,courtesy the ,veneer ,association4 ,figure #af4--,veneer slicer3 ,note the finished slices in the middle foreground and the tremendous length of the log--the full length of the slicer 7#af feet74 ,working with amazing speed1 this slicer frequently requires the attendance of three operators at the same time4 ,,making ,,the ,,most ,,of ,,wood ,,structure ,,and ,,its ,,appeal ,,to ,,the ,,eye ,as is well known1 trees grow in diameter by the addition of new layers of wood1 one of which forms just under the bark each year during the life of the tree4 ,if growth is rapid1 these layers1 which are known as annual rings1 will be relatively thick2 if slow1 they will be thin4 ,in warm climates the growth of many trees is almost continuous1 the fiber relatively uniform1 and the annual rings very slightly marked4 ,in cold climates growth is rapid in spring and summer1 but almost ceases in winter1 and the annual rings are sharply marked4 ,the wood produced first in each year is frequently different from that produced later in the year1 so that a distinction is drawn between the early springwood and the later summerwood4 ,in such cases a cross section of the tree trunk will show a number of concentric annual rings whose number is equal to the age of the region of trunk cut4 ,in certain kinds of trees1 for instance1 species of pines and leaf-shedding oaks1 after the wood has attained a certain age1 it darkens in color1 so that when a crosscut of a #ajj-year-old part of the trunk is taken1 the darker older central wood contrasts as heartwood with the surrounding pale sapwood4 ,all hardwoods contain a multitude of long continuous water-conducting tubes termed wood vessels2 in cross section they are often visible to the naked eye as pores4 ,in woods like oak and ash these pores are easily visible in cross section as minute holes1 and in longitudinal section as fine grooves1 which are often accentuated by furniture makers through treatment with a dark filler4 ,in woods like maple and gum the pores are too small to be seen without a microscope4 ,oak1 chestnut1 ash1 and elm are conspicuous members of the ring-porous group of hardwoods1 so called because one or more rows of large pores are formed at the beginning of each annual ring4 ,walnut and mahogany are diffuse-porous because the pores1 though plainly visible1 are more nearly uniform in size throughout the annual rings4 ,in addition to the annual rings and pores1 traversing the wood at right angles to the fibers are thin stringlike structures that run from the outside of the wood radially inward toward the pith4 ,in some woods these rays are too minute to play a part in the visible figure of the wood1 while in others1 notably the oak1 they are conspicuous1 and in quarter-sawed boards produce the effect known as silver grain or flake4 ,these are the medullary rays4 ,for more detailed information about wood structure1 consult any reliable encyclopedia4 ,these variations in structure1 plus variations in coloring1 constitute the physical basis for the innumerable charming effects which expert wood workers are able to create for the furniture lover4 ,some of these effects can be produced in solid wood2 others in veneer only4 ,they result from four general methods of cutting3 ,plain sawing1 or cutting more or less with the grain at right angles to the rays4 ,quarter-sawing1 or cutting across the grain1 parallel to the rays4 ,transverse sawing1 or cutting in a direction neither flat nor quarter1 but between them4 ,rotary slicing1 in which the knife or the veneer lathe follows the lines of annual growth1 but cuts across them irregularly to yield a striking effect of wavy lines and parabolas4 ,the interest of furniture buyers lies in the beauty1 durability1 romantic appeal and prestige value of the various woods1 and not in the technical processes by which their individuality and fine qualities are brought out4 ,however1 a few facts concerning the various types of figures are here set down for possible emergency use4 ,,veneer ,,and ,,plywood ,illustration3 ,flat ,slicing ,quarter ,slicing ,half-,round ,slicing ,rotary ,slicing ,figure #ag4--,slicing illustrated4 ,the art of producing and using veneers dates back to the earliest days of civilization1 says the ,encyclopedia ,britannica4#ac ,although we do not know when and where the art of veneering was invented1 there is no doubt that it had reached a high development in ,egypt #c1ejj years ago4 ,it was practiced by the ancient ,babylonians and ,assyrians1 by the ,greeks1 and particularly by the ,romans1 who used it not only in furniture-making but also in door frames and panels4 ,there is a record that ,cicero1 celebrated ,roman orator1 paid for a veneered table of citrus wood a sum equivalent to #bj1jjj in gold4 ,when the ancient ,european civilization gave way to the ,dark ,ages1 the art of veneering was temporarily lost1 only to be revived in the form of inlays during the ,renaissance4 ,true veneering did not become common in ,europe until after the middle of the seventeenth century1 when a new type of saw was invented which would divide a plank into thin sheets4 ,as an early result of the discovery of the ,new ,world and the sea route to ,india and the ,east1 many rare and exotic woods were carried to ,spain1 ,holland1 ,france1 and ,england and used as veneers and inlays in the seventeenth and eighteenth centuries--among them mahogany1 satinwood1 amboyna1 kingwood1 rosewood1 tulipwood1 amaranth1 harewood1 and vermillion4 ,the art of veneering reached the point of technical perfection during the reign of ,louis ,,xiv1 and ever since that time it has been practiced by most of the great cabinetmakers in all countries2 except of course1 in the case of the carvers1 of whom ,chippendale is the outstanding example4 ,most of the magnificent furniture of ,france1 that of the ,hepplewhite1 ,sheraton1 and ,adam styles in ,england1 and the really distinguished furniture of the late ,colonial and ,federal periods in ,america1 made a free use of veneers4 ,the whole process of making veneers1 from the selection of a tree in some far corner of the globe to the finished plywood1 is a long and exacting one which demands the technical knowledge of scientists1 engineers1 and chemists as well as the taste of the artist4 ,illustration3 ,courtesy ,the ,veneer ,association ,figure #ah4--,showing the construction of seven-ply plywood4 ,the grain of each layer is at right angles to that of the adjacent ply4 ,briefly1 we can say that the logs must be transported1 studied carefully in order to determine just how to secure the most beautiful effects from the wood1 usually soaked or conditioned to soften the fiber1 and sliced or sawed into sheets of veneer1 which are afterward dried carefully4 ,this is a work for specialists1 and is usually done at established veneer mills4 ,at the furniture factory the sheets must again be carefully studied1 matched1 clipped1 taped1 glued1 and built under a pressure of #bjj to #cjj pounds into the finished plyboards4 ,a single tree may yield #ejj board feet of lumber or the same number of surface feet #a inch thick4 ,cut into thin face veneers this same tree would yield #aj1jjj square feet or #bj times as much in terms of surface area4#ad ,,advantages ,,of ,,plywood ,technically1 plywood is the product resulting from three or more layers of veneers joined with glue1 and usually laid with the grain of adjoining plies at right angles4 ,almost always an odd number of plies are used to secure balanced construction4 ,the outside plies are called faces1 or face and back4 ,the center ply is called the core1 and intervening plies1 laid at right angles to the others1 are called cross bands4 ,plywood is a device for combining lightness and great strength with freedom from the tendency to warp and split4 ,modern engineering1 chemistry1 and machinery have brought the production of plywood to a point of perfection where it is as strong1 weight for weight1 as steel4 ,it is wood engineered for beauty1 strength1 and economical application4 ,its peculiar excellence1 as contrasted with solid wood1 results from equalizing the normal internal stresses of the wood by running alternate layers in different directions4 ,in standard five-ply construction1 widely used for good furniture1 the two outer and the middle ply1 or core1 have the grain running in the same direction1 while the second and fourth plies1 or cross bands1 have the grain running at right angles to that of the others4 ,plywood was produced by the ,chinese thousands of years ago1 and is found in the furniture of the ancient ,egyptians4 ,yet it has taken modern ingenuity plus engineering and chemical skill to develop a product capable of meeting the large scale but exacting requirements of today--a product now used on land1 in the air1 and on the seas4 ,plywood was not produced by machinery1 and in commercial quantities1 until about #ej years ago1 when plywood factories were started in ,russia4 ,ninety percent of all wood furniture manufactured today is of veneer and plywood construction4 ,it is used in the interest of economy1 strength1 flatness1 and beauty1 not only in cabinet and furniture making but also in residence and office building1 coach-building and various engineering industries1 including aviation4 ,plywood offers maximum strength in all directions combined with minimum weight4 ,,both ,,solid ,,and ,,veneer ,,available ,,in ,,wood ,,furniture ,some persons adamantly insist that to be truly good quality1 furniture must be solid1 built wholly of one wood4 ,while many experts insist that this view is untenable1 those who insist upon it should1 of course1 buy solid pieces4 ,to do so will frequently involve denying themselves the full beauty of the fine graining which normally can be had only in veneer4 ,the salesman and the industry should jointly educate the customer that good veneer is not only with us to stay1 but is used in some of the best furniture made anywhere in the world and that good ,american veneer has lasting qualities in addition to its value in bringing to the average home graining and finish that can never be obtained in furniture made from solid wood4 ,,selling ,,veneers ,,within ,,price ,,ranges ,illustration3 ,courtesy ,american ,walnut ,manufacturers ,association4 ,figure #ai4--,location of cuttings in tree body4 ,not every tree has a stump that can be cut into beautiful stumpwood4 ,fine crotches are much rarer and burls so precious that the choicest burl veneers1 when mounted and matched for use in furniture1 are worth more than their own weight in sterling silver4 ,all other figure types are cut1 by varying methods1 from the long trunk4 ,the price range of veneer varies directly with the ready availability of the species1 its color and figure1 and its working and finishing qualities4 ,some veneers cost #bj times as much as others1 and certain of the rarest and most beautifully figured sheets are literally worth their weight in silver4 ,well known commonly used species may be either high priced or inexpensive1 depending upon the desirability and current demands for that figure4 ,to illustrate1 ,american walnut may vary exceedingly in price4 ,taking the cost of the finest burl as #ajj percent1 crotch walnut might cost #eg percent as much2 stump wood and figured long wood1 #cj percent2 and plain long wood approximately #e percent4 ,these percentages represent only the finest of each of these particular figures4 ,therefore1 instead of calling a suite walnut as if that is all there is to be said1 it would be wise to point out that it is made of a particularly desirable piece of walnut1 both rare and costly because of its fine figure and color4 ,the same type of reasoning may be used in speaking of mahogany1 maple1 oak1 and other beautifully figured cabinet woods4 ,,importance ,,of ,,craftsmanship ,furniture making is one of the oldest of human industries4 ,for thousands of years it remained a craft industry4 ,the transition to a machine industry began about #ajj years ago4 ,since then1 and especially within recent years1 the use of machinery has been developed to a point of extraordinary efficiency4 ,it is this fact alone which makes good furniture so low in price today4 ,indeed1 were it not for the machine1 most persons would have little furniture1 and that of the crudest kind4 ,illustration3 ,figure #bj4--,shows the names of the parts of a chair4 ,and yet it would be inaccurate to think of furniture as an impersonal1 machine-made product2 craftsmanship is still basically important in furniture making1 and will remain so always4 ,from #ej to #fj different and highly specialized machines are used in a modern factory making desks1 chairs1 and tables1 and these machines perform all purely mechanical operations with amazing speed and more than human accuracy4 ,yet at every stage1 from the selection of the woods to the final touches in the finishing room1 the taste and accumulated skill of expert craftsmen are imperative4 ,in the making of upholstered and reed furniture1 machinery plays a subordinate part1 and the skill of the craftsman is and always will be the dominant factor4 ,,quality ,,often ,,concealed ,furniture making employs many materials and many processes4 ,in every one of these materials and processes there are wide differences in excellence between the worst and the best4 ,all of these differences are accurately known only to the manufacturer because they are concealed in the finished product4 ,many of them are known to the expert salesman4 ,few are known to the consumer who buys furniture too infrequently to become informed on concealed values1 and naturally is disposed to base a judgment of value on the two obvious factors--eye appeal and price4 ,as a result sales volume1 to say nothing of public appreciation of furniture1 is unnecessarily low4 ,,modern ,,factories ,,build ,,concealed ,,values ,,into ,,many ,,products ,it is obvious that all the operations of preparing wood1 routing it through the factory1 synchronizing the many processes1 and eliminating waste can be performed most efficiently and economically in a modern plant and under the control of scientific knowledge and engineering skill4 ,factories so operated1 therefore1 may build into their product concealed or special values which are passed to the consumer in the form of lower price1 quality for quality4 ,these concealed values actually may take several forms2 they may be concerned with materials and processes1 or with construction and design4 ,although their service value is readily understood1 their actual presence in any particular piece of furniture is not so easily determined by the inexperienced salesperson or the infrequent purchaser4 ,,use ,,of ,,wood ,,free ,,from ,,defects ,when wood reaches the factory from the sawmill in the form of dimension lumber it contains some imperfections1 among them rotted or discolored heartwood1 stained sapwood1 season checks1 splits1 knots1 worm and grub holes1 and decayed tissue4 ,the more or less complete rejection of all defective lumber naturally affects production costs1 and the use of perfect lumber in the unexposed parts of a piece of furniture constitutes a concealed value4 ,,use ,,of ,,wood ,,with ,,correct ,,moisture ,,content ,in wet lumber1 wood cells will contain moisture in amounts ranging from #cj to #ajj percent of the weight of the woody fiber itself4 ,if a considerable percentage of this moisture is permitted to remain in the pieces which are used for building furniture1 a disastrous shrinkage will result4 ,kiln drying the wood to secure the ideal moisture content and to free it from internal stresses requires time1 expense1 and great skill4 ,construction cost can be reduced by slighting the process4 ,accordingly1 perfectly conditioned wood constitutes a highly important concealed value in good furniture4 ,illustration3 ,figure #ba4--;,a shows a dowel4 ,the spiral and longitudinal grooves permit the escape of air1 and prevent air pockets in the glue4 ,b shows the mortise and tenon1 another method by which wood parts may be joined together with a fair measure of security4 ,in both dowel and mortise and tenon construction the use of good glue is essential4 ,the glue is applied to the portion which is inserted in the socket4 ,,chairs1 ,,tables1 ,,and ,,case ,,goods ,,have ,,concealed ,,values ,the points of concealed value in chair and table construction include1 among others3 #a4 ,choice of wood4 #b4 ,method of shaping legs4 #c4 ,method of building solid seats and tops 7joinery2 character of glue2 and time spent in the clamps74 #d4 ,character of joints 7boring2 mortise and tenon2 kind1 number1 and position of dowels74 #e4 ,use of corner blocks1 braces1 and stretchers4 #f4 ,character of veneers1 inlay1 carving1 or other ornament4 #g4 ,technical skill of the machine operators and assemblers4 #h4 ,care in sanding to ensure fine finishing4 ,important points concerning the legs1 tops1 and end panels of cases are substantially the same as for chairs and tables4 ,standard five-ply for the tops of cases and standard three-ply for the end panels is the usual but not the universal practice4 ,other points include3 #i4 ,construction of corner posts--solid wood to the floor1 or with the turned legs separately made and doweled to the bottom of the posts1 which cheapens but weakens construction4 ,illustration3 ,figure #ba;a4--,c shows how a chair post is joined to the chair rails4 ,central figure is the chair leg2 beneath it is a corner block2 at either side are the rails with holes bored in them1 as well as in the leg1 to hold the dowels4 ,the holes in the corner block are for screws4 ,d shows how the joint looks when assembled4 ,the pieces fit snugly and are braced to prevent pulling apart1 the corner block augmenting the dowel joint4 #aj4 ,method of framing--solid framework above1 between and below the drawers1 with tongue and groove joints and three-ply veneer panel dust bottoms1 or some cheaper method2 frames dadoed 7rigidly recessed7 into the ends1 and end panels dadoed into the legs1 or some cheaper construction2 shelves dadoed into end panels and also doweled into legs1 and back doweled into legs1 or some cheaper method1 as nails or screws4 #aa4 ,drawer construction1 including type of plywood2 type of joint-dovetailed joints front and back1 which is the best construction2 lock joint 7cheaper1 but not nailed72 nailed joint1 still cheaper2 butt joint 7also requiring nails1 the cheapest and poorest joint72 drawer bottom dadoed into sides and ends1 and supported by triangular rubbed-in blocks1 or some cheaper method2 center slides2 perfect or less than perfect fitting4 ,,upholstered ,,furniture ,here the construction is almost completely concealed4 ,the customer sees only the exposed portion of the frame and the covering and1 except in the case of advertised goods1 knows no more about the construction and concealed values of a piece than is told her by the salesperson4 ,years ago much upholstered furniture was imported from a famous factory in ,london4 ,it was costly1 but vastly comfortable and of great durability4 ,yet when a piece was taken down it was found to contain far fewer springs1 tied with fewer knots1 than was the case with ,american goods of the same general price range4 ,this indicates the folly1 in the case of upholstered furniture1 of setting up measures of excellence based upon exactly standardized practice4 ,what applies to plywood or dowel joints does not necessarily apply to spring construction4 ,,concealed ,,values ,,in ,,upholstered ,,furniture ,in general1 the points of concealed value in upholstered furniture include3 #a4 ,the frame1 which in the best construction is of clear1 tough1 dry hardwood1 with properly glued and doweled joints1 and necessary reinforcing blocks4 #b4 ,the springing1 including foundation for the springs2 number and character of springs2 type of twine and number of knots per coil2 skill of operator and speed at which he is compelled to work2 presence or absence of spring edge4 #c4 ,spring covering1 including weight of burlap2 method of attaching it to the frame and to the springs4 #d4 ,stuffing3 ,double or single method2 use of excelsior1 tow1 fiber1 moss1 cotton1 or curled hair1 alone or in combination4 #e4 ,springing of back and arms4 #f4 ,loose cushions2 spring or down construction4 #g4 ,skill and care of the workman2 inspection standards for materials and labor4 ,,reed ,,furniture ,in the book ,tropical ,nature1 ,a4 ,r4 ,wallace1 after describing the great trees of the tropical forest1 says3 ,next to the trees themselves the most conspicuous feature of the tropical forests is the profusion of woody creepers and climbers that everywhere meet the eye 99 99 994 ,they twist in great serpentine coils or lie entangled in masses on the ground4 ,in such a forest grows ,calamus1 the rattan palm1 whose slender stem often attains the enormous length of #fjj feet4 ,from ,calamus is obtained the basic material employed in making reed furniture4 ,it comes from the tropical forests of the ,east ,indies after it has been passed through several primitive processes by native workers4 ,in this country it is prepared in the forms of cane1 rattan1 and reed for weaving2 maple frames are designed and built2 the weaving is done by ,american craftsmen4 ,points of excellence include skillful preparation of the raw materials2 sturdy construction of the frames1 including bracing2 and skill in weaving4 ,unhurried work means better construction but higher cost1 and is thus an element of value4 ,,the ,,appeal ,,of ,,finish ,the appeal of finish is so potent as to require little demonstration4 ,most customers are quite willing to accept wood finish1 as they accept dyestuffs or rayon1 as one of the mysteries of chemical science4 ,the results speak for themselves4 ,no one thinks the less of an old ,cremona violin because the secret of its varnish is known4 ,the story of modern chemistry is in fact more romantic than all the tales of the ,thousand and ,one ,nights1 yet people generally speaking cannot be stirred by it4 ,tell them how the old craftsmen of ,gothic ,europe1 hundreds of years ago1 stained oak planks a beautiful rich brown by burying them for weeks or months under manure and you will interest them deeply4 ,tell them how ,american craftsmen1 a generation ago1 got the same results with the fumes of ammonia and a leaden vault and you will barely hold their interest4 ,tell them how other craftsmen today squirt a preparation of coal tar and water from one spray gun1 and a preparation of wood pulp or old rags from another to finish fine furniture1 and they will probably cancel the order4 ,in the late sixteenth century1 ,hepplewhite1 ,sheraton1 and other cabinetmakers employed a process of staining1 or rather of softly bleaching fine woods through the action of decomposing salts of chromium1 followed by ,french polishing with oils and waxes4 ,true varnish1 a solution of resins in hot oils1 was discovered in ,america in the middle nineteenth century1 and achieved an immense popularity4 ,modern lacquer1 which is totally unlike the ,oriental lacquer1 is a twentieth century discovery which combines gun cotton 7nitrocellulose7 with butyl alcohol1 a byproduct in the manufacture of acetone4 ,,wood ,,finishing ,the salesperson should learn that honest construction and careful finishing of a piece of furniture often count for more than the kind of wood used4 ,beautiful wood1 however desirable it may be1 is never the chief source of value4 ,no piece of furniture is really completed until it has been given an appropriate and artistic finish4 ,what ,may ,be ,expected of a ,finish4 ,there are at least three characteristics of a good wood finish4 #a4 ,appropriateness4--,the finish should be adapted to the needs which the piece is meant to serve4 ,the polish of a piece of wood should not hide the beauty of the wood but should enhance it4 ,furniture should never make itself obtrusive4 ,if furniture is noticeable1 its artistic quality is usually to be questioned4 #b4 ,serviceability4--,the finish must protect the surface against the most common difficulties encountered in furniture finishing1 such as bleeding1 blistering1 blooming1 blushing1 checking1 caking1 grain raising1 bubbling1 pitting1 livering1 and sweating4 #c4 ,beauty4--,good finish should retain the characteristics of the wood rather than destroy their identity4 ,usually the natural wood needs to be softened and enriched to produce the most pleasing effects in keeping with its different nature and traits4 ,beauty of finish depends to a great extent upon knowledge of how a surface should be prepared and the skill which is used in carrying out approved practices4 ,the workman who understands the structure of wood1 its mechanical and chemical properties1 and has the right tools and equipment for preparing the surface1 is not likely to use poor methods4 ,he will understand that great care is required to produce a smooth surface on a piece of wood2 that coarser defects of an improperly finished surface under the microscope reveal undreamed-of roughness on a carelessly scraped or inadequately sanded piece of wood4 ,also he will know that for permanence of finish and lasting qualities of construction1 the wood must be properly seasoned and remain in a proper shop-dry condition during the entire construction and finishing periods4 ,reasons for ,staining4 ,wood in its natural tones does not usually harmonize with textiles and wall colors4 ,the coloring often brings out unsuspected qualities and beauty in the wood itself1 due to-- #a4 ,the reaction of the stain upon cells of the medullary rays2 #b4 ,its effect upon the mass of wood fibers2 and #c4 ,its greater absorption by the open pores or broken cell cavities4 ,greater durability may be obtained through use of preservative stains4 ,classification of ,wood ,stains4 ,there are four classes of stains1 named according to the solvents used in making them3 #a4 ,those soluble in water1 sometimes called the acid stains4 #b4 ,those soluble in spirits4 #c4 ,those soluble in chemicals4 #d4 ,those soluble in oils4 ,two other classes of so-called stains are known as varnish stains and wax stains4 ,these stains are not transparent as they obscure the grain and leave a layer of pigment on the surface4 ,these four classes of stains may be subdivided into two classes1 acid and alkaline1 depending upon their chemical reaction with other substances4 ,water-soluble stains1 most largely used1 are often made of coal tar dyes1 which dissolve in water1 and can be used in an acid bath4 ,they are obtained from color substances having no body1 such as walnut juice1 logwood extract1 turmeric1 the juice of berries1 and the bark of trees4 ,stains are applied by brushing1 wiping1 spraying1 and dipping1 the latter on quantity production of cheaper grades4 ,because hardwoods absorb stains more slowly than softwoods1 the advantages of the first three methods are apparent4 ,where this strong contrast between sapwood and heartwood exists1 the salesperson should know the sapwood requires more stain than the remainder of the wood4 ,a coat of stain may be applied to the light streaks and after it dries1 the entire surface may be stained4 ,aside from color there are polished and dull finishes4 ,varnish is the original finishing medium1 serving as a protective agent and as a means of building up a high finish4 ,for wood finishing the varnish is transparent1 but for other uses is sometimes colored1 as in black varnish or japan1 or by the addition of dyestuffs1 as in lacquers4 ,lacquers permitting a polish finish are replacing gum varnish finishes to a great extent because lacquer dries in about one-tenth the time required for varnishes1 and because lacquer finishes wear well under exposure or use4 ,chemical action ceases in lacquer films after they harden4 ,fuming4 ,fuming wood means subjecting the wood to the fumes of ammonia of full strength 7specific gravity #hhj74 ,the process really comes under the head of chemical staining4 ,it is particularly well adapted to the treatment of oak for it brings out in varying shades of brown the rugged quality of this wood4 ,it is penetrating2 it does not fade4 ,after the oak has been fumed1 a coat of raw linseed oil will have a pleasant darkening effect upon the wood4 ,age only serves to darken and beautify the result4 ,enameling4 ,enameling differs from ordinary varnishing in that the material used is opaque4 ,for this reason it is folly to use it over expensive woods4 ,enamel has the brittleness of a piano varnish and the brilliancy that is given by a hard resinous gum4 ,maple1 birch1 pine1 and poplar are well adapted to this treatment1 which if it has been applied carefully and in accordance with approved methods1 will yield all the luster and softness of a high grade varnish4 ,manufacturers have met the demands for several surface effects or types of finish by producing enamels having high gloss1 eggshell gloss1 and flat or dull effects4 ,the tinting of enamels is accomplished by mixing the proper amounts of colors which are ground either in japan1 oil1 or special enamel-varnish with the best process zinc-white4 ,more recently other materials1 such as lithopone 7barium sulphate7 and zinc oxide are used in many of the cheaper enamels4 ,the decorative possibilities of stencils and transfers are almost unlimited when used upon common woods and metals finished with good enamel4 ,this accounts for the rising demand for breakfast room furniture1 sun parlor furniture1 porch furniture1 and many steel1 plastic1 and wooden novelties in bright designs using two or three colors4 ,,blond ,,furniture ,,woods ,the so-called blond woods are of two types--bleached1 consisting of normally brunette woods which have been artificially lightened1 and the unbleached woods1 which have a naturally light color4 ,they run the gamut of shades and colors from white through eggshell1 cream1 straw1 sand1 beige1 and yellow to tan and light brown4 ,among the bleached woods1 blond walnut and blond mahogany are probably the most used4 ,this is true partially because of their wide acceptance as desirable cabinet woods1 and partially because of a type of beauty of natural grains which is brought out effectively by the blond treatment4 ,the unbleached blond woods include not only maple1 light oak1 aspen1 and birch1 but also a wide variety of such exotic and unusual woods as satinwood1 myrtle burl1 zebrawood1 lacewood1 holly1 harewood1 and avodire1 to mention only a few4 ,the blond treatment employs a transparent rubbed finish which is effective in bringing out the natural pattern of the grain4 ,english harewood1 one of the most distinctive1 owes its beautiful silver grey to a dye which is used on the light yellow natural color of harewood 7sycamore74 ,maple attains its warm reddish brown color also by staining4 ,some most striking and beautiful effects in today's furniture are achieved by using blond woods in combination with trimming of dark woods4 ,the use of blond treatment has resulted in the creation of light1 airy effects which tend to brighten the room in which it is used4 ,while the present trend is toward its widest acceptance for bedroom and boudoir use1 it is being used for the living room1 dining room1 and occasional pieces4 ,consult ,reference ,books ,freely4 ,volumes have been written about the furniture woods and wood-finishing4 ,from the great fund of information available1 selection has been made of material describing the most common process of wood finishing4 ,those who desire to make exhaustive or more searching study of this subject will do well to consult such books as have been listed on page #ajc of the ,suggested ,reading ,list4 ,,questions ,,and ,,exercises #a4 ,what factors determine selection and use of any particular wood for a given purpose8 #b4 ,if a plain style table having a flat top and four legs were advertised as ,combination ,mahogany from what would you believe that table was made8 #c4 ,what are the essential differences between the ,classic-,modern development and the ,functional-,modern development8 #d4 ,how should you answer a customer who held the view that there was something shoddy and false about veneer8 #e4 ,what are the concealed values in a large upholstered chair8 ,how may they best be discussed with your customer8 #f4 ,explain the following3 ,kiln drying4 ,sapwood4 ,hardwood4 ,burls4 ,quarter-sawing4 ,moisture content4 ,tenon4 ,calamus4 ,heartwood4 ,plywood4 #g4 ,what are points of excellence in finishing8 #h4 ,are you familiar with the important facts in connection with the manufacture of your furniture woods8 ,location of the factories4 ,sources of the principal furniture woods4 ,reasons for use of each wood in certain situations4 ,workmanship employed4 ,inspection and testing methods4 ,standards maintained4 #i4 ,what are the so-called real cabinet woods8 #aj4 ,if your customer determines to use painted furniture for his living room set does it make any difference whether the manufacturer has used an inexpensive furniture wood8 ,,suggested ,,reading ,,list ,,baldwin1 ,,william ,h4 ,the ,shopping ,book4 ,the ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aibi4 ,furniture ,woods1 pp4 #ef-eh4 ,britannica1 ,encyclopedia4 #adth ,edition1 vol4 #bb1 pp4 #bag-bba4 ,compton's ,pictured ,encyclopedia4 #aici4 vol4 #g1 pp4 #ih-ajg4 ,wood ,finishes1 vol4 #e1 pp4 #bai-bbb4 ,furniture ,manufacture1 vol4 #i1 pp4 #idh-iea4 ,,koues1 ,,helen4 ,how to ,beautify ,your ,home4 ,good ,housekeeping1 ,new ,york1 ,n4 ,y4 #aicj4 ,finishes for ,natural ,wood ,furniture1 ,,xvi1 pp4 #bah-bbd4 ,,muller1 ,,joseph ,l4 ,american ,hardwood ,plywood4 ,forest ,products ,division1 ,bureau of ,foreign and ,domestic ,commerce1 ,united ,states ,department of ,commerce4 #aidj4 ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c4 ,,neubrech1 ,w4 ,,leroy4 ,american ,hardwood--,dimension1 ,wall ,paneling and ,interior ,trim4 ,forest ,products ,division1 ,bureau of ,foreign and ,domestic ,commerce1 ,united ,states ,department of ,commerce4 #aich4 ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c4 ---- ,american ,hardwood ,flooring and ,its ,uses4 ,forest ,products ,division1 ,bureau of ,foreign and ,domestic ,commerce1 ,united ,states ,department of ,commerce4 #aich4 ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c4 ---- ,american ,hardwoods and ,their ,uses4 ,forest ,products ,division1 ,bureau of ,foreign and ,domestic ,commerce1 ,united ,states ,department of ,commerce4 #aich4 ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c4 ,,palmer1 ,,lois4 ,your ,house4 ,boston ,cooking ,school ,magazine ,co4 #aibh4 ,outline ,history of ,furniture1 pp4 #afc-bjd4 ,,trilling1 ,,mabel and ,,williams1 ,,florence4 ,art ,in ,home and ,clothing4 ,j4 ,b4 ,lippincott ,co41 ,new ,york1 ,n4 ,y4 #aicf4 ,good ,design in ,furniture1 ,,viii1 pp4 #agd-aii4 ,united ,states ,department of ,commerce1 ,national ,committee on ,wood ,utilization4 ,furniture3 ,its ,selection and ,use4 ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c4 #aica4 ,materials and ,construction1 part ,,ii1 pp4 #ba-gc4 ,united ,states ,department of ,commerce1 ,forest ,products ,division1 ,foreign and ,domestic ,commerce1 ,american ,douglas ,fir ,plywood and ,its ,uses4 ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c4 #aicg4 ,wood ,finishing4 ,,patton1 ,,albert ,,brace and ,,vaughn1 ,,clarence ,,lee4 ,furniture1 ,furniture ,finishing1 ,decoration1 and ,patching4 ,frederick ,j4 ,drake ,co41 ,inc41 ,chicago1 ,ill4 #aica4 ,book ,,ii4 ,furniture ,finishing1 pp4 #aba to #acb;a4 ,,jeffrey1 ,,harry ,r4 ,wood ,finishing4 ,manual ,arts ,press1 ,peoria1 ,ill41 #aibd4 pp4 #i-aed4 ,,newell1 ,,aduah ,,clifton4 ,coloring1 ,finishing1 and ,painting ,wood4 ,manual ,arts ,press1 ,peoria1 ,ill4 #aicj4 ,,footnotes3 #ac ,encyclopedia ,britannica1 #adth edition2 vol4 #bc3 ,veneer4 #ad ,american-,hardwood ,plywood1 p4 #b1 ,forest ,products ,division1 ,u4 ,s4 ,department of ,commerce4 ,unit ,,vi ,,selling ,,sleep ,,equipment ,sell ,equipment ,to ,meet ,customer's ,needs ,mattresses and ,springs ,pillows ,studio ,couches and ,sofa ,beds ,illustration3 ,photographs by ,grignon4 ,figure #bb4--;,a new studio divan 7,a7 which can be used in a variety of decorative treatments to provide a luxurious lounge by day--comfortable twin beds at night 7,b7 that open to bed height4 ,upholstered and finished on all four sides1 this unique studio divan can be used at any angle in the room4 ,available in a variety of attractive color combinations1 the number illustrated has a rich brown frame and ends1 and is trimmed in beige moss fringe4 ,the inner-spring mattress is upholstered in beige and fawn-colored striped tapestry4 ,important style notes are the two-height arms and the bolster-type single pillow4 ,both the base unit and the mattress are inner-spring filled and provide extra lounging and sleeping comfort4 ,unit ,,vi4--,,selling ,,sleep ,,equipment ,,sell ,,equipment ,,to ,,meet ,,customer',s ,,needs ,the retail selling of sleeping equipment1 in the opinion of many store executives1 calls for more skill and study than almost any other line1 but to the man who really knows his merchandise there is no easier line to sell and few which offer greater opportunities for increased earnings and personal satisfaction4 ,no other line of merchandise needs intelligent selling as much as does sleeping equipment4 ,the consumer1 through magazines and newspapers1 is learning much about style1 decoration1 and periods in furniture4 ,when shopping for a living room suite she needs the salesman's help1 certainly1 but she usually comes into the store with some idea of what she should have4 ,bedding1 however1 to most women is too often something to be selected through bargain advertising4 ,because the mind of the prospective purchaser has been conditioned to expect bargains in mattresses1 springs1 pillows1 studio couches1 and sofa beds1 it is necessary for you to use your intelligence and exert sincere effort to sell the sleeping equipment which the customer should have4 ,the average customer is unfamiliar with standards by which bedding may be judged2 so the responsibility of guiding her to a proper selection rests with you4 ,this is all the more important because sleep equipment has an actual effect upon one's health and rest4 ,how well a person sleeps is a natural topic for conversation4 ,you may shirk this responsibility to the physical welfare of the customer by making quick sales of low-priced merchandise4 ,however1 if you want to build a clientele who will recommend you to their friends in an ever-widening circle1 you will remember that you are selling sleeping comfort--something that the customer will be able to check every night of the year4 ,,what ,,does ,,the ,,customer ,,need8 ,the first step in the successful sale of proper bedding is to discover tactfully the preference of the customer and the type of sleeping equipment that is to be replaced4 ,find out if a cotton mattress or a curled hair one or an early inner-spring type has been used4 ,this is important for two reasons4 ,first1 only through knowing what has been used can you make an honest recommendation of better equipment and1 secondly1 through this knowledge you will be able to understand better what the customer implies when she asks for a firm or a soft mattress4 ,the customer may have been sleeping on a curled hair or cotton felt mattress2 for example1 which she characterizes as much too hard1 and she is1 therefore1 asking for a very soft inner spring4 ,future complaints will be avoided in this instance if you will take the time to point out that after using an unusually firm mattress1 the greater flexibility of an inner-spring mattress may be found uncomfortably soft4 ,after a customer has used a very firm mattress1 she will view as soft a new one which is actually medium firm4 ,customers select their clothes and shoes to fit4 ,they have ideas as to what they want in sleep equipment4 ,but their descriptions of what they want and need may not tally with your trade terms4 ,it is your duty to help them to select exactly the right type of mattress to fit their needs rather than to point out that what they term hard or soft is not what the industry feels about these mattresses4 ,you are the expert4 ,it is your problem to see that your customer finds exactly the right mattress1 spring1 or pillow for her individual sleeping needs4 ,when a customer is selecting sleeping equipment for another person her attention should be called to the variance of individual taste1 and wherever possible the requirements of the individual who is to use the equipment should be ascertained4 ,to equip satisfactorily an entire family with full cognizance of the requirements of individuals indicates proficiency and expertness in the salesman4 ,,stress ,,outstanding ,,features ,,and ,,sell ,,better ,,bedding ,as you show your merchandise1 study your customer1 learn as much as possible about her individual needs and preferences and discuss the importance of proper rest4 ,unless your store has a definite and effective method of trading up you will make more sales of better equipment by starting at the top4 ,there is a wide market for mattresses and springs at #ai4ge4 ,too many customers1 however1 who can afford and who should have better quality equipment1 are buying at that price level because no salesperson has tried to sell them better merchandise4 ,if a customer comes in asking to see the promotion mattress on which an advertisement has been run1 she must be shown that mattress4 ,however1 from the head of your department1 from the manufacturer's salesman1 and from your own knowledge of the merchandise you should know in advance what additional value and extra service she will receive by buying the #bi4ej or #ci4ej mattress instead of the #ad4ie1 or the #ai4ge one4 ,because most mattresses look alike1 you must build up her confidence in you and your recommendations by telling her and showing her facts4 ,use the cut-out samples intelligently4 ,point out in an understandable manner the various features and explain how they produce the comfort and the durability in which she is interested4 ,discuss features in terms of what she is looking for in a mattress--springs1 for instance1 not as coils of #aj- or #ab-;foot wire1 but as the means of providing proper resilience and buoyancy4 ,her interest in the upholstery will not be in so many pounds of cotton linters1 staple cotton1 or curled hair1 but in what these things mean in terms of comfort and restful sleep4 ,know the technical construction of the bedding offered for sale1 but discuss this construction only in language that is easily understood4 ,,vast ,,replacement ,,market ,bedding is1 of course1 a must in every new household as well as in every house and room where people sleep4 ,without losing sight of the constant and tremendous market that comes from newly created homes1 a bedding specialist should always keep in mind the vast replacement possibilities in the countless families where bedding has outlived its useful span4 ,this is a market which may have to be awakened1 one in which natural complacency tends to dull the keen edge of spontaneous demand4 ,according to a survey conducted for the ,national ,association of ,bedding ,manufacturers1 nearly #bj percent of the mattresses owned by the housewives interviewed were over #af years in use4 ,by statistical reasoning this might indicate that #h million mattresses in the country have had similar use and it is at least reasonable to presume that after #af years' service1 most mattresses are no longer providing complete comfort and rest4 ,the investigation also showed that #cb percent of the pillows in use by these families had been slept on for over #be years4 ,this may indicate that over #be million pillows in the ,united ,states have been similarly used beyond the state of true comfort-giving usefulness4 ,twenty-seven percent of the bed springs were found to be more than #af years old4 ,,you ,,must ,,know ,,your ,,merchandise ,the first step then in becoming an able salesman of sleeping equipment is to learn everything that you can about the mattresses1 pillows1 springs1 studio couches1 and sofa beds sold in your store4 ,because the consumer usually is not well informed1 the salesman should know everything about the merchandise which he recommends4 ,only after he knows his merchandise1 its component parts1 the quality of its manufacture1 its life expectancy1 resiliency1 and its other characteristics in use1 can he become a successful salesman capable of handling quality merchandise1 rather than an order taker who is able to move only bargain promotions4 ,in the following pages you will find much general information about the various types of sleeping equipment4 ,in a field1 however1 where each manufacturer is stressing individual and patented constructions and units1 no one bulletin can provide all the information you need4 ,you must continuously study the literature provided by the manufacturers of the goods on your floor4 ,furthermore1 never lose an opportunity to talk to manufacturers' salesmen4 ,they are specialists and can give you detailed information which will enable you to explain the qualities of their merchandise4 ,,sell ,,the ,,importance ,,of ,,good ,,rest ,you should also know something about the physiology of sleep4 ,talk to your store's physician1 if there is one1 or to your family doctor4 ,the medical profession has in recent years discovered a great many new facts about sleep and it will help you to sell quality bedding to know them4 ,you should not try to pose as a medical authority1 but you certainly should be able to discuss intelligently the effects of sleep on the mind and body1 the need for proper rest1 and the general results of insomnia4 ,if your store has a book department1 read the various volumes on rest and relaxation4 ,recent books of this type include ,you ,can ,sleep ,well1 by ,edmund ,jacobson1 ,m4 ,d41 and ,sleep1 by ,ray ,giles4 ,as you learn more about sleep equipment1 you will discover that the major improvements in bedding date back only a comparatively few years and that many of your customers do not appreciate how much scientific research and manufacturing care go into the production of the springs and mattresses which are now on your floor4 ,these and the other interesting facts that you will learn in your reading and conversation with manufacturers' salesmen will convince you that in sleeping equipment you are selling one of the most important items of merchandise the average family ever selects4 ,it is now possible for you to conduct the bedding sale so that you impress on the customer 7#a7 the importance of the purchase and 7#b7 that she should buy the equipment that will give the sleeper the most comfortable rest4 ,,how ,,to ,,overcome ,,price ,,objections ,except in rare instances price will always be a factor in the sale of bedding4 ,retail advertising in too many communities is daily educating housewives to expect quality at low prices4 ,your best argument is to prove through your conversation about the importance of sleep and through an actual demonstration of cut-out samples that the customer will receive in bedding1 as in everything else1 exactly what she pays for4 ,sell comfort and rest1 and show how the equipment you are recommending will provide both comfort and rest4 ,there is no better way to anticipate the objection of price4 ,in the opinion of the best merchandising experts in the country the average consumer is not looking for cheap bedding as such4 ,because of the constant price promotion of all types of sleeping equipment--mattresses1 springs1 pillows1 studio couches1 and sofa beds--comparative prices1 however1 are an important factor4 ,you will make more sales1 sell better merchandise1 and build a permanent clientele quicker if you constantly keep in mind that you are selling sleep and rest1 and not merely so many pounds of upholstery and steel to be bought only because the figure on the price tag has been slashed #ej percent this week only4 ,show that the first cost is relatively unimportant--that when measured in years of comfortable service even the best equipment costs but a few cents per night4 ,impress upon her the tangible benefits of receiving good sleep from proper equipment over a reasonable number of years' service4 ,whenever possible1 use tactfully the experience of customers who are pleased with the quality items selected with your assistance4 ,in no other merchandise or department will customer satisfaction bring you so much additional business4 ,as a result of conflicting comparative price advertising1 women frequently shop in several stores for bedding4 ,recent studies show that #fj percent of specialty store customers seem to switch from one store to another each time they purchase4 ,regardless of your enthusiasm for quality equipment--regardless of your sincere desire to recommend only the right equipment--you will still hear that ,blank's have one just as good and #aj cheaper4 ,your best defense for this is to know what ,blank's actually are offering4 ,if it is a promotional item with cheap padding and fancy ticking1 show the customer that you1 too1 have a mattress of similar quality but that the one you are recommending is superior and explain why it is a better value4 ,if1 in spite of your best efforts1 the customer walks out to shop in the bedding departments of your competitors1 let her go gracefully4 ,she is going to do it anyway in spite of what you say and if you impress upon her the strongest arguments for your goods as she leaves1 a surprisingly large percentage will return--particularly if you have shown her you were recommending the equipment that satisfied her particular needs4 ,,mattresses ,,and ,,springs ,,mattresses ,the bedding salesman is concerned principally with those articles of bedroom equipment which most directly determine the sleeping comfort of the user4 ,these are mattresses1 bedsprings1 and pillows4 ,in addition1 the bedding department generally includes studio couches and sofa beds into which mattresses and springs have been built4 ,the mattress may be considered the department's basic item4 ,not only are more mattresses sold than any other article1 but also a properly made mattress sale frequently leads to the sale of other pieces4 ,consequently1 it is of utmost importance for the bedding salesman to be able to talk authoritatively about mattresses4 ,,mattresses ,,as ,,old ,,as ,,civilization ,the mattress dates back to early ,egyptian civilization4 ,the first mattress consisted of large bags stuffed with reeds1 hay1 and wool4 ,feather beds were used by the ,vikings in northern ,europe in the eighth century4 ,their mattresses1 stuffed with feathers1 were similar to those favored by our grandparent4 ,thus it can be seen that for centuries there was little progress made in increasing mattress comfort4 ,the development of inner springs and the felting of upholstery materials are of recent origin4 ,the modern mattress is a twentieth century innovation4 ,,the ,,inner-,,spring ,,mattress ,the inner-spring mattress derives most of its resilience and buoyancy from a unit of many coiled springs4 ,covering this unit on top and bottom are layers of upholstery4 ,in most types there is a thin layer of protective insulation1 often of sisal 7a tough1 white vegetable fiber71 between the spring unit and the upholstery4 ,this keeps the padding material from being forced down into and between the springs and prevents the springs from pushing through the upholstery4 ,in some models the spring unit is padded only lightly and the upholstery is encased in a separate pad for greater ease in handling4 ,the spring unit1 naturally1 is the heart of the inner-spring mattress1 as it determines the sensitivity with which the mattress conforms to the sleeper's body4 ,how it stands up under use largely determines the wearing age of the mattress4 ,these factors are influenced by the quality1 tempering1 and size of the steel wire used and the way the coils are designed4 ,there are so many different types of inner-spring mattresses now manufactured that it is impossible to take up each individually4 ,mattress and steel companies have devoted a great amount of research to determining such small but important details as the shape of the spirals1 the proper number of turns of wire that each spring should be given1 how the coils should be fastened together and the temper and gage of the wire4 ,illustration3 ,figure #bc4--;,cut-out mattress sample showing wire-tied inner-spring unit4 ,this experimentation has produced the many different construction designs4 ,these1 of course1 are protected by patents4 ,the bedding salesman should familiarize himself thoroughly with the distinctive features of the mattresses in his store and be able to show the customer1 through the use of cut-out samples1 just what purposes they accomplish4 ,in this connection1 it should be remembered that it is the independent action of the individual coils that gives support to the various parts of the body and allows the muscles and nerves to relax completely4 ,the salesman's duty1 therefore1 is to show how his products give this support4 ,there are two general types of inner-spring mattresses2 those in which the springs are tied together with metal1 and those in which the individual springs are encased in cloth pockets4 ,,metal-,,tied ,,units ,in the metal-tied units the springs are held together by helical 7small spiral7 springs or metal clips4 ,as a rule1 there are fewer coils in this type of inner-spring unit1 but they are usually larger and of heavier wire than the cloth-encased variety4 ,the number of springs in this unit may vary from #ahj to #cfj or more 7one model contains #a1jjj7 in the full-size models4 ,essentially1 however1 comfort is determined by the quality of the construction and not necessarily by the number of coils4 ,illustration3 ,figure #bd4--;,inner-spring mattress showing pocketed coil construction4 ,the shape of the coil varies1 too4 ,some are like hourglasses1 others like cylinders or barrels4 ,special merits are claimed for each design by its manufacturers4 ,the salesman should be able to explain what these are4 ,,cloth-,,pocketed ,,unit ,the cloth-pocketed unit consists of many small1 light coils1 each of which is encased in muslin or burlap4 ,full-size units of this type usually contain more than #hjj individual coils1 although the number may vary4 ,in this general classification are mattresses in which the individual coils are not completely encased but are secured at both ends by flat horizontal pockets4 ,in some mattresses of the pocket type the coils are tied together2 in others they are not4 ,,characterization ,,of ,a ,,good ,,inner ,,spring ,regardless of its unit construction1 an inner-spring mattress of good quality has certain characteristics which can be easily recognized and described4 ,chief among these are resilience and buoyancy4 ,a mattress with the proper resiliency will give readily when pressure is applied and spring back to its original shape when this pressure is removed4 ,resilience may be thought of as plenty of give4 ,buoyancy is the power to support and sustain the sleeper's weight4 ,a mattress which is buoyant will cradle the body comfortably without letting it sink too deeply into the mattress4 ,,upholstery ,,of ,,inner-,,spring ,,mattresses ,illustration3 ,figure #be4--;,convolute coil designed for inner-spring mattress4 ,the upholstery used to pad the inner-spring unit and give it added comfort conforms in general to that used in solid-filled mattresses4 ,the most widely used upholstery material is felted cotton4 ,in the better grade mattresses the cotton fiber is of good length1 permitting easy felting4 ,in those of lesser quality shorter-fibered cotton is used4 ,curled hair makes an excellent but more expensive upholstery material4 ,it is used alone1 or in combination with cotton or lamb's wool4 ,lamb's wool alone or in combination with curled hair is used in the most expensive types4 ,some manufacturers use lamb's wool on one side for winter use and curled hair on the other for summer4 ,,independence ,,of ,,action ,the purpose of an inner-spring mattress is to supply maximum resilience and buoyancy1 plus independence and freedom of action which will enable the mattress to adjust itself immediately to the varying weights of the different parts of the body4 ,learn why the coils in the springs will not turn1 will not push through the upholstery1 will not collapse and entangle themselves one with another1 and why they will give service for many years4 ,having learned these things yourself1 study the art of making that clear to your customer4 ,lasting comfort is dependent upon structural design1 the quality of construction1 the grade and tempering of the wire1 and the strength of the materials used4 ,the manufacturer has made certain service guarantees4 ,learn what these are4 ,be sure to make them clear4 ,,the ,,solid ,,mattresses ,all-,cotton ,mattresses4 ,eighty percent of solid mattresses are filled with cotton4 ,these range from inexpensive models to ones which match inner spring styles in cost4 ,cotton mattresses come in three classifications--felted1 loose1 and combination felted and loose4 ,illustration3 ,figure #bf4--;,all-cotton felted mattress4 ,the cheapest cotton mattress is that in which short-fibered cotton is blown into the ticking by air pressure4 ,these blown cotton mattresses are an inexpensive product and generally recognized as such4 ,they will give adequate service for a time1 but eventually the cotton will pack down unevenly and form lumps4 ,the salesman in fairness to his customer should refrain from making any claims for these mattresses other than that they will be comfortable for a limited period of time4 ,in the best grade of solid cotton mattresses a longer-fibered cotton is used4 ,these fibers are picked apart and interlaced by a felting process into thin layers1 which are placed one upon the other4 ,this felting1 plus tufting or quilting1 keeps the upholstery in place and retards the tendency toward lumping4 ,a good felted mattress will give service for many years1 but constant use eventually will destroy its resilience and produce lumps4 ,between the blown cotton and the felted cotton mattresses in price range is found a combination mattress consisting of top and bottom layers of felted cotton1 with a center of loose cotton4 ,as the description implies1 it is better than an all-blown cotton mattress and inferior to an all-felted one4 ,curled ,hair ,mattresses4 ,before the advent of the inner-spring unit1 the curled hair mattress was the aristocrat of the mattress field4 ,it is still favored by many persons who prefer to sleep on a comparatively firm foundation4 ,animal hair1 when permanently curled1 has considerable resilience1 as each hair is turned into a tiny spring4 ,four types of hair are used for mattresses4 ,in order of value1 they are3 ,horse-tail hair1 cattle-tail hair1 horse-mane hair1 and hog hair4 ,these types of hair frequently are mixed to produce mattress fillings of varying degrees of resilience and softness4 ,they vary in price and quality according to the percentage of each type that is used4 ,an advantage of the curled hair mattress is that it can be opened whenever desired and rebuilt1 restoring the original resilience4 ,some new hair is usually added with each rebuilding4 ,to give satisfactory service a curled hair mattress should be rebuilt every #e to #g years4 ,kapok ,mattresses4 ,with the exception of cotton1 the only vegetable fiber used in making mattresses is kapok1 which comes from the pod of a tropical tree4 ,kapok mattresses are soft1 are moisture and vermin proof1 and are light and easy to handle4 ,the fibers1 however1 have a tendency to pulverize and form lumps4 ,this tendency may be retarded by sunning the mattress frequently4 ,packing the kapok into compartments adds to its durability4 ,long life1 however1 should not be emphasized in selling a kapok mattress4 ,latex ,mattresses4 ,the latex mattress was introduced to the general public in #aich4 ,latex is the milk of the rubber tree4 ,it is whipped into a foam-like consistency and then vulcanized or heat cured into a mattress mold4 ,air is sometimes injected under pressure4 ,the resultant mattress is honeycombed with large cells which add to its resiliency4 ,in its original form it was #c or #d inches thick and more expensive than the better inner-spring models4 ,because of their comparative thinness1 these latex mattresses usually are sold with special higher-than-average box springs4 ,this type of mattress should be referred to as latex1 not as rubber4 ,a later development was the introduction of inner-spring units with layers of latex used in place of the usual upholstering material4 ,,the ,,covering ,,material ,most of the features that make a really good mattress are concealed from the customer's eye and must be explained by the salesperson4 ,however1 the buyer can actually see and judge the mattress cover4 ,the pattern is important1 because superficially it has most to do with attractive appearance4 ,mattress covers usually are identified either as ticking or damask4 ,ticking4 ,ticking1 usually thought of as a strong1 twill weave1 may have a plain or sateen finish4 ,the twill is made by weaving diagonal lines from right to left on the face of the fabric4 ,the pattern may range from a traditional blue and white to novelties of many widths4 ,eight-ounce ticking is considered the standard of quality4 ,it is so named because #b yards of #cb-;inch width weigh #a pound4 ,ticking also comes in #f-ounce and #d-ounce weights4 ,these lesser weights may be adequate for certain uses but it is obvious that they will give service only in proportion to their strength4 ,tickings which are moisture and bacteria repellent are now being extensively advertised4 ,damask4 ,damask is woven on a jacquard loom in many different patterns4 ,mercerized cotton and rayon often are used to add effectiveness to the patterns4 ,damask in good grades will give satisfactory service though its wearing quality is not equal to #h-ounce ticking4 ,that part of the mattress which covers the sides and joins the top and bottom mattress covers is known as the border4 ,borders should be strong and firm enough to keep the sides in shape and the edge straight4 ,to accomplish this1 borders are embroidered1 quilted1 and otherwise reinforced for added strength4 ,,upholstering ,,and ,,tailoring ,,details ,prebuilt border is one in which the cover cloth1 a layer of cotton felt1 and a lining are stitched1 embroidered1 or otherwise sewed together1 with eyelets or ventilators properly placed4 ,an inner-roll border frequently is used on the better type of mattress4 ,a reinforcing roll of cotton felt is turned in1 close against the padding of the inner-spring unit1 both top and bottom1 to give a neat1 well-defined edge4 ,the outer-roll edge was the original method of finishing a mattress4 ,it has a roll on the outside of the top and bottom of the mattress4 ,this is not extra padding1 but results from the outside stitching of the regular upholstery4 ,it strengthens the edge of the mattress without giving it the smooth edge of the inner-roll4 ,one disadvantage is that it is likely to catch more dust4 ,tufting is the process of running twine or tape through the mattresses at various points1 the outer end being secured with buttons or clips4 ,these tufts serve to keep the inner materials in place and prevent shifting4 ,the tufting material should be strong enough to last the lifetime of the mattress and the buttons should be firmly attached4 ,fasteners such as rubber1 plastics1 metal1 and the like are usually employed instead of the cotton and leather tufts which were formerly used4 ,tuft-less mattresses are those in which the upholstery is held in place by stitching or quilting the layers or by placing it in compartments or between muslin4 ,ventilators1 which range in size from eyelets to holes inch in diameter1 are necessary to permit the passage of air through the interior of the mattress4 ,the larger openings are screened4 ,the borders in good mattresses are built so that the ventilators are left open4 ,,bedsprings ,the ancient ,greeks are said to have been the first to discover that it is more comfortable to sleep on a foundation which gives with the sleeper's movements than on solid wood4 ,they ran braided thongs of stout leather from one side of the bed to the other4 ,these were the first bedsprings and were the only type known until about #hj years ago4 ,this type of spring1 with rope substituted for leather1 was in general use in ,america until a few generations ago4 ,the metal bedspring as known today dates back to about the time of the ,war between the ,states4 ,it was invented by ,james ,liddy1 of ,watertown1 ,n4 ,y41 who so enjoyed a nap on a springed buggy seat that he purchased a supply of buggy springs and put them on his bed4 ,the salesperson should remember that the bedspring is the foundation of the bed and shares with the mattress the job of supplying complete sleeping comfort4 ,to function perfectly1 springs and mattress should be matched carefully4 ,there are four general types of bedsprings3 ,metal-fabric1 open-coil1 platform-top or convolute-coil1 and box springs4 ,metal-,fabric ,springs4 ,the least expensive1 and the least serviceable1 are the fabric springs4 ,they consist of a flat layer of crossed or meshed wires which are fastened to the frame with helical springs4 ,as they are subjected to continuous downward pressure they will soon develop a sag4 ,these should be used only with solid-filled mattresses4 ,another type of fabric springs consists of steel bands fastened to the ends of the frame by helical springs and to each other by short helical cross ties or wire locks4 ,the higher priced models of this type provide a good foundation for an inner-spring mattress4 ,illustration3 ,figure #bg4--7,upper view7 ,platform-top coil spring4 ,illustration3 ,figure #bg;a4--7,lower view7 ,open-coil spring to be used with solid mattress4 ,open-,coil ,springs4 ,the open-coil springs are built to provide flexibility and are particularly designed for use with solid-filled mattresses4 ,they consist of spiral coils1 larger and stronger than those used in inner-spring mattresses1 set into a metal frame4 ,each coil usually is held to its neighbor by four small helical springs4 ,the coils are supported at the bottom by metal strips running from one side of the frame to the other4 ,platform-,top and ,convolute-,coil ,types4 ,the convolute-coil or platform-top springs are similar to the open-coil type except that additional features are added to provide a firmer resting surface for the mattress4 ,in the platform type1 the open spaces in the top of the spring are partly covered by flexible metal bands running both the length and breadth of the springs4 ,the convolute coils have several extra turns of wire as each coil approaches the top of its spiral4 ,when slightly compressed these turns flatten out in the same plane1 providing a broader supporting area4 ,the platform-top and convolute-coil springs are designed specifically as a foundation for inner-spring mattresses4 ,if an inner-spring mattress is used with an ordinary open-coil spring the smaller springs of the mattress are likely to force their way down into or between the larger spring coils1 with a resultant premature breakdown of the mattress4 ,the platform-top and convolute-coil types close up the open spaces and eliminate this hazard4 ,better grade springs1 whether of open-or closed-coil type1 usually are of double-deck construction4 ,between the top and bottom of the frame there is a center wire with supporting bands running both the length and breadth of the springs4 ,this support makes possible the use of a longer coil1 which acts as a double spring4 ,the lower half of the coil is more tightly wound and is stiffer for the support of the sleeper's weight4 ,the upper half then contributes the resilience4 ,another mark of a good spring is the use of two or more steel braces1 known as stabilizers1 which prevent sidesway and border sagging4 ,box ,springs4 ,box springs consist of spiral springs attached to a foundation1 usually of wood1 and cushioned with a layer of upholstery4 ,the coils are larger and heavier than the usual open-coil springs4 ,the entire unit is enclosed in a box-like frame and covered with ticking4 ,box springs originally were designed to give much resiliency so that they could be used with solid-filled mattresses of hair or cotton4 ,most box springs today1 however1 are constructed with the firm tops which are necessary for use with inner-spring mattresses4 ,each coil in the box spring is set into a slat of wood or steel4 ,the coils are held upright by being tied one to another1 to the border1 and to the foundation4 ,the borders usually are of wire or rattan4 ,in the better types1 the springs are hand-tied with a special twine4 ,a wire-tied-spring unit is used in the cheaper models4 ,box springs usually are sold with covers which match certain mattresses in the same price range4 ,this permits the sale of mattress and box springs as a single unit4 ,,suggestions ,,for ,,the ,,salesperson ,illustration3 ,figure #bh4--;,box-spring construction4 ,let us suppose you have sufficiently impressed the customer with the importance of buying quality sleeping equipment and with your sincerity in recommending what she should have4 ,you have shown her several mattresses and springs and1 after eliminating those to which she voiced objections or paid little attention1 you are now ready to concentrate on the one or two models in which she expressed interest4 ,point out that the mattress will be used #h hours every night and that for her satisfaction she should buy only the one carefully selected to give the comfort and wear that she desires4 ,she should never consider bedding without having satisfied herself as to its qualities and its ability to serve her and her family correctly4 ,she should be encouraged to make whatever test she likes and should be made aware of the store's policy permitting her to do so4 ,if she has become convinced that she should purchase one of your mattresses2 if for instance you have sold her quality and comfort1 you should show her how springs and pillows will complement what she has already bought4 ,if you fail to do this1 much of the sales effort which you have invested will have been denied its opportunity to serve you in making a sale of these allied goods4 ,the reason that persuaded your customer to buy a good mattress should lead her to seek complete sleeping equipment4 ,it is almost impossible to sell a good mattress properly without discussing springs because the resiliency of the one depends considerably upon that of the other4 ,a soft mattress on very soft springs may unduly emphasize this quality to the customer's ultimate dissatisfaction4 ,consequently1 in showing various mattresses1 you should explain the kind of bed springs to which each is adapted4 ,when the mattress has been selected1 it is time for you to emphasize the importance of the springs4 ,the beauty of matched units with box springs1 designed specially to go with the mattress is something you should stress4 ,but if the customer is not box spring conscious and many are not1 show her the newer models of coil springs and explain their characteristics1 their protection of the mattress against wear1 their construction to avoid sidesway1 and similar interesting features4 ,often you will hear1 ,our old springs will be satisfactory4 ,with such a customer1 to insure that the new mattress will give satisfaction1 you must learn what type of old spring is going to be used4 ,it will usually be a resilient open-coil spring1 probably satisfactory when used with an all-cotton or all-hair mattress1 but unsuitable as a foundation for an inner spring4 ,avoid future complaints of premature mattress breakdown and uncomfortable sleep by showing how the small coils and the upholstery of the inner-spring mattress push down into the larger openings of old coil springs4 ,demonstrate the increased resiliency of springs designed for cotton mattresses and why inner-spring models need a fuller base4 ,thousands of spring sales have been neglected merely because the salesman was satisfied with the mattress order4 ,many customers1 too1 have become dissatisfied with their new mattresses solely because the salesman failed to explain the importance of springs4 ,take advantage of this attitude always to complete the sale by selling the right spring4 ,,pillows ,of all articles of bedding1 pillows should be the easiest to present in the light of their distinctive features4 ,they contain no coils or patented mechanism4 ,yet there is a tremendous difference between a poor pillow and a good one4 ,certainly many use pillows too old to have retained their resiliency and complete comfort4 ,good pillows are a part of beautiful and satisfactorily equipped bedding ensembles4 ,do not diminish your service by failing to speak of this4 ,many of your customers who are actually in the market for them do not realize that the furniture store sells pillows4 ,therefore1 it is a distinct service to them and an added sale to you if you ask the privilege of showing your stock4 ,unless you know and can explain the value of quality pillows1 many of your customers will surely buy less satisfactory ones4 ,one reason why pillows generally are used too long can be traced to the unfortunate belief of many housewives that good feathers are an heirloom to be handed down from one generation to another4 ,in reality feathers are delicate and perishable4 ,after years of constant use they lose resiliency and can no longer properly support the neck muscles4 ,,types ,,of ,,pillows ,the best filling for pillows is the down and feathers of waterfowl4 ,less satisfactory are land-fowl feathers4 ,the quality of the pillow depends upon the percentage of each kind of material that is used in the filling4 ,down4 ,natural down is a soft undercoating that grows on adult waterfowl4 ,its fibers are soft and fluffy and emanate from a center point4 ,there is no quill shaft4 ,down-filled pillows are a luxury item and are the softest and lightest available4 ,they are ideal for persons who prefer an extremely soft pillow4 ,goose ,feathers4 ,goose feathers make the finest feather filling4 ,they are resilient and have a curved quill which itself is buoyant4 ,the feather fibers are full and fluffy4 ,contrary to common belief1 there is no difference in the filling quality of grey and of white goose feathers4 ,the white feathers1 however1 are in greater demand and are more expensive4 ,goose feathers vary considerably in quality4 ,domestic and ,european goose feathers are generally considered better than those from ,eastern countries4 ,a good grade of goose feather pillow is slightly firmer and more buoyant than a down pillow4 ,duck ,feathers4 ,duck feathers rate next in quality to goose feathers4 ,they are more slender and have weaker and less arched quills4 ,they can be distinguished from goose feathers by their pointed tips and by the presence of fewer fluffy fibers at the base4 ,a duck feather pillow is firmer and heavier than a goose feather pillow and is less resilient and buoyant4 ,turkey ,feathers4 ,turkey feathers are inferior to waterfowl feathers but are somewhat more buoyant than chicken feathers4 ,the quills are straight and the feather fibers are not as fluffy as those of the duck and the goose4 ,the shafts must be artificially curled to give them springiness and this curl is lost after a few years' service4 ,chicken ,feathers4 ,chicken feathers are the least expensive and make the poorest filling4 ,like the turkey feathers1 they have straight shafts which must be artificially curled4 ,chicken and turkey feathers make pillows which are heavier and less resilient than waterfowl pillows4 ,they are used in price merchandise and will not give long service4 ,the salesperson should talk with manufacturers' salesmen and acquire facts necessary to explain convincingly the importance of the arch in the stem of goose and duck feathers as contrasted to the stiff straightness of the chicken or turkey feather4 ,kapok4 ,kapok1 a vegetable fiber1 sometimes is used as filling for pillows4 ,when new it is soft and fluffy4 ,it is not durable1 as the fibers pulverize into hard lumps with wear4 ,frequent sunnings and airings will retard this pulverization4 ,characteristics of a ,good ,pillow4 ,a good pillow can be judged by its lightness in comparison to its bulk4 ,pillows should be well filled in order to retain their resilience and plump appearance4 ,a down-filled pillow of standard #ba- by #bg-;inch size will weigh approximately #a pounds4 ,the same pillow filled with goose feathers will weigh about #b pounds4 ,if filled with chicken or turkey feathers this pillow will weigh about a pound more4 ,to test a pillow for resilience1 lay the pillow flat and press down the center with your hand4 ,the quicker and more completely it springs back to its original shape the better is the grade of feathers4 ,buoyancy also is important4 ,if the pillow is properly buoyant1 it will support weight so that the head is held comfortably without sinking too far into the pillow4 ,a good pillow should contain no dust1 stiff feathers1 or lumps4 ,the presence of dust can be determined by pounding the pillow4 ,stiff quills and matted feathers can be detected by pressing the pillow between the hands4 ,the selection of a pillow of the proper firmness depends entirely upon the preference of the user4 ,always mention the degree of firmness or softness in addition to the type of feather and quality of ticking in each pillow that you show4 ,pillow sizes ordinarily refer to the dimensions of the finished product1 not the cut size of the ticking4 ,the most common sizes are #bj by #bf and #ba by #bg4 ,increasingly popular is a #bj- by #cf-;inch size4 ,the pillow case should be of tightly woven cotton which is feather-proof and down-proof4 ,eight-ounce blue-striped ticking is considered a standard of quality4 ,eight-ounce warp sateens also give good service4 ,lightweight1 closely woven1 linen-finished ticking is another popular fabric4 ,,studio ,,couches ,,and ,,sofa ,,beds ,the modern trend toward small houses and efficiency apartments has created a demand for furniture which can be converted from ordinary daytime uses into beds at night4 ,by far the most popular in this field are studio couches and sofa beds4 7,see figs4 #bb;,a and #bb;,b1 page #ajf47 ,,the ,,studio ,,couch ,the studio couch for many years has been a standard auxiliary bed4 ,in its simplest form it consists of two parts1 one on top of the other and each containing upholstered springs4 ,these two parts when placed side by side make a full-sized bed4 ,modern studio couches are available in many period styles and are used to complement the decoration plan for the living room1 library1 recreation room1 sunroom1 bedroom1 or even entrance hall4 ,,sofa ,,beds ,the sofa bed is a later development4 ,it equals in beauty and quality of workmanship the articles of furniture from which it derives its name4 ,yet it contains an ingeniously concealed sleeping unit4 ,good sofa beds are made in authentic styles and are covered in rich satin1 leather1 and tapestry upholstery that make them as attractive as any piece of single-purpose furniture in the living room4 ,when only occasional sleeping use will be required1 the attractive appearance and seating comfort of the sofa bed should be stressed4 ,,questions #a4 ,what is the first step in becoming a better bedding salesman8 #b4 ,under what circumstances may cut-out samples be used to the best advantage8 #c4 ,what information do you need from the customer in order to recommend intelligently the right mattress and bedspring8 #d4 ,what reasons can you give the customer to convince her that she should buy quality sleeping equipment8 #e4 ,how do you overcome the customer's objection that competitors' stores are selling mattresses #aj cheaper8 #f4 ,why should you stress the purchase of a new spring with each new mattress8 #g4 ,what are the best selling features of 7a7 box springs and 7b7 convolute and platform-top coil springs8 #h4 ,why are waterfowl feathers superior to land fowl feathers in pillows8 #i4 ,how can you prove to a customer that her pillows should be replaced8 #aj4 ,what features do you stress in selling sofa beds and studio couches8 ,,suggested ,,reading ,,list ,furniture ,record1 ,bedding ,articles1 ,january #ae1 #aidj4 ,,giles1 ,,ray4 ,sleep4 ,bobbs-,merrill ,co41 ,indianapolis1 ,ind4 #aich4 ,bulletin #bf1 ,basic ,selling ,facts for ,bedding1 ,mattresses1 ,bed ,springs1 and ,pillows--,good ,housekeeping1 ,department of ,merchandise ,education1 ,fifty-seventh ,street at ,eighth ,avenue1 ,new ,york1 ,n4 ,y4 ,bulletin entitled--,consumer ,investigation1 issued for the ,national ,association of ,bedding ,manufacturers by the ,lawrence ,h4 ,selz ,organization1 ,merchandise ,mart1 ,chicago1 ,ill4 ,bulletin #aj1 ,feathers and ,down--,pennsylvania ,department of ,labor and ,industry1 ,harrisburg1 ,pa4 ,,jacobson1 ,,edmund1 ,m4 ,d4 ,you ,can ,sleep ,well4 ,mc,graw-,hill ,book ,co41 ,inc41 ,new ,york1 ,n4 ,y4 ---- ,you ,must ,relax4 ,,mccollister1 ,,frier4 ,selling ,sleep1 ,national ,retail ,dry ,goods ,association1 ,the ,bulletin1 ,november #aici4 ,national ,furniture ,review1 #fff ,lake ,shore ,drive1 ,chicago1 ,ill4 ,march #aidj4 ,bedding ,section4 ,,palmer1 ,,lois4 ,your ,house4 ,boston ,cooking ,school ,magazine ,co4 #aibh4 ,the ,bedrooms1 pp4 #gh-ia4 ,,seal1 ,,ethel ,,davis4 ,furnishing the ,little ,house--,century ,co41 ,new ,york1 ,n4 ,y4 ,the ,bedrooms1 pp4 #aee-afh4 ,magazine ,articles4 ,american ,home1 ,november #aici1 ,we're ,campaigning for ,better ,sleep4 ,good ,housekeeping1 ,november #aici1 ,buy the ,mattress ,that ,suits ,you4 ,house and ,garden1 ,october #aici1 ,when ,you ,select ,bedding4 ,house and ,garden1 ,april #aida1 ,how to ,buy ,bedding4 ,house ,beautiful1 ,april #ae1 #aidj1 ,good ,nights4 ,mc,call's1 ,april #aici1 ,how to ,buy a ,mattress4 ,parents'1 ,october #aici1 ,bed for the ,baby4 ,parents'1 ,september #aidj1 ,a ,sound ,bedtime ,story4 ,practical ,home ,economics1 ,april #aida1 ,an ,outline of ,sleeping ,equipment4 ,the ,bride's ,magazine1 ,spring ,issue1 #aidj1 ,to ,sleep4 ,the ,bride's ,magazine1 ,spring ,issue1 #aida1 ,choosing ,your ,bedding4 ,woman's ,home ,companion1 ,april #aida1 ,how ,about ,your ,guest ,room8 ,unit ,,vii ,,an ,,introduction ,,to ,,the ,,art ,,of ,,interior ,,decoration ,interior ,decoration as a ,selling ,method ,emotional ,values of ,light1 ,color1 ,line1 and ,proportions ,color ,management in ,decoration ,principles of ,furniture ,arrangement ,illustration3 ,photograph by ,grignon4 ,figure #bi4--,this fernery server1 part of a new eighteenth century dining-room suite1 gives the new interpretation to functional pieces in period design4 ,the attractive server with compartment for glasses and a service shelf for plates1 cups1 and the like1 is equipped with two metal plant containers4 ,the rug is an all-over textured olive green ,axminster4 ,unit ,,vii4--,,an ,,introduction ,,to ,,the ,,art ,,of ,,interior ,,decoration ,,interior ,,decoration ,,as ,a ,,selling ,,method ,the art of interior decoration is the skillful use of furnishings in keeping with the architectural factors of a room to create a harmonious setting adaptable to the social1 economic1 and personal use of the occupants4 ,a room may be said to be beautiful if it gracefully1 effectively1 and adequately fills the purpose for which it is intended and takes into consideration the habits of all members of the family using it4 ,the salesman who creates a room which adequately and harmoniously fills the purpose for which it is intended--taking into consideration all of the personal and architectural factors--may be satisfied that he has done a good job of interior decorating4 ,comfort and beauty4--,comfort can be created through proper exercise of care and common sense4 ,everyone knows what comfort means1 and is able to recognize it4 ,but in the case of beauty1 no one knows precisely what it means and many people are unable to recognize it4 ,the facts are that1 although beauty is beyond definition1 it will appear in the presence of certain conditions2 that these conditions may be defined and controlled and discussed intelligently and convincingly with customers4 ,what these conditions are1 and how their presence may be insured by means of the merchandise1 will be set forth in this unit and in the four units which follow4 ,for our present purpose it is enough to say that one of the conditions of beauty is harmony1 and that any room will have a considerable measure of beauty if its furnishings are harmonious4 ,a well-furnished and decorated room will have colors1 contours1 and groupings that fit into the architectural background as though all were conceived and executed simultaneously4 ,the salesperson should guard against the customer's rather natural feeling that there is inequity between cost and the characteristics and qualities which give harmony and beauty to home furnishings4 ,in handling a sale at this point1 the salesman will develop convincingly the idea that home decoration1 although it is the distinguishing mark of all lovely homes1 actually is not dependent on lavish expenditure4 ,personal comfort1 reflection of individuality1 dominant unity1 and harmonious groupings result from careful planning and educated tastes rather than from loosening the strings of a heavy purse4 ,after all1 the basic consideration is suitability1 not decoration4 ,the salesman who will assemble a harmonious grouping quickly and keep it within the customer's price range will accomplish two important things3 #a4 ,focus attention upon beauty and satisfaction of harmonized groups instead of directing worry toward price and minor details4 #b4 ,increase respect for his judgment and understanding of her problem4 ,suitability means comfort first4--,every well planned sale of home furnishing materials starts with the assumption that the buyer is always thinking in terms of her own interests4 ,she has little or no concern with the construction1 design1 style1 prestige value1 or price of any article unless she believes that her own interests will in some way be affected by it4 ,suppose for instance she has read several of many articles which appear from month to month in magazines covering the home-furnishings field1 and that she has attended lectures on home decoration4 ,she may even have discussed particular problems intimately with several interior decorators4 ,she understands that she should never buy just for the present with the idea of making replacements later4 ,she long since has given over the idea of wondering what the neighbors will think of her selections4 ,before she faces the bewildering walk down aisles flanked with sofa beds1 lighting fixtures1 tables1 chairs1 beds1 draperies1 consoles1 carpets1 rugs1 and chaise lounges1 she has planned her room on paper and has visualized the picture in terms of color and often has decided on a color scheme4 ,furniture has been given a diagram placement on paper to conform to wall spaces and windows4 ,rugs1 draperies1 and accessories have been subjected to tests of suitability for the purposes for which they are to be used4 ,when the salesman finally faces her in the first vital moments of this sales effort he quickly will realize that she knows what things she wants to see1 their styles1 shapes1 sizes1 and even their colors4 ,without knowledge of at least elementary principles in the art of interior decoration he is certain to feel a sense of inadequacy1 even of humiliation4 ,even with the requisite basic information1 normally it will be a sheer waste of time to assure her that any article is handsome1 finely made1 fashionable1 or even that it is a wonderful value until he is sure that she considers this piece adapted to her own situation and needs4 ,innumerable sales go on the rocks at this point4 ,interior decoration as a selling method begins right here with the revelation of the customer's situation and needs4 ,if she has ideas which are in the hazy1 sketchy1 and by no means certain stages1 then the salesman must proceed to secure the information he must have in advance of any intelligent selling he may hope to do4 ,usually these customer situations and needs will depend on two factors1 the one personal and the other architectural4 ,the personal factor involves such considerations as the age1 sex1 size1 tastes1 and habits of the members of the family2 the amount and character of entertaining for which provision must be made2 and the amount of money or credit available for new furnishings4 ,the architectural factor includes such details as the use1 size1 style1 and situation of the room2 its woodwork1 floor1 walls1 ceiling1 and lighting2 its relationships with connecting rooms2 and the size1 style1 and coloring of the furnishings already in use4 ,in employing this method1 even in the simple sale involving the purchase of a single piece1 the competent salesman will have three purposes in mind4 ,the first is to insure that this new piece will fit the people who are to use it2 the second1 to insure that it will fit the room in which it is to be used2 and the third1 to insure that it will combine with everything else in the same room to form an agreeable harmony4 ,in other words1 he must use his merchandise to secure comfort through fitness or suitability to purpose and use1 and to create beauty through harmony4 ,correct room arrangement is essential to both4 ,,emotional ,,values ,,of ,,light1 ,,color1 ,,line1 ,,and ,,proportions ,everything used in furnishing a room may be resolved into its elements of light1 color1 line1 and proportion4 ,psychologists have shown that colors influence the mood of an individual1 and create emotional values which may be stated as follows3 ,,light ,,and ,,shade ,to understand and correctly use light and shade1 one must have a basic understanding of values and know how by using these values different effects may be achieved4 ,using as a key a scale of nine values 7bearing in mind that the term value means degree of lightness or darkness without regard to any particular color7 ranging from black to white1 one finds that the grey tones toward the white end of the scale are light values and shade toward white2 those toward the black end of the scale are dark values and shade toward black2 in the center is a medium grey tone4 ,using these values in terms of room colors1 it has been established that light values are cheerful and gay because they reflect light4 ,when used in pastel tones they are feminine and friendly4 ,on the other hand1 dark values are sombre1 heavy1 and masculine in feeling since they absorb light and have a darkening effect4 ,the middle tones are a happy balance and combine essentials of both values4 ,thus1 kitchens1 breakfast rooms1 nurseries1 playrooms1 and boudoirs should be done in light values2 libraries1 men's rooms1 or lounges in dark values and living rooms and dining rooms in medium values1 using both dark and light4 ,,color ,,terms ,although there are many technical color terms used by advanced colorists to distinguish variations in colors1 there are just a few basic facts to remember to help you understand and use color to the best advantage in interior decoration4 ,hue is the pure color neither mixed with white1 black1 nor a complementary color4 ,a hue may be a primary color1 secondary color1 or tertiary color in its true value4 ,when you mix a hue with white it becomes a tint2 when mixed with black it becomes a shade2 and when greyed with a complement it becomes a tone4 ,since walls should be lighter than the floor covering1 walls are usually done in a tint2 floor coverings in a shade or tone or a particular hue1 and furnishings either in the pure hues in adjacent or complementary colors or in tones1 tints1 or shades of these hues4 ,primary1 secondary1 and tertiary colors4--,primary colors are the three basic colors known to man which cannot be produced by combining any other colors1 but which1 when combined in proper proportion1 can produce every color known to man4 ,these colors are red1 blue1 and yellow4 ,secondary colors are hues obtained by admixture of the primaries and consist of violet 7red and blue72 green 7yellow and blue72 and orange 7red and yellow74 ,tertiary colors4--,these are hues obtained by admixture of the secondary colors with the primary colors and consist of red-violet or plum2 blue-violet or a deep1 marine-type blue2 blue-green or aqua-marine2 yellow-green or chartreuse2 yellow-orange or tangerine1 and red-yellow or a warm red or vermilion color4 ,complementary and adjacent colors4--,complementary colors are the colors directly opposite each other on a color chart made up of the primary1 secondary1 and tertiary colors1 and when used in pairs they intensify each other4 ,adjacent colors are the colors which follow each other in a color chart made up of the primary1 secondary1 and tertiary colors and they may be used together with an accent of a complementary color4 ,elementary color chart4--,to properly understand these terms and imprint these color combinations in your mind make this simple color chart in color using the three primary colors4 ,this chart also may be worked out in pencil in a few minutes time and referred to when making color suggestions3 ,illustration3 ,figure #cj4--;,color chart4 ,numbers indicate3 #a1 primary colors4 #b1 secondary colors4 #c1 tertiary colors4 ,draw a circle #d inches in diameter4 ,divide the circle into three equal parts by lines radiating from the center4 ,label these three lines1 red1 blue1 and yellow2 they are your primary colors4 ,these lines represent the admixture of the primary colors and represent violet1 green1 and orange4 7,see chart47 ,now fill in the tertiary colors4 7,see chart47 ,when doing these in colors you will see the colors change and blend into each other as they are applied4 ,from the above color chart you can make any harmonious room combination4 ,for any true harmony all three of the primary colors should be present4 ,it is not necessary1 however1 to have three colors2 a secondary color 7made by blending two primary colors7 would use the third primary as a complement4 ,look at the chart2 you will note that green 7made by mixing blue and yellow7 has red as its complement4 ,a third color in the room might be yellow or blue1 yellowish-green1 or blue-green4 ,this is termed a complementary color scheme4 ,when using an adjacent1 or monochromatic color scheme1 any series on the color chart may be followed2 for example1 green1 blue-green1 blue1 blue-violet1 and violet4 ,the complement or accent to this color scheme would be the complementary colors1 orange1 yellow-orange1 red-orange1 etc4 ,before applying these principles to room schemes1 there is one more rule to bear in mind4 ,all colors in which red or yellow predominate are known as warm colors and colors in which blue and green predominate are known as cool colors4 ,since warm colors are more intense and tend to be exciting1 they must be offset by cool colors1 usually in the ratio of two to one1 since it often takes two cool colors to balance one warm color4 ,it is also well to remember that deep colors advance and light colors recede4 ,an oblong room can be made to look more square by doing the short walls in a deep green1 the long walls in a light green4 ,primary and secondary colors are more intense than tertiary colors--colors receding and lightening with the admixture of additional hues4 ,building a room scheme4--,taking all of the above facts into consideration1 it may be interesting to work out a few simple color schemes for a living room4 ,assume that one wishes to do a blue room4 ,the predominating color in the room will1 of course1 be blue4 ,however1 let us suppose we do not particularly care for a blue rug4 ,since the second largest piece in the room is the sofa1 we have decided to use a blue sofa4 ,we have two definite choices for a rug2 it may be a greyed tone of red or wine color1 or a greyed tone of yellow 7beige or light brown74 ,if we select the red-tone rug1 we must think about our yellow tone for the complementary chair4 ,let us suppose we decide upon a tint of yellow or beige4 ,a third chair now may be a secondary1 or tertiary1 of these three colors1 and since our room is predominantly blue1 we select a blue-red or violet color4 ,violet1 you will notice1 is a perfect complement to yellow4 ,we might have used a shade of red or wine color as a complement but it would have given a red tone to the room4 ,for draperies we have several colors from which to choose but we must take into consideration the wallpaper4 ,we may use a tint of the floor covering1 or the sofa1 or may bring in the third primary color4 ,let us suppose we had decided to use a tint of the floor covering or a soft pink tone4 ,our draperies now may be blue1 blue-violet1 or red-violet4 ,accents necessarily would then be red or orange4 ,if wine-colored draperies were used1 we would have practically an equal balance between red and blue1 and our accessories would be yellow4 ,another popular method of color coordination is to repeat the colors found in one piece with plain colors or novelty weaves emphasizing the colors of the figured fabric2 for example1 a room may have a blue sofa with a tiny pink figure worked into the tapestry4 ,one of the chairs1 then1 could be pink in the same tone as the small figure2 the other chair would then be one of the yellow tones1 and could be either beige1 or brown4 ,some decorators repeat the floral colors of printed draperies in the room setting4 ,some combine the plain colors of the sofa and chair in a figured third chair which has a neutral background and picks up the colors of the other two pieces4 ,it is well to mix the patterns in a room1 a stripe combining nicely with a plain color1 and a small figured mixture carrying out the third color and blending the striped and plain tones4 ,by referring to your chart you will discover many interesting color combinations4 ,just remember that adjacent colors take the opposite complement as accent4 ,complementary colors may be used with adjacent or with a third primary color1 or with a combination of two primaries on a neutral background of the third color4 ,,line ,,and ,,form ,straight lines create an effect of strength1 virility1 and seriousness1 and1 if exclusively employed1 of austerity or hardness2 while curved lines create an effect of flexibility and joyousness1 and1 if1 exclusively employed1 the effect is one of weakness4 ,horizontal lines and shapes arouse a sense of calmness and repose2 vertical lines and shapes1 of activity and life2 diagonal lines and shapes1 of movement4 ,long straight lines create an effect of dignity4 ,when two colors are used together a line is created and these lines have a distinct effect upon the room in which they are used4 ,,proportion ,proportion1 which is simply the relation of one dimension to another1 applies throughout the house to walls1 floors1 ceilings1 doors1 windows1 chairs1 bookcases1 tables1 and other furnishings4 ,good proportions are never top-heavy1 squatty1 or uninteresting4 ,large size and thick proportions suggest strength1 weight1 permanence1 and dignity2 small size and slender proportions arouse the idea of delicacy1 lightness1 and grace4 ,it is well for the furniture salesman to understand a few simple facts which every good interior decorator knows4 ,walls and floors1 plus ceilings1 determine the proportions of a room as a whole4 ,suppose a badly proportioned room is too narrow for its length and height--something common1 for instance1 to halls and dining rooms4 ,the apparent width of this too narrow room may be increased by-- #a4 ,hanging a mirror1 or using a picture in which the perspective is such that the eye follows a stream or broad expanse into the distance4 #b4 ,using scenery wallpapers4 ,in well-proportioned rooms the wall decorations are lighter than the floor and the ceiling decorations are lighter than those of the walls4 ,,sources ,,of ,,inspiration ,there are many avenues of study available to anyone who seeks the real enjoyment which comes with planning his own environment4 ,fashion ever has been a keynote in the purchase of home furnishings4 ,the key1 however1 still remains in the custody of the owner4 ,when she intends to buy a new gown1 coat1 or hat1 she reads magazines and newspapers1 shops around1 studies styles and trends1 thinks of uses and requirements for the gowns or coats under consideration4 ,probably she needs to understand that she may use as much conscious discrimination with furniture as with coats if only she will use the same sources of inspiration and information4 ,she should try any one or all of these3 #a4 ,monthly magazines with their superb color features1 illustrating articles of great diversity4 #b4 ,books from the public or from a rental library4 #c4 ,model rooms set up in department and furniture stores1 and in furniture shows4 #d4 ,museums containing replica rooms done in the historical periods4 #e4 ,paintings1 as guiding one's thoughts for color schemes4 #f4 ,newspapers which record style trends in attractive merchandise priced to meet the family budget4 ,if these studies are good for the prospective customer1 how much more valuable they are for the progressive salesman who seeks to understand customer needs and desires in terms of human satisfactions4 ,,summary ,the results of studies of emotional values may be summarized as follows3 #a4 ,variations in light1 color1 line1 shape1 and size affect the mind in certain fairly definite ways4 ,when these variations are understood and controlled a group or a room may be given atmosphere which not only adds to its beauty1 but also greatly helps in arranging it to meet the needs of the people who use it4 #b4 ,these emotional values of light1 color1 line1 shape1 proportion1 and texture must be employed in such a way that the effect of each is increased by the effects of all3 ,effects of restfulness and tranquillity result when-- a4 ,the amount and intensity of illumination are reduced4 b4 ,the tone of all colors is lowered4 c4 ,horizontal lines are predominant4 d4 ,large size is emphasized4 ,effects of animation and activity result when-- a4 ,the amount and brilliance of illumination are increased4 b4 ,the tone of all colors is raised4 c4 ,vertical lines are predominant4 d4 ,small size is emphasized4 ,,color ,,management ,,in ,,decoration ,the moment anyone undertakes to furnish a home1 that moment he begins to use color4 ,ross ,crane1 when conducting experiments in which color schemes for complete rooms were planned and executed step and step1 determined that there are only four steps to take in building a color scheme4#ae ,these four steps are3 #a4 ,decide on a dominant or controlling color4 #b4 ,decide on the colors to go with it4 #c4 ,bring these colors into the room in everything4 #d4 ,accent the scheme by means of small objects 7flower bowl and flowers1 lamps1 pictures1 smoking trays7 in high intensities of the leading color4 ,these are the high lights that produce life and sparkle4 ,another writer puts it this way3 ,in deciding on a color scheme for a whole room1 fix on some foundation color1 and then introduce relief and contrast4#af ,,planned ,,procedure ,,for ,,the ,,salesperson ,with this information well in mind the home furnishings salesman will do well to leave learned and scientific discussion of color management to the scientists and concentrate on a few principal facts which will be dominant throughout the sales procedure4 ,he may be assured that his customer's decisions to buy furnishings for a complete room1 a few pieces only1 or none at all1 will be conditioned by her likes1 by the family budget1 by the size and use to be made of the room1 and by the necessity to use left-overs4 ,he certainly will profit by having a rather definite knowledge of chromatic scales1 complementary colors1 adjacent colors1 nuances1 and concentric circles as devices which he may use to show how we get the many varied colors4 ,it is the opinion of leading experts that the average salesman will find it far easier and more satisfactory to talk convincingly of color management for any given room or combination of rooms by using a simple color story which starts with the six basic colors1 and which may be understood easily by the customer4 ,if a simple color chart is close at hand and ready for use at any time1 the sales talk will deal with facts1 not generalities4 ,he must be able to take an inventory1 by personal inspection or through questions1 of the color possibilities in the decoration problem presented by the customer4 ,such facts as room exposure1 size and type1 wall color1 floor covering1 furniture already in the room2 use to be made of the room1 number1 sex1 and characteristic traits of those who will live1 eat1 work1 or sleep in the room2 and approximate price ranges must be known if real help is to be given4 ,he must know the stock so thoroughly that within the given price range1 the designation of the proper color schemes will be comparatively easy4 ,he must use his knowledge of color through the furnishings1 to interpret1 as needed1 two different sets of ideas3 #a4 ,one in which the color scheme is daring1 with unusual combinations1 startling1 gay1 and sophisticated4 #b4 ,the other1 with a color scheme recognized as gentle1 restful1 and never monotonous4 ,if he has a feeling of intimacy with both and will use his knowledge consciously to produce definite emotional effects1 in a progressive series1 he will see sales come as a reward for his effort4 ,,the ,,salesperson ,,as ,,interpreter ,,of ,,appreciations ,when next you find a room in the home of a friend1 in a model house1 or illustrated in a magazine that awakens a response of pleasure when you first see it1 stay with it long enough to find out why4 ,study the handling of color in curtains1 rugs1 chair upholstery1 lamps1 and bits of pottery2 ask yourself where the abiding interest of the room is centered4 ,seek to uncover the secret of the spell this room casts over your senses4 ,unconsciously1 you thrill to the thought that you1 yourself1 would never tire of such a room4 ,it is the ultimate in color management4 ,this glorious adventure must be experienced by you1 yourself4 ,to you is given a power to enrich your appreciation of lovely things1 and in turn to convey similar appreciations to your customers4 ,the salesman who has learned to exercise this power is far from being an order taker or even an order solicitor4 ,literally1 he is counselor and guide--an interpreter of the store services which exist to help the customer1 and the one to show the store management the need for expert customer guidance in color management4 ,if once1 you1 the salesman1 have experienced the personal satisfactions of studying a room which has unmistakable distinction1 which literally glows with the light of a personality reflected against a background of culture1 understanding1 and sympathy1 you in turn will seek eagerly to share your adventures in color management with those who come to you seeking to express their desires and aspirations in terms of usable1 lovely surroundings4 ,difficult8 ,the difficulty is in deciding to make the effort4 ,,principles ,,of ,,furniture ,,arrangement ,next in importance to the actual selection of furniture and accessories is a skillful and sensible arrangement of it all in a room4 ,every salesman should understand that in the placing of the furniture you may make a small room appear more spacious2 a large barn-like one seem more cozy2 express the idea of formality or informality2 quiet restfulness or agitated confusion1 sedateness or gayety1 order or disorder4#ag ,one secret of getting a homelike quality in the arrangement of furniture is to assemble it in small groups or units which suggest specific uses1 as for instance a reading group1 a writing or business nook1 a rest corner1 or a music section4 ,,get ,a ,,center ,,of ,,interest ,,first ,if you are arranging furniture in the living room1 decide on a central interest4 ,often this is called a built-up composition--table1 be grouped4 ,a fireplace with its cheerful fire-glow may well be a natural center of interest4 7,see fig4 #ca47 ,a window or group of windows opening upon a lovely vista may serve equally well4 ,if the family is musical1 the grand piano may be so placed as to become the pivotal point of interest4 ,secondary centers of interest naturally are created once the fireplace1 a window1 or the grand piano is assigned to the major role4 ,there may well be more than one of these secondary centers1 i4 e41 a writing corner1 and a reading group4 ,objects of central interest4--,every wall should have an object of central interest4 ,often this is called a built-up composition--table1 desk1 cabinet1 or couch standing against the wall--with1 in each case1 a picture1 mirror1 hanging bookcase1 or tapestry above4 ,the focal point may be a single tall piece of furniture such as a secretary or highboy4 ,the pictures1 mirrors1 or tapestry hangings tend to build up a kind of skyline and the furniture is united with these wall decorations to create the necessary feeling of orderly stability which proper balance and color harmony can give4 ,,balance ,,and ,,color ,,harmony ,an effect of balance in the arrangement of the furniture is as essential to the comfort of the occupants of the room as proper lighting1 easy chairs1 or unobtrusive orderliness4 ,in fact1 it is a species of order4 ,it gives a feeling of repose4 ,illustration3 ,courtesy ,american ,walnut ,manufacturers ,association4 ,figure #ca4--,living room showing harmonious arrangement4 ,view from living room to hall in a city apartment4 ,interior woodwork1 mantel1 and furniture are of wood in tones which range from the dark chest to the blond chair4 ,a room1 or a group1 is in balance when it appears to be at rest2 that is when the total imaginary weight1 or pull1 on the attention1 of everything on one side of a center appears to the mind to equal the total weight of everything on the other side4 ,an accurate feeling for balance can be acquired easily by experiment and practice4 ,there are two kinds of balance3 ,even or formal1 known as bisymmetric balance2 and uneven or off center known as occult balance4 ,formal or bisymmetric balance4--,the simplest form of balance is produced by placing two things exactly alike on either side of a center and at exactly the same distance from it4 ,this is called either bisymmetric 7double symmetrical7 or formal balance--usually the latter because such an arrangement is somewhat stiff and precise in its effect upon the mind4 ,to test it1 exactly in the center of a piece of paper draw a rectangle #a inch long and one-half inch wide4 ,imagine this to be a console table4 ,equidistant from this rectangle1 in a straight line1 draw two small squares 7one on each side of the rectangle7 to represent a pair of chairs4 ,if you successively place a circle over the rectangle to represent a mirror1 you will clearly see the bisymmetric balance4 ,the effect of formality becomes more marked as you add more units to the group4 ,while too many formal groupings will make the room seem stiff and unlivable1 at least one formal grouping may be desirable in every room since formal balance affects the mind with a sense of stability and repose4 ,if the motive of formality is to be emphasized1 the number and importance of formal groupings should be emphasized2 if informality is desired1 the use of formal balance should be limited4 ,off center or ,occult balance4--,there is another kind of balance1 usually called occult because it is less easy to see or to create4 ,it is produced by arranging a number of unlike things with reference to a center on the basis of the mechanical formula that the weight of each will increase directly with its distance from the center4 ,as an experiment in occult balance1 draw a rectangle #b inches long and #a inch wide to represent an imaginary fireplace4 ,one-fourth inch to the left of the exact center1 and at right angles to the fireplace1 draw a small rectangle #a inch long and one-fourth inch wide to represent a love seat4 ,now1 one-fourth inch to the right of the center1 and at right angles to the fireplace draw two -inch squares to represent two chairs4 ,together the chairs will seem to the mind to weigh about the same as the love seat1 and the whole group will be substantially in occult balance4 ,now erase the love seat and exactly in the same position draw a rectangle three-fourths inch in length to represent a sofa4 ,you will notice the balance has been destroyed4 ,it may be improved either by moving the sofa closer to the center1 which will make it weigh less2 or by moving the chairs farther away from the center1 which will make them weigh more4 ,in order to create a perfect balance1 however1 the chairs should be separated and a small rectangle placed between them to represent a table and lamp4 ,the salesman1 if he is wise1 will suggest pieces which1 after suitable arrangement1 meet the real needs and tastes of the family whether those needs be musical groupings1 game-corner groupings1 or conversational groupings4 ,it may mean the sacrifice of some rule of decoration to make or keep a place for a favorite rocker1 a grandfather's clock1 or a treasured piece1 but careful planning can make such a piece either a featured asset1 or an unobtrusive addition if appropriately arranged in a proper setting4 ,the master rule for furniture grouping4--,there is one all-inclusive rule for grouping furniture3 ,bring together in a convenient place1 those objects which will be used together4#ah ,so many rooms become mere collections of furniture that along with this master rule for furniture grouping is placed ,william ,morris' little rule1 ,have nothing in your home that you do not know to be useful or believe to be beautiful4 ,if a reading chair is placed in a room1 make sure adequate lighting provisions are made1 either by the addition of a small table lamp or a standing lamp4 ,if possible1 a table should be provided for smoking accessories1 candy1 or a bowl of fruit4 ,if a quiet corner is desired1 select one away from general room traffic4 ,if the radio is a feature of the room1 and the occupant likes to lounge in an easy chair while listening1 place a comfortable chair near the radio4 ,remember that the chair also may be used for reading1 so be certain to provide adequate light4 ,conversational groupings require two or more chairs placed close together with a table for refreshments4 ,,physical ,,and ,,emotional ,,harmony ,speaking in general terms1 it may be said that things harmonize1 or go well together when they are more or less alike1 and that they may be alike either because they look alike or because they affect the mind in the same way4 ,for example1 if you cover a ,sheraton satinwood bed with a fine silk taffeta spread in apricot1 the two units will be harmonious because both wood and taffeta are in colors which contain a large admixture of the same hue1 namely yellow4 ,moreover1 they also will be harmonious because the fine lines and slender proportions of the bed affect the mind with a sense of delicacy and daintiness1 and the fine texture1 silken luster1 and pale coloring of the taffeta affect it in precisely the same way4 ,we can call the first type of harmony physical1 and the second type emotional4 ,both are basically important in the art of interior decoration1 and make surprisingly powerful sales levers in dealing with that #fj percent of potential buyers whose primary interest in furniture lies in what it will do to make their homes more attractive4 ,tests for physical harmony4--,there are numerous tests which might be made by a salesman on the floor such as placing a square white handkerchief on a mahogany gate-leg table and placing under it a pearl grey rug to illustrate inharmonious effect resulting from the fact that the three elements are unlike in hue1 tone 7degree of light and dark71 defining lines1 shape1 and texture4 ,a much simpler method is to compare room harmony with ladies wearing apparel4 ,let us suppose a woman put on a brown dress1 white belt1 and pearl-grey shoes4 ,of course1 the effect would be most inharmonious4 ,on the other hand1 suppose she substituted a gold belt and brown shoes4 ,a harmonious effect would be achieved as was done in the instance previously referred to1 in which a dull gold velvet or satin1 folded to the same width as the table1 was laid on the table and a deep warm taupe or mahogany-colored rug substituted for the pearl-grey carpet4 ,good rules to follow for harmonious physical harmony are3 #a4 ,all elements of a grouping should be united by a common strain of color regardless of whether that common strain is a warm or cool color4 #b4 ,all elements of a grouping should resemble each other in a textural effect4 #c4 ,accessories should resemble the piece with which they are used in correct proportion to the whole4 ,tests for emotional harmony4--,important points to remember when making tests for emotional harmony are3 #a4 ,low illumination with areas of shadow is restful1 but high illumination is stimulating4 #b4 ,horizontal lines and long1 low shapes arouse a sense of repose1 but vertical lines and tall narrow shapes have the opposite effect4 #c4 ,dark colors 7like low illumination and horizontal extension7 affect the mind with a sense of repose1 but pale colors 7like brilliant light and vertical extension7 affect it with a sense of animation and activity4 #d4 ,large1 heavy objects give a sense of repose1 but anything small and light produces the opposite effect4 ,bearing in mind these facts1 turn on the ceiling lights in a room and notice the stimulating effect4 ,now turn off the ceiling lights and light the lamps in the room4 ,study the effect and you will see that the lamp-lighted room is more inviting4 ,in like manner1 tests may be made to illustrate each of these points1 such as substituting two high-back chairs in a room for the sofa4 ,you will notice immediately that the room is less restful4 ,illustration3 ---------------------------------------- --------------------------------- ,the scale of harmony ---------------------------------------- ------------------------------- ,blends harmoniously with-- ,preferred ,contrasts pleasingly color-- with-- ---------------------------------------- ------------------------------- ,light blue1 navy1 light ,blue ,olive1 yellow1 orange1 green1 green1 heliotrope1 cream1 tan1 brown1 and dark purple1 lavender1 and gray4 brown4 ,blue1 navy1 myrtle1 light ,light blue ,olive1 pink1 cream1 and tan4 green1 lavender1 and gray4 ,light blue1 blue1 navy1 ,lavender ,olive1 yellow1 cream1 and light green1 green1 pink1 tan4 purple1 gray1 and brown4 ,blue1 navy1 myrtle green1 ,purple ,yellow1 orange1 cream1 and light green1 green1 pink1 tan4 maroon1 heliotrope1 gray1 brown1 and dark brown4 ,blue1 pink1 red1 maroon1 ,heliotrope ,navy1 myrtle green1 light purple1 gray-brown1 and green1 green1 yellow1 orange1 dark brown4 and cream tan4 ,pink1 red1 heliotrope1 ,maroon or ,navy1 light green1 green1 purple1 brown1 and dark wine olive1 yellow1 gray1 cream1 brown4 and tan4 ,orange1 pink1 maroon1 ,red ,navy1 myrtle green1 light heliotrope1 brown1 and green1 green1 olive1 yellow1 dark brown4 gray1 and cream4 ,red1 maroon1 heliotrope1 ,pink ,light blue1 light green1 purple1 lavender1 and green1 olive1 and gray4 cream4 ,olive1 yellow1 red1 cream1 ,orange ,blue1 navy1 light green1 tan1 brown1 and dark brown4 green1 heliotrope1 and purple4 ,light green1 green1 olive1 ,yellow ,blue1 navy1 myrtle1 green1 orange1 cream1 tan1 brown1 red1 maroon1 purple1 and dark brown4 heliotrope1 lavender1 and gray4 ,yellow1 orange1 pink1 gray1 ,cream ,light blue1 blue1 navy1 myrtle tan1 brown1 and dark brown4 green1 light green1 green1 olive1 red1 heliotrope1 purple1 and lavender4 ,olive1 yellow1 cream1 ,tan ,light blue1 blue1 navy1 myrtle brown1 and dark brown4 green1 light green1 green1 maroon1 heliotrope1 purple1 and lavender4 ,olive1 yellow1 orange1 ,brown ,blue1 navy1 light green1 and red1 maroon1 heliotrope1 green4 purple1 lavender1 cream1 tan1 and dark brown4 ,navy1 green1 yellow1 ,myrtle ,red1 heliotrope1 cream1 and purple1 and gray4 tan4 ,light blue1 blue1 navy1 ,light green ,orange1 pink1 red1 maroon1 myrtle green1 green1 olive1 heliotrope1 purple1 cream1 tan1 yellow1 lavender1 and gray4 brown1 and dark brown4 ,blue1 navy1 myrtle green1 ,green ,orange1 pink1 red1 maroon1 light green1 olive1 yellow1 heliotrope1 purple1 cream1 lavender1 and gray4 tan1 brown1 and dark brown4 ,myrtle green1 light green1 ,olive ,light blue1 blue1 pink1 red1 green1 yellow1 orange1 tan1 lavender1 and cream4 brown1 and dark brown4 ,light blue1 blue1 navy1 ,gray ,yellow1 orange1 pink1 red1 myrtle green1 light green1 and maroon4 green1 heliotrope1 purple1 lavender1 and cream4 ---------------------------------------- ------------------------------- ,figure #cb4--;,chart of color combinations4#ai ,,suggestions ,,for ,,room ,,composition ,consideration of use will guide one to desirable groupings of various pieces4 ,consideration of balance will prevent placement of the pieces of heavy furniture on one side or one end of the room4 ,groupings of chairs and their accessories of lamps and stands should be made so as to foster social amenities4 ,the following suggestions for room composition have been offered by one specialist in the field of interior decoration3#bj #a4 ,furniture should always be arranged with the purpose of the room uppermost in thought4 #b4 ,each individual piece should be placed so that it is convenient1 so that its use is obvious1 and so that it is not interfered with by other pieces nearby4 #c4 ,pieces should be distributed so that circulation is not interfered with4 ,keep furniture away from door openings or passageways4 #d4 ,furniture should be practically placed in its relation to the architectural or mechanical features1 so that there is no interference with the use of such features4 ,particular attention should be given to the swing of doors1 the opening of windows1 and the operation of electrical or heating devices4 #e4 ,the location of movable pieces of furniture should be carefully studied for their compositional relationship to the fixed architectural features--doors1 windows1 built-in furniture1 alcoves1 niches1 mantels1 paneling1 etc4 #f4 ,an agreeable balance of high and low pieces of furniture should be introduced4 ,high curtained windows and doors may be substituted for high pieces of furniture in a composition4 #g4 ,the quantity of furniture used should not give the effect of either under-furnishing or overcrowding4 #h4 ,the distribution of the pieces should be relatively even4 ,in a long room1 one end should not appear crowded and the other end bare1 nor should one wall appear more crowded than the one opposite4 #i4 ,opposite walls should have similar groupings1 or1 if this is not possible1 they should appear evenly balanced in quantity and arrangement4 #aj4 ,pictorial wall surfaces 7scenic papers1 mural decoration1 tapestries1 and large hanging pictures7 should not be hidden by furniture or other objects to such a point that their visibility is marred4 #aa4 ,furniture should be related in scale to the size of the room4 ,large pieces of furniture creating heavy shadows or dark spots are inadvisable except in large rooms4 #ab4 ,furniture placed with lines parallel to the walls gives a greater effect of unity in a room than when placed in diagonal positions4 ,,questions #a4 ,a customer asks3 ,is it absolutely necessary to have a pair of these tables8 ,or can ,i get a balanced effect without having everything just like soldiers lined up precisely8 ,how would you demonstrate an answer8 #b4 ,what phrases or words have you found which seem to make a favorable impression on a typical customer1 without overdoing the decorative approach8 #c4 ,how would you employ color to make a small room seem larger8 #d4 ,explain the emotional appeal of color4 ,under what conditions would you employ violet8 ,yellow8 ,gray8 #e4 ,what color scheme would you suggest for painting or papering the walls of a room which has a northern exposure8 #f4 ,in the living room1 family life should center1 99 99 99 and guests find friendly greeting4 ,to the interior decorator as to the furniture salesman1 this means grouping4 ,what groups should a living room have8 #g4 ,how many of the common color names are important in selling goods in your store at this time and how may you learn and apply them to your merchandise8 #h4 ,discuss the proposition that you are not properly equipped to meet special color demands when stock merchandise cannot be sold4 #i4 ,discuss the principles involved in getting the proper color treatments for connecting rooms4 #aj4 ,to what extent should a furniture salesman attempt to understand the art of interior decoration8 ,,suggested ,,reading ,,list ,,burrows1 ,,thelma ,m4 ,successful ,home ,furnishing4 ,the ,manual ,arts ,press1 ,peoria1 ,ill4 #aich4 ,color ,radiation1 ,color ,harmony1 and ,color ,schemes1 ,v1 pp4 #he-ie4 ,balance in ,furniture ,arrangement1 ,,viii1 pp4 #ajc-abc4 ,art ,objects1 ,,vii1 pp4 #aja-ajc4 ,,crane1 ,,ross4 ,interior ,decoration4 ,the ,seng ,co41 #adcj ,north ,dayton ,street1 ,chicago1 ,ill4 #aibh4 ,,fales1 ,,winnifred4 ,what's ,new ,in ,home ,decorating4 ,dodd1 ,mead ,co41 ,new ,york1 ,n4 ,y4 #aicf4 ,color1 ,,iv1 pp4 #ga-he4 ,furniture ,arrangement1 ,,vi1 pp4 #abj-ach4 ,,gillies1 ,,mary ,,davis4 ,popular ,home ,decorations4 ,wm4 ,h4 ,wise ,co41 ,new ,york1 ,n4 ,y4 #aida4 ,,goldstein1 ,,harriet and ,,vetta4 ,art ,in ,every ,day ,life4 ,macmillan ,co4 #aibe4 ,how ,to ,know ,color1 ,,viii1 pp4 #ahd-bjd4 ,,jackson1 ,,alice and ,,bettina4 ,the ,study of ,interior ,decoration4 ,doubleday1 ,doran ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 ,color ,harmony in ,interior ,decoration1 pp4 #ef-ajj4 ,,knauff1 ,,carl ,g4 ,b4 ,refurnishing ,the ,home4 ,mc,graw-,hill ,book ,co41 ,new ,york1 ,n4 ,y4 #aich4 ,color ,in the ,home1 pp4 #ei1 #aah1 #abb1 #bjc-bbc1 #cjj4 ,,koues1 ,,helen4 ,how ,to ,be ,your ,own ,decorator4 ,tudor ,publishing ,co41 ,new ,york1 ,n4 ,y4 #aici4 ,how ,to ,use ,color1 ,,vi1 pp4 #fa-gc4 ,lighting1 pp4 #gc-he4 ,,mcdonald1 ,,sterling4 ,color--,how ,to ,use ,it4 ,american ,colortype ,co41 ,chicago1 ,ill4 #aidj4 ,,miller1 ,,duncan4 ,interior ,decorating4 ,the ,studio ,publications1 ,inc41 #cha ,fourth ,avenue1 ,new ,york1 ,n4 ,y4 #aicg4 ,,palmer1 ,l4 ,using ,color in ,decoration4 ,ladies ,home ,journal1 ,curtis ,publishing ,co41 ,new ,york1 ,n4 ,y4 #aicj ,reprint4 ,,parsons1 ,,frank ,,alvah4 ,interior ,decoration4 ,doubleday1 ,doran ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 #aiae4 ,,powell1 ,,lydia4 ,the ,attractive ,home4 ,the ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aici4 ,secrets of ,color1 pp4 #ci-ea4 ,,sargent1 ,,walter4 ,enjoyment and ,use of ,color4 ,scribners4 #aibd4 ,,stewart1 ,,ross and ,,gerald1 ,,john4 ,home ,decoration4 ,garden ,city ,publishing ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 #aich4 ,color1 ,,iv1 pp4 #dd-gg4 ,room ,composition1 ,v1 pp4 #gg-if4 ,lighting1 ,,ix1 pp4 #ade-aed4 ,,whiton1 ,,sherrill4 ,elements of ,interior ,decoration4 ,the ,j4 ,b4 ,lippincott ,co41 ,new ,york1 ,n4 ,y4 #aicg4 ,color1 ,,xxiv1 pp4 #fha-gje4 ,,williams1 ,,florence and ,,trilling1 ,,mabel4 ,art ,in ,home and ,clothing4 ,the ,j4 ,b4 ,lippincott ,co41 ,new ,york1 ,n4 ,y4 #aicf4 ,the ,proper ,use of ,decoration1 ,,iv1 pp4 #gg-ij4 ,lamps and ,lighting1 ,,xi1 pp4 #bdb-bec4 ,,footnotes3 #ae ,the ,ross ,crane ,book of ,home ,furnishing and ,decoration1 p4 #ci4 ,frederick ,j4 ,drake ,co41 ,chicago1 ,ill4 #aicc4 #af ,jane ,white ,lonsdale in ,the ,american ,home1 ,march #aidj1 p4 #bb4 #ag ,the ,ross ,crane ,book of ,home ,furnishing and ,decoration1 ,frederick ,j4 ,drake ,co41 ,chicago1 ,ill41 p4 #aji4 #aicc4 #ah ,winnifred ,fales3 ,what's ,new in ,home ,decorating1 p4 #abd1 ,dodd ,mead ,co41 ,new ,york1 ,n4 ,y4 #ai ,reproduced from ,the ,seng ,handbook1 ,the ,seng ,co41 ,chicago1 ,ill41 p4 #eb4 #aici4 #bj ,sherrill ,whiton3 ,elements of ,interior ,decoration1 pp4 #ffe-f4 ,j4 ,b4 ,lippincott ,co41 ,philadelphia1 #aicg4 ,unit ,,viii ,,floor ,,coverings ,,and ,,fabrics ,drapery and ,upholstery ,fibers and ,fabrics ,floor ,coverings ,selling ,coverings for ,other ,floors ,use of ,ensembles in ,selling ,illustration3 ,photograph by ,grignon4 ,figure #cc4--;,a new note in contemporary floor covering is achieved in this sculptured1 leaf-design1 ,wilton broadloom4 ,the leaf design is achieved in the weave4 ,the interesting lamp has a brass mask mounted on wood4 ,unit ,,viii4--,,floor ,,coverings ,,and ,,fabrics ,,drapery ,,and ,,upholstery ,,fibers ,,and ,,fabrics ,,fibers ,,and ,,their ,,origins ,fibers used in the manufacture of home furnishing materials are both of animal and of vegetable origin4 ,the former include the true and wild silks2 wool1 or sheep's hair2 mohair1 the hair of the ,angora goat2 horsehair1 chiefly from the tail and mane2 and in limited quantities the hair of the cow1 pig1 camel1 and rabbit4 ,vegetable fibers include cotton1 rayon1 flax hemp1 jute1 ramie1 kapok1 palm fibers1 moss1 coir1 and paper made from wood pulp4 ,their general characteristics are discussed here4 ,animal ,fibers4 ,silk4--,true silk is produced by the mulberry silk moth of ,china4 ,just how ancient the art of sericulture and the spinning and weaving of silk may be we do not know2 but there is no doubt that it had reached a state of considerable development #d1ejj years ago4 ,it reached ,japan about #a1fjj years ago1 and ,india somewhat later4 ,about the year ,a4 ,d4 #eej two ,persian monks brought eggs of the silk worm from ,china to ,constantinople in a hollow cane1 and the western silk industry was started4 ,the wild silks are produced by other worms1 feeding for the most part on other leaves than mulberry4 ,most of the so-called tussah silk comes from the oak-feeding tussah worm1 a native of ,mongolia4 ,the fiber is coarser than that of true silk1 and so difficult to dye effectively that fabrics woven from it are usually left in the natural ecru or pale brown color4 ,wool4--,the many varieties of sheep yield wools which differ markedly in fineness1 length of staple 7#b to #af inches for use in textiles71 strength1 resilience1 and spinning quality4 ,accordingly1 wools are sorted and blended before spinning1 to suit the requirements of the particular fabric to be woven4 ,carpetings require the fairly long staple and fairly coarse fiber found in wools from ,scotland1 ,russia1 ,iceland1 ,australia1 ,new ,zealand1 ,egypt1 ,china1 ,india1 and the ,east ,indies4 ,the unsurpassable carpet wools of ,persia and ,asia ,minor are largely consumed locally4 ,carpet wools naturally differ widely in desirability and cost1 as do the many processes necessary to prepare wool for the loom4 ,these differences require emphasis from the salesman in the demonstration of concealed values4 ,most carpet wools arrive at the factory in the fleece1 matted1 dirty1 and greasy4 ,they are blended according to formula2 passed first through a machine which separates the tangled masses and beats out free dirt2 then to the scouring baths1 which remove all grease and other impurities2 then1 after passing through a series of powerful wringers1 to the dryer2 and finally to the picker1 from which they emerge ready for spinning4 ,worsted yarns1 used in making fine ,wiltons1 body ,brussels1 ,wilton velvets and some chenilles1 result from a succession of processes in which the fibers are placed parallel1 the short ones eliminated1 and the long fibers combed and drawn out into a fine1 even roving1 which is spun into a thread1 two such threads then being tightly twisted together to form a single-ply worsted yarn4 ,these single-ply yarns are then twisted together to form two-ply1 three-ply1 or four-ply yarns according to the specifications for a particular weave4 ,woolen yarns are made from short staple wool1 and depend for their strength upon the minute serrations or scales on the surfaces of the wool fibers1 which cause them to adhere1 or felt1 when held tightly together4 ,the carding machine used in preparing these wools for spinning thoroughly intermixes the fibers instead of drawing them into parallel formations1 as for worsteds4 ,the loose roving is then spun into single strands1 which are twisted into two-1 three-1 or four-ply yarns as in the case of worsteds4 ,mohair4--,the hair of the ,angora goat is closely allied to wool1 typically #g to #h inches long4 ,it is lustrous1 resilient1 and enduring1 but harder to spin than wool because the hair scales are not fully developed4 ,mohair fabrics have been used in the ,orient since time immemorial1 and they were popular in ,england in the early eighteenth century4 ,there are wide differences in mohair upholstery fabrics1 based upon the quality of wool1 number of points per square inch1 and height of pile4 ,horsehair4--,the hair of the horse's mane and tail is used as a single filament without spinning in the production of upholstery chair cloths1 and for floor coverings4 ,in the form of curled hair it is the most resilient and costly upholstery stuffer4 ,pig's bristles and cow hair are used for the same purpose4 ,the soft hair of the camel is used in weaving certain oriental rugs1 and rabbit hair in certain felts4 ,vegetable ,fibers4 ,cotton4--,this textile is in universal use and requires no comment4 ,the silky appearance of some damasks and other cotton fabrics is caused by mercerizing1 a process of treating cotton in either fiber or fabric form with caustic alkali4 ,rayon4--,this term1 which in ,french means ray or beam1 has lately been applied to artificial silks produced by any of four different industrial processes4 ,viscose silk1 made chiefly from sulfite pulp cellulose1 constitutes the great bulk of the rayon production today4 ,it is now often combined with natural fibers1 particularly wool and cotton1 in drapery and upholstery fabrics which afford the luster of rayon plus the strength of wool or cotton4 ,flax4--,this plant has been cultivated since the stone age1 and was regarded as the most important plant of commerce until near the end of the eighteenth century1 when it was superseded by cotton4 ,flax fiber yields linen2 also from it is obtained the tow used as a stuffer in upholstering4 ,hemp4--,the fiber of this plant closely approaches flax in strength but not in luster4 ,it is used to a very limited extent in drapery textiles and cheap carpets4 ,the waste fibers are also known as tow1 and sometimes used in place of flax tow4 ,jute4--,a plant1 grown chiefly in ,india1 the lustrous fiber of which is used to a considerable extent in the manufacture of cretonnes1 damasks1 and other decorative textiles4 ,ramie4--,this plant1 also known as rhea and ,china grass and cultivated chiefly in ,china1 yields a fiber of great strength and a luster about like that of mercerized cotton4 ,it is used in the manufacture of grass cloth1 and also of ramie velvets1 which are firm but less lustrous than linen velvets4 ,kapok4--,a tree cultivated in ,java for the production of down2 called in commerce kapok or silk-cotton4 ,before the commercial development of rayon it made considerable headway as a textile fiber1 but now is used chiefly as a stuffer for mattresses and pillows4 ,kapok has great resiliency and resistance to water4 ,palm fiber4--,shredded leaves of the palmetto1 used as a stuffer in upholstering4 ,moss4--,the hairlike filament left after the soft outer tissue of southern moss has been removed2 used as a stuffer4 ,coir4--,fiber prepared from the husk of the cocoanut2 used in making porch rugs and brush mats4 ,paper4--,spun into coarse threads and used in the manufacture of so-called fiber rugs4 ,,drapery ,,and ,,upholstery ,,fabrics ,tapestries4 ,hand-made tapestries are woven on a loom harnessed with thin warps1 by passing a shuttle containing a colored yarn over and under the warp thread where the color is required to form the pattern4 ,in every line of weft or filling1 the shuttle must be changed every time a change of color is required by the cartoon1 or colored drawing of the design from which the weaver works4 ,he sees the face of the tapestry1 if at all1 only in a mirror placed in front of the loom4 ,tapestry weaving requires a high degree of artistic and technical skill2 hand-made tapestries are costly4 ,machine-made tapestries are produced on a ,jacquard loom1 of wool1 cotton1 silk1 or rayon1 or in mixtures of these fibers4 ,they vary enormously in appearance and durability4 ,velvets1 ,velours4 ,although the term velvet and its ,french equivalent 7velours7 may be used interchangeably1 the general custom is to call drapery fabrics velours1 and upholstery fabrics velvets4 ,both are made in a great variety of plain1 stripe1 and brocaded effects1 and with the pile all cut1 all uncut 7looped7 or else partially cut4 ,machine-made velvets and velours are made from silk1 rayon1 cotton1 linen1 ramie and wool1 usually #ej inches wide and in a range of prices and qualities practically unlimited4 ,in some of the cheaper upholstery velours the design is embossed1 or depressed by a stamping machine1 but in others it is placed in relief by cutting away the pile of the ground4 ,plushes4 ,plushes are long-pile velvets1 formerly of silk or wool but now mostly of mohair4 ,properly their pile is less close and firm than that of velvets1 but some of the finest quality mohair plushes have a very close1 erect pile4 ,in ordinary qualities the pile leans sharply1 and in the panne type it is so flat as to have somewhat the same effect as lustrous satin4 ,friss1 ,friezes4 ,these terms are now loosely used4 ,frieze in ,french means curled or frizzed1 and the word properly refers to a class of plushes in which the pile has been completely or partially frizzled4 ,it is now applied to a variety of texture effects in velvet and plush1 among them uncut patterns on a cut-pile ground2 cut patterns on an uncut ground2 plain velvets with alternating lines of cut and uncut pile2 and uncut velvets4 ,satins and ,sateens4 ,satins and sateens are made in the same way2 the former of silk and the latter of cotton1 plain or mercerized4 ,the weave is technically a twill1 but so modified that the diagonal lines are not visible1 and the whole surface is smooth and lustrous4 ,damasks1 ,armorers1 ,brocades1 ,brocateles4 ,it is difficult to define these weaves in a few words1 and quite impossible to describe the extraordinary variety of textile effects produced by modern manufacturers1 both in the basic weaves and in combination of two or more techniques4 ,illustration3 ,photo by ,grignon4 ,figure #cd4--;,authenticity is stressed in this handsome sofa upholstered in a fabric which is an exact reproduction of a print used more than a century ago4 ,the monotone print is in a soft brown tone4 ,accompanying the sofa is a duck-foot cocktail table with removable glass tray1 and lovely gold framed portrait of ,jenny ,lind4 ,the ,axminster rug is a texture chintz in a tile green with small red1 beige1 and brown flowers4 ,damasks are pileless figured fabrics in which the pattern is produced by exposing the warp threads1 and the ground by exposing the weft threads2 or the reverse4 ,they may be made with both warp and weft in the satin weave1 in which case the only contrast between pattern and ground is that caused by the direction of the lines2 or with warp satin figures on a weft ground of taffeta or twill weave2 or with weft satin figures on a ground of contrasting weave4 ,warp and weft may be of exactly the same color2 or of two tones of one hue2 or of two different hues4 ,more than two colors are possible only through the device of striping1 where warp threads of additional hues are introduced to form stripes which necessarily run the whole length of the piece4 ,damasks are made of silk1 rayon1 wool1 cotton1 mohair1 linen1 or jute1 or in mixtures of two or more of these fibers4 ,armures look like twilled weave damasks1 except that they have small raised patterns produced by floating warp threads4 ,brocades are embroidery effects produced by floating wefts on the surface of damask1 satin1 taffeta1 and other weaves4 ,gold or silver metal threads are sometimes introduced in the figures4 ,brocateles were originally somewhat coarse fabrics of silk and wool or silk and cotton with designs produced by the brocade weave4 ,the term is now also applied to a type of heavy satin damask in which the satin figure is on a lustrous ground of the same or contrasting color4 ,printed fabrics4--,both hand-and machine-made printed fabrics are produced in an enormous variety2 on linen1 cotton1 silk1 rayon1 mohair1 wool1 and jute grounds2 and on plain twill1 rep1 damask1 velvet1 and other grounds4 #a4 ,printed linens are made on grounds which vary in fineness and smoothness according to the scale and decorative character of the design4 ,hand-blocked linens vary in price with the quality of materials and craftsmanship1 and also with the number of blockings required to form the design4 ,in recent years both linen and cotton grounds have to some extent been machine-printed with wooden rollers instead of copper or brass1 and against a padded backing1 which has resulted in improving both line and coloring1 and in giving them much the appearance of hand-blocked fabrics4 #b4 ,cretonnes are made both by hand-and by roller-printing processes on unglazed cotton ground of widely varying texture and decorative effect1 and at prices ranging from a few cents per yard for the cheapest roller-printed fabrics up to #ae or more for the elaborately hand-blocked effects4 ,thick and heavy cretonnes are made for wall panels and furniture coverings1 and a few splendid figure panels are available in ,gothic1 heraldic1 and mille fleur designs which resemble the old painted tapestries of fifteenth century ,france4 #c4 ,chintzes are printed on a fine cotton holland4 ,glazed chintzes have a varnish-like glow and considerable stiffness2 semi-glazed are less glossy and more soft and pliable2 unglazed closely resemble good cretonne1 but the texture is finer4 #d4 ,warp-prints or shadow prints are made by a process similar to that employed in drum-painting velvet carpets4 ,designs produced by this technique necessarily lack definition1 and have a soft and shadowy appearance which cannot be produced by hand or roller printing4 ,the most effective warp prints are of plain or mercerized cotton4 ,embroideries4--,embroideries are justly considered important today4 ,the art of the needle worker ranks close to that of the weaver of fine rugs and tapestries4 ,two only of its many forms are mentioned here4 #a4 ,crewel work is customarily worked with colored worsted yarns on a plain linen ground1 sometimes completely covered1 but usually left open to form a background for the pattern4 ,the stitches are varied in direction and character in order to give interest and richness to the texture4 ,most of the crewel work sold in the stores today is made with the bonnaz embroidery machine1 which closely simulates the decorative effect of needlework4 #b4 ,needlepoint embroidery is worked on open canvas4 ,the fine or petit point 7little point7 is formed by stitches taken diagonally from one opening in the canvas to the next4 ,the coarse or gros 7big7 point is made by similar stitches twice the length1 and with thicker yarns4 ,practically everything written about upholstery fabrics stresses their decorative value or their appropriateness to other furnishings in the room4 ,little is reported about their physical structure or durability4 ,those desiring to make a comparison of fabrics for breaking strength1 weight per square yard1 fabric balance1 and resistance to abrasion will do well to secure a copy of ,circular ,no4 #dhc1 ,united ,states ,department of ,agriculture1 ,washington1 ,d4 ,c4 ,the title is ,proposed ,minimum ,requirements of ,three ,types of ,upholstery ,fabrics ,based on ,analysis of #fb ,materials4 ,copy may be secured from ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c41 price #e cents4 ,,floor ,,coverings ,it is well to remember that the foundation of every decorating scheme rightly should be the floor-covering4 ,one's rugs or carpetings may contrast with the wall treatment1 or they may complement it1 but next to the room itself they are the largest color expanse4 ,a good deal of thought needs to be given to the floor covering's selection4 ,one can well afford to invest slightly more in this decorative accessory and obtain the soft new colors which lend so much charm to furniture groupings4 ,floor coverings of proper texture and pattern can lend much sparkle and life to a room or they can ruin one's most carefully selected ensemble if they are drab and listless4 ,floor coverings are divided into two groups3 ,the soft-surface fabrics are made from a variety of textile fibers including wool which is the one most widely used2 and the hard surface fabrics1 including linoleum and the felt-base prints4 ,soft-surface floor coverings are made both by hand and by machinery4 ,the first class includes all ,oriental rugs2 ,european hand-knotted rugs2 floor tapestries2 and a few hooked1 braided1 and woven hand-craft rugs of limited production4 ,the second class includes a wide range1 of fabrics1 nearly all of which are produced by the chenille1 ,wilton1 ,axminster1 drum print1 roller print1 or ingrain processes4 ,,oriental ,,rugs#ba ,rugs are woven in quantity in ,persia1 ,turkey1 ,india1 and ,china1 with a smaller production in ,turkestan1 ,greece1 the ,caucasus1 ,afghanistan1 and ,baluchistan4 ,with few exceptions1 the finer rugs come from ,persia4 ,small rugs1 woven primarily for individual or family use1 are made throughout the rug-weaving countries4 ,small rugs made primarily for export1 and the larger room-size rugs1 usually called carpets1 are woven chiefly in a few great production districts of the four countries first named4 ,in all oriental rugs the pile is knotted by hand1 and in most weaves the wool is also scoured1 carded1 spun1 and dyed by hand4 ,aniline dyes are used in many of the cheaper rugs--particularly in those woven outside of ,persia--and either a superior quality of chemical dyes or the old vegetable dyes in the better rugs4 ,all rugs except the poorest and cheapest are fast in color1 unless they have been painted4 ,most oriental rugs are carefully made of good wool1 and their durability under reasonable conditions of service is guaranteed by responsible dealers4 ,the widespread notion that any oriental rug1 however cheap and however abused in service1 will wear indefinitely is of course absurd4 ,rugs are made of wool1 not of concrete4 ,even in the ,orient they wear out in time1 notwithstanding the fact that they are not touched by heavy shoes4 ,in the matter of durability oriental rugs have no inherent advantage over domestics4 ,everything depends upon the choice of wools and skill in handling4 ,the term antique is applied by collectors to pieces #ajj years or more in age4 ,few such rugs are now in the hands of dealers4 ,prices are based on the age or rarity of the individual specimen rather than on intrinsic excellence1 as is the case with antique furniture or rare books4 ,only the expert is competent to recognize an antique rug or to judge of its quality or value4 ,many rug merchants1 department stores1 and furniture stores advertise and sell as antiques any unwashed rugs which have been more or less aged and softened by use in the ,orient1 and which conform measurably in technique and character of design to antique standards4 ,it is also a common practice to sell as antiques purely modern unwashed pieces reproduced in the old designs1 particularly if such pieces have been aged artificially by some such method as exposure to bazaar traffic for a few weeks or months4 ,both practices are discountenanced by dealers of the highest standing1 who apply to rugs of these kinds the term semi-antique4 ,washing and ,painting of orientals4--,oriental rugs are usually woven in relatively bright1 strong colors4 ,in order to soften these colors to a point where they can be used effectively in the decoration of modern ,american homes1 most rugs upon arrival in this country are given a treatment known to the trade as washing before they are offered for sale4 7,this is the same treatment given to sheen type domestics47 ,the mild reagents employed soften all the colors of good rugs without bleaching them or impairing their fastness to light4 ,poor wool is sometimes injured1 and poor dyes bleached by the washing process2 but the statement frequently encountered in books and magazines that any washed rug is undesirable is utter nonsense4 ,the fact is1 that1 genuine antique rugs aside1 most of the fine oriental rugs in this country are washed rugs1 and innumerable fine homes use them4 ,the high luster imparted to the wool as a part of the washing process is not permanent1 and tends to disappear under the hard service requirements of small ,american homes4 ,many rugs are retouched with dyestuffs1 or painted1 after they have been washed2 that is1 parts of the design are treated with dyes applied with the brush by hand in order to alter certain colors1 usually by deepening their tone4 ,the dyes cannot be boiled into the wool or fixed1 and will fade under strong light4 ,most oriental rug names do not show quality4--,the name borne by an oriental rug ordinarily indicates the city or district of its origin1 and throws little or no light on the excellence of the individual specimen4 ,there is a widespread but totally erroneous idea that all rugs having the same name are alike in quality4 ,the fact is that except for a few ,turkish1 ,indian1 and ,chinese weaves1 oriental rugs are not standardized1 and that two ,kerman rugs1 for example1 may differ as widely in quality as two ,detroit automobiles4 ,in buying oriental rugs1 as in most other commodities1 the consumer gets only that which he pays for4 ,other things being equal1 the cost of a rug per square foot increases directly with fineness of knotting4 ,other variable factors include the character of the wool and dyes2 artistic and technical skill of designer and weaver2 local conditions in the production district2 and the interplay of supply and demand in the ,american wholesale market4 ,,european ,,hand-,,knotted ,,pile ,,carpets ,carpet weaving was introduced to ,europe by the ,moors after their conquest of ,granada1 and established in ,holland in the sixteenth century1 and at ,wilton and ,axminster in ,england1 and ,paris in ,france1 in the seventeenth century4 ,machine-spun yarns are now used in making these fabrics1 but aside from this the processes are essentially the same as those employed in the ,orient4 ,pile carpets are made in commercial quantities in ,great ,britain1 ,holland1 ,germany1 ,france1 and ,spain and can be produced in any desired size1 shape1 pattern1 coloring1 or height of pile4 ,qualities vary widely in wool1 knotting1 and weavers' skill1 and sell in the ,united ,states for anywhere from #bj to #bjj or more per square yard4 ,the time required for delivery varies from #c to #ab months or more1 depending upon size1 character of design1 and fineness of knotting4 ,spanish rugs1 like many of those made in ,china1 are often embossed or chiseled1 in order to add interest to the texture and to soften the relationship of strong juxtaposed colors4 ,,floor ,,tapestries ,see discussion of tapestries1 under ,drapery and ,upholstery ,fabrics1 page #aee4 ,,chenille ,,carpets ,,and ,,rugs#bb ,as applied to floor coverings the term chenille 7from the ,french chenille1 a fuzzy worm1 or caterpillar7 designates a power-loom fabric capable of producing rugs in any desired size1 shape1 design1 or coloring4 ,this makes it the most practical weave for special order work4 ,this technique1 which is completely different from that used in the production of ,wilton or ,axminster carpetings1 was developed in ,great ,britain during the first half of the nineteenth century1 and until a comparatively recent date the great bulk of the chenille rugs used in this country was imported4 ,under pressure of war conditions a large number of looms were set up here in #aiae and #aiaf1 and we are now the leading manufacturers of practically all grades of chenille carpetings4 ,chenilles without seams can be made here in any width up to #cj feet1 and in any length or shape4 ,there are many qualities1 varying in character and quantity of wool1 fineness of tufting1 and height of pile1 which may be anywhere from to #a inch or more4 ,in hand-tufted carpets the character of the design makes little difference in production costs1 and the only limitations on the pattern are those imposed by fineness of knotting4 ,in chenille1 on the contrary1 production cost increases rapidly with increasing intricacy of design1 so that the square yard price for any given quality might be half again as much1 or even two or three times as much1 for a rug of elaborate design as for a plain rug of the same size4 ,special order rugs require from #a to #e months for delivery1 according to size and character of design4 ,,wilton ,,carpetings ,,and ,,rugs#bc ,wiltons are woven of either worsted or woolen yarns on a jacquard ,wilton loom4 ,the essential facts concerning this weave from the consumer's viewpoint are3 7a7 the jacquard device makes possible the production of patterns revealing very intricate and perfectly clean detail1 equal to that found in fine ,persian carpets4 7b7 ,the pile is erect1 with maximum wear at the point of maximum resistance1 thus ensuring great durability4 7c7 ,beneath the pile there is an elastic cushion of firm yarns1 which adds greatly to the durability of the fabric4 ,this cushion results from the unique ,wilton technique1 which carries from three to six differently colored yarns between each pair of warp threads throughout the entire length of the carpet1 bringing one only to the surface for each tuft1 while the others remain in the back4 ,all carpets of this weave are by no means equal in quality1 durability1 and value4 ,in fact1 ,wiltons vary widely in all respects save that of the type of loom on which they are woven4 ,they differ in the cost1 fineness1 manner of blending1 and spinning1 and in quantity of wool1 which is the physical basis of excellence2 in the use of worsted and woolen yarns2 in height of pile2 and in the number of points or tufts1 per square inch 7ranging from about #fj to #abh points per square inch72 in quality and cost of dyestuffs2 in perfection of finish2 and in rigidity of inspection standards4 ,customers cannot be stirred to enthusiasm by such statements as that a given rug is a #b-sheet1 #aca-b pick1 #bef pitch1 #f-;frame ,wilton4 ,many women can1 however1 be interested in a picture of a harnessed loom at work1 with a brief explanation1 or caught by casual mention of the fact that in the standard #e-;frame ,wiltons there are #a1bhj separate worsted yarns in the #bg-;inch width1 and #e1abj in a #i-;foot seamless rug4 ,most women are interested in the sources and treatment of wools1 care in dyeing1 weaving1 and inspection4 ,,body ,,brussels ,,carpets ,,and ,,rugs ,the body ,brussels was an immensely popular weave from the invention of the power loom to the beginning of the present century4 ,its sale is now only slight although we may see a come-back of the ,brussels in streamlined texture effects4 ,it is woven of worsted yarns only1 on the same kind of loom as the ,wilton1 and with substantially the same structure4 ,they differ in that the pile loops of the ,brussels carpet are not cut4 ,they are woven with three1 four1 or five frames of worsted yarns1 their cost and value depending upon the number of frames1 number of loops or points per square inch1 quality of wool1 and certain other technical variants4 ,they are not produced on broad looms4 ,,axminster ,,carpets ,,and ,,rugs ,axminster rugs are in great demand in this country because of the unlimited possibilities of pattern and coloring4 ,an additional feature is their moderate price which is a result of mass production techniques4 ,this quality offers the consumer a seamless rug up to #ah feet wide4 ,the ,axminster weave is produced by an ingenious process which beggars description but is explained and illustrated in the ,britannica and other standard works on carpet manufacture4 ,the technique permits production of rugs with a great variety of color effects in each pattern4 ,the tufts1 in the ,axminster1 are mechanically inserted in the fabric and bound down into the back1 essentially in the manner of oriental rugs1 except that the entire process is one of machine technique instead of the customary oriental hand-knotting4 ,none of the yarn is buried in the back of the fabric1 as it is in the ,wilton weave1 other than that which is required for attachment4 ,yarn preparation for ,axminster weaving is a long process involving weeks of work1 while actual weaving time requires but one-tenth of the entire time of manufacturing4 ,the commercial qualities of ,axminster vary widely in wool1 type of yarn1 number of tufts per square inch1 and height of pile4 ,,tapestry ,,brussels1 ,,velvets1 ,,and ,,wilton ,,velvets ,tapestry ,brussels have a looped pile like that of body ,brussels and are woven of worsted yarns2 ,wilton velvets are also made of worsted yarns1 and have a close upright pile resembling ,wilton4 ,velvets 7formerly called tapestry velvets71 have a short upright pile and are made of woolen yarns4 ,these weaves1 which are not yarn-dyed1 are made both by the drum printing and the roller printing methods4 ,in drum printing1 the yarn is wound on a huge drum2 the color applied by means of a carriage and color roller in narrow lines2 the yarn removed and steamed to fix the color2 the separate yarns wound on bobbins and then set in such a way that when fed into the loom over the wires that form the pile loops each line of color comes up where it is required to form the pattern4 ,this technique is economical of wool1 but naturally is incapable of yielding the definite exactness of pattern produced by the other weaves4 ,in roller printing the carpet is first woven in white1 and then printed on rollers by a process substantially like that of a perfecting press printing a newspaper in color4 ,broadloom carpetings4--,any carpet woven on a wide loom4 ,the term is applied particularly to ,wiltons1 ,axminsters1 and plain chenilles4 ,sheen-type rugs2 also known as ,american orientals4--,any machine-made pile rug which has been chemically washed to soften the colors and give it sheen and luster2 made in the ,wilton1 ,axminster and chenille weaves4 ,,linoleum ,because of consistent and attractive advertising by manufacturers1 the quality and desirability of linoleum and felt-base floor covering are now taken for granted by consumers1 and these floor coverings1 once regarded purely as a utility product1 are sold chiefly on the basis of their decorative appeal4 ,in order to be well informed on their construction you must get the facts from the manufacturers whose products you handle1 as both the materials and processes employed have been somewhat widely changed in recent years4 ,the old method of making linoleum involved the production of solidified linseed oil and its reduction by heat and the admixture of resinous gums to a rubberlike mass known as cement1 which was then ground up with cork dust1 wood flour1 whiting1 and pigment to form the linoleum material4 ,in plain and printed linoleums this material was then calendered on the canvas by heavy heated rollers and seasoned in the drying rooms from #b to #fj days in temperatures of from #ij to #agj4 ,granites1 jaspes1 and cork carpets were made by almost the same process4 ,in making inlays the colored linoleum materials were formed into patterns by one of several hand or machine processes4 ,in recent years progress has been made toward the partial substitution of linseed oil by a nitrocellulose base in the preparation of the cement4 ,in addition1 much linoleum now has a surface coat of nitrocellulose composition1 which gives it a glossy surface practically non-markable and highly resistant to strong soaps and soda4 ,felt-base floor covering has a printed pattern on a base of felt impregnated with a base of bituminous composition4 ,,care ,,of ,,linoleum ,most linoleum used in homes is manufactured with a lustrous surface which can be maintained with little effort4 ,washing4--,the basis of all linoleum maintenance is the same--a thorough cleaning with a mild soap1 followed by waxing4 ,soaps which contain excessive alkali destroy the linseed oil content of linoleum4 ,cleaning compounds of the type ordinarily used for scouring porcelain sinks and tubs1 contain abrasive material and are not suitable for use on linoleum1 because they scratch the surface of the material4 ,these slight scratches soon fill with dirt and make subsequent cleaning more difficult2 also1 they shorten the life of the linoleum4 ,be sure that only pure soaps are used and wash with lukewarm water4 ,use very little water and remove all traces of the soap4 ,the floor should then be allowed to dry thoroughly4 ,waxing4--,after the floor is cleaned and dried1 apply a very thin coat of liquid or paste wax manufactured for the purpose of maintaining linoleum4 ,,fibers ,,and ,,related ,,rug ,,types ,the striking improvements in weave1 in colors and in styling made within the past few years have brought a new conception of the uses to which fiber and related rugs may be put appropriately4 ,originally thought of primarily as summer rugs1 and then principally for porch use1 today these rugs enjoy a greatly increased use4 ,process of manufacture4--,the materials employed and the processes of production in the making of fiber1 grass1 and other rugs of this type are so different that they deserve special mention and description4 ,they are known as flat-weave fabrics to differentiate them from the pile fabric rugs4 ,fiber rugs4--,when a new type of yarn made from wood fibers became available as a filler to take the place of wire grass1 it widely increased the range of utility and beauty in this type of floor covering4 ,illustration3 ,courtesy ,floor ,covering ,advertising ,club1 ,new ,york1 ,n4 ,y4 ,figure #ce4--,the striking improvements in weave1 in colors1 and in styling made within the past few years have brought a new conception of the uses to which fibers and related rugs may be put4 ,wood fiber is made from fir or white spruce in great paper mills1 where the logs are first reduced to pulp1 then made into an extremely tough and continuous roll of a special type of kraft paper designed for twisting4 ,these great rolls of kraft are cut into long strips of varying widths1 then tightly twisted into strands of twine or yarn1 the size of the strands depending upon 7a7 the width of the strips and 7b7 the tightness of the twist4 ,the better grades of fiber yarns are extremely tough and long wearing1 giving the finished rug a tough1 long-wearing surface4 ,also they are finer than the grass fibers1 giving a thinner1 less heavy feel1 but increasing the cost because of the additional labor involved and the increased number of picks4 ,three basic weaves are used to give variety3 ,the basket weave4--,in this #b-1 #c-1 and #d-weft or filler1 yarns are shuttled across the loom between each raising and lowering of the warp4 ,this produces a weave resembling the broad1 flat weave of a market basket4 ,the twill weave4--,more complicated because it requires additional loom equipment or harnesses4 ,while the basket weave requires only two such harnesses 7one to go up while the other goes down7 in twill1 the addition of more harnesses1 and chains to operate them1 produces interesting variations4 ,in the twill weave1 three harnesses are used4 ,each warp strand passes over two filler strands and under the next two1 producing a diagonal1 ribbed effect1 giving a heavier feel to the rug1 and resulting in maximum yardage4 ,jacquard weave4--,this type requires a different loom1 equipped with the jacquard mechanism described in connection with the ,wilton process1 but constructed to carry the much heavier fiber yarns4 ,in this process each warp yarn has its own harness which is raised and lowered by the operation of the cards1 punched like the rolls of a player piano1 to produce the desired pattern4 7,see fig4 #ce47 ,color is introduced into fiber rugs both in the kraft as it is made1 and by stenciling4 ,the ingenious use of contrasting fibers1 such as sisal1 cellophane1 and fibers varying in color from dark to light and back again1 are often employed to develop interesting weaves and patterns4 ,wool fiber types4--,still another variation is achieved by combining wool yarns with fiber4 ,this type is woven with fiber warp tightly bound together with a cotton warp that appears on the surface4 ,filler yarns are of alternating fiber and wool carpet yarns1 so woven that the fabric is reversible4 ,pattern is achieved by the coloring of the yarns and by stenciling4 ,the amount of wool varies to secure the result desired4 ,it gives to the fabric a softer feel underfoot4 ,wide ranges of colors1 weaves1 and patterns are now available in fiber rugs to meet all decorative needs4 ,for custom1 room-size rugs larger than #i #ab1 many of the most popular patterns are offered in broadlooms1 in widths up to #ab feet4 ,grass rugs4--,only in three localities in the world is produced the grass from which these useful rugs are constructed4 ,it is the wire-like grass which grows wild in the marshes which dot the great prairies in ,minnesota1 ,wisconsin1 and the vicinity of ,winnipeg1 ,canada4 ,it grows to a height of #b feet without a joint1 and in the spring is covered with water which gives it the waterproof characteristic4 ,when dry it is cut and1 after curing1 bound into continuous strands4 ,grass rugs employ the simplest of all weaves1 the over-and-under1 the warp yarns being raised and lowered alternately as the weft or grass yarns are shot across the loom in the shuttle1 to bind the fabric together4 ,design usually is applied upon one side of grass rugs by painting by hand or sprays1 through stencils1 although introduction of different colored warp yarns achieve interesting pattern effects4 ,the natural color of the grass is always a part of the design4 ,most rugs then are varnished to brighten colors and preserve the surface4 ,the better qualities are bound on four sides4 ,grass rugs are reversible1 usually plain on one side1 patterned on the other4 ,sisal rugs4--,from ,yucatan1 ,central ,america1 and the ,west ,indies comes a tough1 heavy1 long-wearing fiber called sisal4 ,its largest use is in the making of twine and rope1 but its great durability makes it an important fiber for floor coverings4 ,sisal fiber is derived from the leaf of a plant1 much as linen is made from the stem of the flax plant4 ,fibers remain after the pulp of the leaf is pressed out4 ,they are twisted into strands of the desired thickness1 then woven into floor coverings1 as are the fiber rugs4 ,colors are introduced by dyeing the strands1 by stenciling the woven fabric1 or both4 ,sisal fiber is often used with other fibers to widen the range of color and utility4 ,varied uses4--,while the different types of grass and fiber rugs developed out of a demand for cool1 colorful floor coverings that primarily could be used during the summer1 their usefulness has been greatly widened as new methods evolved and new materials became available4 ,they now comprise an essential part of every well-rounded showing of floor coverings4 ,their wide acceptance is an illustration of the way in which new types of fabrics are developed to meet new conditions4 ,insofar as their basic materials differ1 the care of fiber rugs differs from those of other fabrics1 as set forth in the discussion ,proper ,care of ,floor ,coverings1 page #afi4 ,,proper ,,care ,,of ,,floor ,,coverings#bd ,frequent cleaning prevents the dirt from accumulating in the surface of pile fabrics4 ,unless it is removed1 fine particles of grit become buried at the base of the pile4 ,sharp edges of this grit1 grinding against the pile as the rug or carpet is walked upon1 tend to sever the wool fibers4 ,cleanliness becomes the most important factor in care4 ,use of a vacuum cleaner is recommended for cleaning1 both of new and old fabrics4 ,surface dirt may be removed daily with a carpet sweeper or soft-bristled broom1 the former being preferred4 ,after cleaning1 the nap should be gently brushed so that the pile is all left lying in the same direction4 ,vigorous beating or shaking of rugs or carpets tends to loosen the pile tufts1 and is condemned4 ,small rugs should never by cleaned by snapping them as this causes threads to break4 ,the bulletin of the ,institute of ,carpet ,manufacturers states3 ,under no consideration should an attempt be made to shampoo a rug or carpet while on the floor4 ,there is no shampoo method or device which1 while the carpet is on the floor1 adequately cleans the fabric to the base of the pile or effectively removes the soap and detergent material4 ,this residual soap and detergent material cause rapid resoiling1 development of crushed appearance1 and may cause the development of rancid odor or a gradual color change in the dyestuff4 ,axminster1 chenilles1 velvets1 and ,wiltons4--,these should not be swept hard at first and never against the nap4 ,sheared when finished1 a little light woof or loose wool will come out for a time4 ,long ends should be cut even with the surface of the rug and never pulled out4 ,unequal crushing of the surface will produce light and dark patches on any cut-pile rug4 ,application of a hot iron on a damp cloth will allow pile to be brushed to normal position4 ,in a marked degree1 carpets do not fade4 ,manufacturers employ strong1 fast dyes and carpets will not fade except when exposed to the direct rays of the sun4 ,the simple preventative solution for sunlight fading is to use window blinds judiciously4 ,but carpets do discolor or change in hue1 because of infiltrated dust which is basically gray in color4 ,it is not the dirt that may be swept away1 but fine dust in the atmosphere that settles permanently in carpet1 adding gray to the tone of the carpet1 whatever its original color may have been4 ,therefore it is advisable when purchasing carpet to choose a shade a trifle stronger than the final floor color desired4 ,in matching wall coloring1 draperies1 or upholstery fabrics1 at the time of purchase1 it is a wise expedient deliberately to soil a small cutting of the carpet so as to judge what its appearance will be for most of its life4 ,when subjected to severe wear1 use of rug cushions beneath rug or carpet is advised4 ,the plain or smooth surface of the cushion should be placed next to the rug4 ,,selling ,,coverings ,,for ,,other ,,floors#be ,information gained in the discussion of the problems1 plans1 and thinking of the customer as to color likes and dislikes1 and harmony in color and design1 opens the way for discussion and possible sales of floor coverings for other rooms4 ,it may be accepted that every purchaser of a rug or carpet has definitely in mind plans for other rooms4 ,she has cherished1 if unexpressed1 schemes for changes1 improvements in all her rooms4 ,the merchandise she has seen1 rest assured1 has stimulated interest anew in her other favorite decorative schemes4 ,it is all very tempting and alluring4 ,importantly1 also1 she is in the buying mood4 ,the occasion is made to order for following through with presentation of fabrics for additional rooms1 preferably for an immediate1 but1 if not1 for a future sale as soon as budget or circumstances permit4 ,such a purchase may concern3 #a4 ,rooms which adjoin1 the rugs and carpets of which must be harmonious in color and design to achieve most pleasing results4 ,such are hall and living room2 living room and sunroom2 or #b4 ,those which essentially are units in themselves1 in which great expression of individuality in color and design is permissible4 ,such are library1 bedrooms1 and nursery4 ,the adjoining room4--,the most common of house plans provide a central entrance hall1 with rooms opening on either side1 and stairway rising from it4 ,this plan gives an air of spaciousness and1 obviously1 because two or more rooms are visible at once1 calls for most harmonious floor treatment throughout4 ,rugs and carpets are extremely important in such a scheme4 ,properly chosen1 they create a feeling of unity and pleasing color harmony4 ,lacking that unity and harmony1 the result is far from pleasing1 and may be a decidedly disturbing feature4 ,use of identical fabrics4--,adjoining rooms may be covered with the same fabric1 alike in color and pattern4 ,wall-to-wall carpeting or identical rugs of correct size achieve the pleasing result of unity and harmony secured by alikeness4 ,use of fabrics harmonious but not identical in color4--,variation is pleasing as well as likeness2 covering hall1 for instance1 in a strong color1 and adjoining rooms in colors which harmonize through likeness or in the complementary ranges4 ,this is1 of course1 more complicated1 but an effect not difficult to achieve4 ,combining plain and figured fabrics4--,the use of a figured pattern in one room1 and in the adjoining room a plain fabric which picks up and repeats the dominant color in the ground color or in the figures of the pattern produces a lively result1 pleasing and effective4 ,stair carpeting is important in the decorative picture4 ,stairs properly carpeted are soft under foot1 safer1 quiet1 more comfortable4 ,they supply a fine note in the decorative scheme4 ,the stair carpet should repeat the dominant color of the hall or room from which they ascend4 ,for other rooms4--,rooms which may be considered as units in themselves permit of more individual treatment1 an expression of the likes of the occupant or occupants4 ,this group includes bedrooms which1 statistics show1 are the most sparely and poorly carpeted of rooms4 ,suggestions that consideration be given to bedroom floor coverings will appeal to a large percentage of customers4 ,during the showing of merchandise and discussion of the problems involved in the selection of the specific floor covering the customer comes to buy1 remarks will often indicate the need for rugs or carpet for other rooms4 ,,use ,,of ,,ensembles ,,in ,,selling#bf ,into selling in recent years has come a most efficient method of proving just how a specific rug or carpet will look in combination with other furnishing elements4 ,this is the ensemble or group method1 for the word ensemble means an assembling or grouping4 ,whether it be the simplest kind of ensemble1 displaying only the rug or carpet1 with lengths of drapery and upholstery fabrics1 and built by the salesman before the eyes of the customer2 or the most complete and elaborate form1 the model room1 the ensemble method has these outstanding advantages3 #a4 ,it develops interest4--,the mere physical operation of building the simpler display before the customer1 arouses interest because it involves action4 ,selection of items and addition of each element in the group adds to the interest4 #b4 ,it carries conviction4--,conversation as to combinations of colors and designs1 and resulting effects are interesting1 but an ensemble display of actual merchandise in the colors and designs actually available1 visualizes the accomplished effect for those who cannot visualize them mentally4 ,and few can4 #c4 ,it concentrates attention upon the specific rug or carpet1 narrows down the possibilities of choice and tends to hasten decisions4 #d4 ,it stimulates action and tends to close the sale by spot-lighting the specific fabrics favorably as the basis for achieving the desired beauty of color1 design1 and harmony which is the objective of the customer4 ,it presents the solution to a specific problem in terms of actual merchandise4 ,the same factors operate in pointing out the pleasing effects achieved in model rooms4 ,illustration3 ,american ,furniture ,mart ,photograph4 ,figure #cf4--,living room grouping of upholstered and occasional pieces4 ,among the interesting details are the low relief carving on the apron of the upholstered chair1 the black iron-type drawer pulls1 the carving on the base of the desk1 and the neatly turned desk chair4 ,the hooked multicolor ,axminster rug is worked in shades of beige1 red1 blue1 and green4 ,the brass1 double-candle desk lamp is a practical accessory4 ,ensemble selling presupposes a knowledge of the way in which available materials may be used effectively4 ,various pleasing schemes should be worked out with the basic rug and carpet stock colors and designs as the foundation of the schemes4 ,lengths of drapery and upholstery fabrics and wall coverings suitable for use with each basic rug or carpet color may be selected to provide effective and pleasing results4 ,ensemble units may be built over an easel which displays a standard-sized carpet sample2 or may use a sample rug with a chair1 table1 or lamp1 the drapery and other fabrics being thrown over the chair4 ,the object is to bring the various elements together effectively so the customer may see them4 ,the ensemble is to prove that these other factors will harmonize satisfactorily with the floor covering4 ,in the selection of elements for ensemble units1 whether temporary or permanent1 the advice of the decorating department of the store1 if one exists1 will be invaluable4 ,many manufacturers of rugs and carpets have established decorating services1 the benefit of which is available to store as well as to consumer4 ,such services are much publicized1 extremely popular1 and influential with the public and widely used by consumers4 ,store and sales force alike will be wise to know what such potent sales influences are advising4 ,another source of such data is the editorial pages of magazines1 many of which publish decorative schemes in color4 ,these influence the thinking and buying of many readers4 ,let it be emphasized again that the ensemble1 potent as is its influence should be employed only when the sale is not possible otherwise4 ,and only after the possibilities of one grouping have been exhausted should another one be built4 ,the customer must not be confused by much1 but rather enlightened by a little4 ,,questions #a4 ,under what conditions would it be good salesmanship to change arrangement of a suite on the display floor1 or to bring in rug1 draperies1 table runner1 glass1 or silver as a means to closing a sale8 #b4 ,what technical information does a good salesman need to use in demonstrating concealed values in upholstered furniture8 #c4 ,how do you demonstrate values in floor coverings8 #d4 ,what procedure do you follow in seeking to produce the largest volume of sales from paid-up1 inactive accounts8 #e4 ,what ideas or procedures are said to be most irritating to those who examine your stock as potential customers8 #f4 ,the high school graduating class this year is furnishing a faculty room as a gift to the school4 ,exactly what would you do to make the sale for your company8 #g4 ,what tests would you apply to demonstrate that a given new home reflects harmony in the home furnishings8 #h4 ,what are profitable uses for floor plans8 #i4 ,if a well-dressed woman1 not known to you1 asked to be shown an oriental rug1 how would you go about it to make a sale8 #aj4 ,suppose you were showing inlaid linoleum to an elderly woman1 that finally you found a pattern to please her1 and that upon learning your price she stated positively that she could buy the same pattern much cheaper at ,blank's4 ,what would you say or do8 ,,suggested ,,reading ,,list ,americana1 ,encyclopedia1 ,textiles and ,textile ,manufacture4 ,rugs1 vol4 #bc1 pp4 #geg-gfa4 ,tapestries1 vol4 #bf1 pp4 #beb-bed4 ,many others in volumes #e1 #f1 #aa1 #ag1 #ai4 ,,baldwin1 ,,william ,h4 ,the ,shopping ,book4 ,the ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aibi4 ,floor ,coverings1 ,,ii1 pp4 #ce-ed4 ,britannica1 ,encyclopedia4 ,carpet ,manufacture1 vol4 #d1 pp4 #iag-ibc4 ,linoleum1 vol4 #ad1 pp4 #afe-aff4 ,interior ,decoration1 vol4 #ad4 ,,burrows1 ,,thelma ,m4 ,successful ,home ,furnishing4 ,manual ,arts ,press1 ,peoria1 ,ill4 #aich4 ,rugs1 ,,ii1 pp4 #de-ee4 ,upholstery ,fabrics1 ,,iv1 pp4 #fe-he4 ,,davis1 ,m4 ,j4 ,principles of ,window ,curtaining4 ,farmers ,bulletin ,no4 #aeaf1 ,united ,states ,department of ,agriculture1 ,washington1 ,d4 ,c4 ,,fales1 ,,winnifred4 ,what's ,new in ,home ,decorating4 ,dodd1 ,mead ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aicf4 ,textiles and ,fabrics1 ,,iii1 pp4 #db-ga4 ,beauty ,under ,foot1 ,,ii1 pp4 #bd-db4 ,every ,window ,has ,its ,problem1 ,v1 pp4 #he-abj4 ,,faraday1 ,,cornelia ,,bateman4 ,the ,dean ,hicks ,co41 ,grand ,rapids1 ,mich4 #aibi4 ,history of ,carpets and ,rugs and ,decorative ,floor ,coverings of all ,nations4 ,,hempstead1 ,l4 ,the ,selling ,points of ,drapery and ,upholstery ,fabrics4 ,fairchild ,publications ,co41 ,new ,york1 ,n4 ,y4 #aica4 ,institute of ,carpet ,manufacturers of ,america1 ,inc41 ,new ,york1 ,n4 ,y4 #aicg4 ,carpet and ,rug ,industry1 ,survey1 ,style1 and ,color ,trends4 ,,jackson1 ,,alice and ,,bettina4 ,the ,study of ,interior ,decoration4 ,doubleday1 ,doran ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 ,,kelsey1 ,,clark4 ,furniture3 ,its ,selection and ,use4 ,national ,committee on ,wood ,utilization1 ,united ,states ,department of ,commerce4 ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c4 #aica4 ,upholstered ,furniture1 ,,ii1 #aj1 pp4 #fa-ge4 ,,knauff1 ,,carl ,g4 ,b4 ,refreshing the ,home4 ,mc,graw-,hill ,book ,co41 ,inc41 ,new ,york1 ,n4 ,y41 #aich4 ,rugs and ,carpets1 pp4 #ajj-acb4 ,fabrics1 pp4 #bdb-bfi4 ,curtains and ,draperies1 pp4 #bfi-bhi4 ,linoleum1 pp4 #ec1 #gc1 #hj1 #abf-abi4 ,tapestries1 pp4 #bed-bee1 #cjb4 ,upholstering1 pp4 #bbc-bbf4 ,lamps1 pp4 #bij-bii4 ,glass ,curtains1 pp4 #bgf1 #bhb4 ,,koues1 ,,helen4 ,how to ,beautify ,your ,home4 ,good ,housekeeping1 ,new ,york1 ,n4 ,y4 #aicj4 ,how to ,make ,curtains and ,draperies1 ,,xii1 pp4 #adg-afg4 ,new ,fashions in ,draperies1 ,,xi1 pp4 #aca-adg4 ,national ,retail ,dry ,goods ,association1 ,new ,york1 ,n4 ,y4 ,manual for ,selling ,curtains and ,draperies1 ,october #aicf4 ,,priestman1 ,,mabel ,,tuke4 ,art and ,economy in ,home ,decoration4 ,john ,lane 7,the ,bodley ,head1 ,ltd41 ,london74 ,when ,buying ,carpets and ,rugs1 ,v1 pp4 #di-hf4 ,,reyburn1 ,,samuel ,w4 ,selling ,draperies and ,upholstery ,successfully4 ,prentice ,hall1 ,inc41 ,new ,york1 ,n4 ,y4 ,,seal1 ,,ethel ,,davis4 ,furnishing the ,little ,house4 ,century ,co41 ,new ,york1 ,n4 ,y41 #aibd4 ,floors of ,dignity and ,beauty1 ,,ii1 pp4 #bc-da4 ,,stewart1 ,,ross and ,,gerald1 ,,john4 ,home ,decoration4 ,garden ,city ,publishing ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 #aich4 ,floor ,covering1 ,,vi1 pp4 #if-aac4 ,fabrics and ,their ,uses1 ,,vii1 pp4 #aac-abg4 ,,whiton1 ,,sherill4 ,elements of ,interior ,decoration4 ,j4 ,b4 ,lippincott ,co41 ,philadelphia1 ,pa4 ,decorative ,textiles and ,tapestries1 ,x1 pp4 #ccg-cic4 ,floor ,coverings1 ,,xii1 pp4 #dji-dda4 ,,footnotes3 #ba ,stipulation #bhea of the ,federal ,trade ,commission1 ,washington1 released ,june #bd1 #aidj1 requires a respondent firm to agree to cease using the words ,persian1 ,chinese1 oriental1 ,kashmir1 ,mandalay1 ,baghdad1 ,baristan1 ,persiatana1 ,india1 or other distinctively oriental appellation in connection with any rug which does not contain all the inherent qualities and properties of an oriental rug2 unless1 if properly used to describe the design or pattern only1 such words of oriental appellation shall be immediately accompanied by a word such as design or pattern printed in equally conspicuous type1 so as to indicate clearly that only the form delineated on the surface of the rug is a likeness of the type named2 for example1 ,persian design1 ,chinese pattern4 ,the respondent corporation also agreed to discontinue use of the word guaranteed unless clear disclosure is made of exactly what is offered by way of security2 as for example1 refund of purchase price4 #bb ,for an illustrated technical account of chenille manufacture1 see ,encyclopedia ,britannica1 #adth edition2 vol4 #d3 ,carpet manufacture4 #bc ,for an illustrated explanation of the ,wilton and other techniques1 see the ,encyclopedia ,britannica1 place cited4 ,the name ,wilton comes from the old ,english town1 an early seat of carpet making4 #bd ,ideas reproduced from ,rugs and ,carpets of ,america1 pp4 #da-db1 ,the ,floor ,covering ,advertising ,club1 ,new ,york1 ,n4 ,y4 #be ,rugs and ,carpets of ,america1 pp4 #eg-eh1 ,floor ,covering ,advertising ,club1 ,new ,york1 ,n4 ,y4 7#aidj47 #bf ,reproduced by permission of ,floor ,covering ,advertising ,club1 ,institute of ,carpet ,manufacturers3 ,rugs and ,carpets of ,america1 p4 #ee4 ,unit ,,ix ,,furnishing ,,the ,,living ,,room1 ,,hall1 ,,and ,,dining ,,room ,furnishing the ,living ,room ,distinctive ,hall ,furniture ,securing ,hospitable ,dining ,room ,atmosphere ,ensemble ,selling ,illustration3 ,courtesy ,american ,walnut ,manufacturers ,association4 ,figure #cg4--;,designed by ,gilbert ,rhode1 this many-purpose grouping of modern pieces can be arranged to fit the individual room and taste4 ,use of hairline stripe of natural inlay at regular intervals gives an unusual fabric like effect to this modern design4 ,unit ,,ix4--,,furnishing ,,the ,,living ,,room1 ,,hall1 ,,and ,,dining ,,room ,,furnishing ,,the ,,living ,,room ,the living room is the heart of the home4 ,it is here that members of the family meet and spend a great part of their time2 here that friends and guests are entertained2 here that memories are made4 ,the woman is rare who does not recognize the importance of her living room both as a factor in family life and as an index of her own position1 taste1 and skill4 ,since the family living room is the show window of the home it is well to convey to the customers' mind that the personality of herself and her family should be reflected in this room4 7,see fig4 #ca1 page #adb47 ,,opportunities ,,for ,,improvement ,,everywhere ,comparatively few living rooms are genuinely attractive4 ,it is safe to say that #i living rooms out of every #aj could be improved enormously1 and often at little cost4 ,some are merely shabby or out of date4 ,many are colorless1 depressing1 uncomfortable1 commonplace1 and unlovely4 ,nearly all lack important elements1 and are in some respect underfurnished4 ,in innumerable cases their owners are more or less clearly aware of these defects1 deplore them1 and would like to correct them4 ,this means that always there are possibilities for new and replacement sales of living room merchandise4 ,moreover1 it means that any woman who today asks for any article for living-room use1 however unimportant or inexpensive1 may be at the point where she can be influenced to consider the purchase of additional articles4 ,a systematic effort to explore and develop these latent possibilities infallibly will result in larger sales4 ,,architectural ,,and ,,decorative ,,style ,comparatively few houses are designed throughout in an architectural style so well defined as to demand adherence to the same or closely related styles in furniture4 ,even in the case of many houses so designed we find that the owners prefer to equip their rooms with furniture of styles more pleasing to their fancy4 ,often this practice results in bad decoration1 but after all there is little that can be done about it4 ,your job is to equip yourself to be a competent adviser and to give sound advice when it is wanted4 ,under ordinary circumstances1 do not ask your customer the style of her living room4 ,if she doesn't know1 or if the room has no style1 she may be embarrassed or vaguely displeased by the question4 ,on the other hand1 if she regards the style of the room as in any way important she will in all likelihood volunteer the information4 ,,living-,,room ,,wall ,,treatments ,the walls of the living room constitute its largest and most important single element1 and form the background against which all other elements must be seen4 ,the lighter the tone of the walls1 and the smoother their texture1 the greater will be the reflection and diffusion of light throughout the room and the larger its apparent size4 ,painted or ,plastered ,walls4 ,calcimine and water paint are effective in simple and unpretentious living rooms of any size1 but should not be used in rooms intended to be sumptuous1 elegant1 or formal in effect4 ,they are most pleasant in colors1 belonging to the yellow-to-orange family1 such as buff1 maize1 putty1 or in light pastels4 ,walls covered with canvas and painted in oil1 without paneling1 and with or without effects of stippled modeling or glazing1 can be used in living rooms of any type1 and with furniture of any style4 ,paneling1 because of the severely balanced distribution of wall spaces and the effect of dignity produced by long1 straight lines1 tends to give a room a quality of formality and dignity which is reflected in the style and distribution of the furniture and relieved by a free use of color and ornament in the other elements of the room4 ,rough plaster and compo walls1 varying in unevenness of texture and depth of tone according to the scale and style of the room itself and the furniture to be used in it1 are effective with houses of the cottage1 ,early ,english1 and ,mediterranean types and with ,early ,spanish1 ,italian1 and ,english furniture and the cruder and heavier examples of ,french ,provincial1 ,early ,american1 and unstyled furniture4 ,patterns in ,papered ,walls4 ,wallpapers are made in an extremely wide range of variation in texture1 coloring1 and pattern4 ,properly chosen1 wallpaper is a suitable wall finish for practically any style of room1 and a suitable background for practically any style of furniture4 ,since personal preference has a great deal to do with the selection of wallpaper1 the salesman's job should be merely to assist the customer on color and appropriateness of design4 ,studying the papers you will note that some have formalized motifs1 others simple1 repeated patterns4 ,when in doubt1 stay to the simpler patterns4 ,however1 there is no set rule on the types of wallpaper to be used1 good taste and personal preference being the main factors4 ,,floor ,,coverings ,,for ,,the ,,living ,,room ,the floor may be treated with a single1 room-size rug1 several small rugs1 or linoleum4 ,a room-size rug usually is preferred where practicable in a small room because it causes the room to appear a little larger than when small rugs are used4 ,linoleum when used in a living room may carry an inlaid design in keeping with the room or may be used as the basic floor covering with small1 soft-surface rugs4 ,rug ,must ,dominate ,floor ,area4 ,there is no rule to govern the proper width of margins1 other than the general requirement for a dominant element in every composition1 which means that in the case of a single large rug the effect will be unpleasant if the rug is so small that it seems to the mind less important than the total uncarpeted space4 ,ordinarily the side margin should not exceed one fourth of its length4 ,several small rugs used together should be sufficiently alike in coloring1 type of pattern1 tone1 and texture to ensure the unity of the floor treatment1 but not identical1 which would make the effect monotonous4 ,this requirement would forbid the use together1 for example1 of characteristic ,persian and ,chinese designs1 because of too sharp differences in pattern2 or of pile and pileless rugs1 because of too sharp differences in texture2 or of light and dark rugs1 because of great differences in tone4 ,it is never necessary1 and rarely desirable1 to have all of the rugs closely alike in color2 but there must be pronounced elements of likeness4 ,in general it is best to have at least one1 and preferably two or three colors appear in varying degrees of importance in each rug4 ,small rugs should be placed so as to be closely related to the fireplace1 door1 and principal pieces or groups of furniture4 ,they are distracting and meaningless when scattered with no reference to this relationship4 ,don't ,place ,rugs at ,angle4 ,small rugs should be placed straight in the room2 that is1 so that their edges parallel either the side or end walls4 ,to scatter them at angles destroys the organic unity of the room4 ,the floor coverings should be darker in tone than the walls1 but not so much darker as to contrast harshly1 and so impair the harmony and restfulness of the room4 ,in general the scale of the floor covering design should vary directly with the size of the room4 ,small rugs appear inartistic with large scale designs which might seem perfectly appropriate on larger rugs4 ,the vigor of drawing and coloring in the floor covering also should increase with the size1 or rather the effect of weight and massiveness1 of the furniture4 ,,living ,,room ,,window ,,treatments ,venetian blinds have become increasingly important as a treatment for windows in all parts of the house4 ,venetian blinds permit the user to control the light and add a decorative note to a room regardless of its period4 ,tapes of the blind should match the floor covering1 the walls1 or harmonize with the color scheme of the room4 ,although the off-white1 cream1 and buff blinds are most popular1 colored blinds in keeping with the color scheme of the room also are in good taste4 ,other window treatments are roller window shades1 glass curtains1 and draperies4 ,venetian blinds4--,most blinds are custom made and ordered to the customer's specific window size4 ,measurements should be taken within the molding4 ,venetian blinds may be used alone1 with draperies1 or with glass curtains and draperies4 ,venetian blinds harmonize with any period or setting and may be used on hall doors1 kitchen1 and bathroom windows as well as all other rooms of the house4 ,waxing maintains the slats most of which may be kept clean by washing with a bland soap and dusting regularly4 ,roller window shades4--,roller window shades offer an inexpensive and easy means of controlling light and vary widely in quality1 appearance1 and price4 ,roller shades should be fairly close in hue and tone to the walls4 ,it is necessary that the shades harmonize pleasantly with the house as seen from the outside4 ,glass curtains1 or the thin transparent curtains which in ordinary houses hang next to the windows1 are necessary to soften the light by day2 to cover what would otherwise be the bleak bare rectangle presented by an uncurtained window by night2 and to provide the decorative interest of soft texture1 flowing line1 and soft color4 ,when desirable1 glass curtains can be stiffened at the top and mounted on small movable rings to permit pushing back in the interest of morning sunshine or a fine view4 ,they never should be made conspicuous by reason of striking pattern or sharp contrast with the walls4 ,pure white curtains can be used only in living rooms of the most delicate type1 having light walls and woodwork4 ,in most rooms use cream or light or dark ecru4 ,glass curtains require ample fullness of material 7from #a to #b times the width of the window1 depending upon fineness of mesh71 and in ordinary houses should be hung either to the sill or to the bottom of the apron4 ,outer hangings1 or draperies1 serve to subdue or control the lighting of the living room2 to ensure a subtle sense of privacy and intimacy to its occupants2 to soften while emphasizing the structural lines of its openings2 and to add the charm of color1 texture1 and pattern4 ,the draperies should be plain if used with strikingly figured walls2 figured1 if used with plain walls2 and either plain or figured if used with walls covered with a pattern of simple and inconspicuous design and coloring1 according to personal taste or the amount of ornament in the other surfaces of the room4 ,figured draperies may be used with figured rugs when 7#a7 both patterns are in the same style of design1 as ,chinese chintz with ,chinese rugs2 or 7#b7 both patterns make a free use of the same type of line1 as in an ,italian damask with a ,persian rug2 or 7#c7 one pattern is of marked individuality while the other is small1 simple1 or lacking in individuality4 ,in general the draperies1 whether plain or figured1 will repeat one of the colors important in the rug4 ,when used with a plain neutral floor covering 7as warm gray1 fawn1 or rose-taupe7 the draperies may be unrelated to the rug in color4 ,in this case some of the color of the draperies should appear on or near the floor1 in the form of upholstery or pottery in order to ensure the repetitions essential to harmony4 ,the tone of the draperies may be and generally should be somewhat darker than that of the walls2 but never so much so as to overemphasize the draperies at the cost of the other decorative elements of the room4 ,the draperies usually will be run to the floor in the more formal and more sumptuously furnished rooms2 and to the apron in the more informal and simply furnished rooms4 ,the heavy materials1 like silk and cotton reps1 damasks1 brocades1 brocatelles1 satins1 velvets1 thick taffetas1 and richly colored printed linens and hand-blocked cretonnes should be hung to the floor2 the very light and thin materials1 like silk or rayon gauze1 silk tissues and small-figured prints1 voiles1 organdies1 thin casement cloths1 whether plain1 striped1 or broch1 should be hung to the sill or apron2 while the medium-weight fabrics1 like broch silks1 poplins1 chintzes1 and the thinner taffetas1 cretonnes1 and linens1 may be hung either way1 according to decorative requirements or personal preference4 ,some architectural defects may be covered up by the clever use of draperies4 ,oftentimes windows may be made to look larger by extended draperies across the wall4 ,,furniture ,,and ,,furniture ,,groupings ,every living room is made up of groups of furniture4 ,what these groups are depend on the size of the family1 the size of the home1 the number of guests who may be expected under normal conditions1 and the interests of the family4 ,the architecture will determine placement of furniture to a considerable extent4 ,there are several possible centers of interest4 ,a fireplace is one of these4 ,a long wall1 with windows1 may be the logical spot for the sofa4 ,in a musical family1 the piano or radio may be a focal point4 ,illustration3 ,courtesy ,american ,furniture ,mart4 ,figure #ch4--,outgrowth of the platform rocker is this smart spring base chair designed by ,alfons ,bach and upholstered in beige and brown tapestry4 ,the open bookshelves and desks are in a new1 rubbed1 fawn-colored finish4 ,the swinging arm bridge lamp has a brass base and together with the clipper ship pictures and accessories adds a dignified note4 ,the ,axminster rug is in a sand tone4 ,every grouping opens the possibility of selling add-on items4 ,the conversational group--sofa and at least two chairs requires at least two tables and two lamps4 ,the reading group implies a chair--or two chairs--at least one lamp1 and a piece to hold books and magazines4 ,usually this would be a table1 but it easily could include a bookcase4 7,see figs4 #cg and #ch47 ,the writing group takes in desk1 chair1 and lamp4 ,a well-arranged business corner for the living room 7see fig4 #cf71 or an attractive alcove off this room1 or for the den1 may become the center of interest of the home4 ,there1 for efficient operation1 may be grouped the telephone1 writing desk1 and typewriter1 with drawers and cupboards for stationery supplies and budget records1 bookshelves for reference books1 and a floor lamp4 ,from this one place all the business of the home can be carried out efficiently3 ,ordering1 corresponding1 telephoning1 and check writing4 ,in combination1 whatever the style1 the seeming weight of each end and each side of the room must balance the opposing side1 and the corners joining sides and ends must flow together naturally4 ,the reading group and the conversational group may include some of the same pieces1 and the desk chair may be used as an auxiliary conversation piece4 ,in the arrangement of furniture it must be remembered that3 #a4 ,furniture should be so arranged as to make the most of the light 7as in placing desks1 reading tables1 and chairs71 and also to satisfy the personal habits and tastes of the members of the family4 #b4 ,in general1 the center of the room should be kept clear1 which gives an effect of spaciousness1 facilitates easy movements and regrouping when the room is full of persons1 and affords a better view of its interesting features4 ,in the interest of beauty and distinction1 it is important to avoid3 #a4 ,too exclusive employment of large and heavy pieces1 which make a room stiff1 spotty1 and uninteresting when used without small tables1 chairs1 and cabinets4 #b4 ,monotony in the height1 color1 and texture of the furniture4 ,,avoid ,,repetition ,,of ,,upholstery ,,patterns ,living-room furniture should not be covered throughout in the same material1 or even in the same pattern1 coloring1 or texture1 because the effect would be tiresome4 ,on the other hand1 the degree of diversity must not be so great as to make the room inharmonious and confusing4 ,coverings of large and important pieces should fit closely into the general color scheme1 while those of small chair seats1 benches1 or stools may serve as piquant contrasting elements4 ,coverings should not contrast so strongly with the floor covering as to cause the pieces to stand out like spots1 and thus to mar the repose and harmony of the room4 ,in general1 plain or self-toned coverings will be used with highly figured walls or floor coverings in the case of the larger pieces1 while marked emphasis upon pattern is desirable when both walls and floor covering1 or hangings and floor covering are plain4 ,,distinctive ,,hall ,,furniture ,the hall really sounds the keynote for the whole house1 and does much to make or mar its beauty2 it is the place in which strangers and guests form their first and last impressions of the home and the ideals and tastes of the household4 ,in most houses the decorative importance of the hall is undervalued and the room itself is underfurnished and far less inviting and attractive than it could and should be4 ,in order to expand sales of hall furniture by the suggestion and sale of related merchandise1 or by influencing home owners to refurnish1 you will require some knowledge of the individual rooms and their present furnishings1 and a fair knowledge of the principles1 processes1 and materials involved in hall decoration4 ,just how much information you consider essential1 and when and how to ask for it1 will of course depend upon your judgment of your customer's taste1 intelligence1 and disposition4 ,taking retail practice as a whole1 it is certain that more time is wasted and more potential sales lost by failure to secure adequate preliminary information than by unnecessary or unsuccessful attempts to do so4 ,,hall ,,decorations3 ,,principles1 ,,processes1 ,,and ,,materials ,the hall should have an atmosphere of warmth and hospitable welcome1 a note of rich but quiet dignity1 and a real quality of interest and charm4 ,its hospitableness can be insured by emphasis upon warm color and properly shaded light4 ,richness of effect is produced by emphasis upon ornamented as opposed to plain surfaces1 particularly in the floor covering1 walls1 furniture1 and accessories4 ,dignity results from the use of long lines in the interior trim1 border lines of the rugs1 and length or height in the furniture where practicable1 and also of formal balance in furniture arrangement4 ,interest and charm are secured by a free use of color and texture1 and a measure of distinction in the design of furniture and accessories4 ,relation of the ,hall to ,adjoining ,rooms4 ,the hall must announce or suggest some of the decorative elements of connecting rooms1 and accordingly must have many points of resemblance and harmony in coloring1 line1 and texture4 ,in choice of the key pieces of furniture1 which give distinction and smartness to the hall1 there should be similarity in outline and proportion to the key living room pieces1 but identity in period style is wholly unnecessary4 ,high-backed seventeenth century chairs of the more slenderly proportioned types could be used in the hall opening into a ,sheraton dining room without marring the sense of harmony in the suite4 ,illustration3 ,courtesy ,american ,furniture ,mart4 ,figure #ci4--;,ideal for the hall is a cedar chest which serves the duo-purpose of providing valuable storage space as well as being decorative4 ,this mahogany chest1 built to resemble a chest of drawers1 has a cedar lined bottom drawer4 ,the chest proper is the depth of the first and second sham drawers4 ,the oval mirror1 a fitting accessory1 has a gold-leaf frame4 ,wall ,treatments for the ,hall4 ,when the walls are of plain or ornamental plaster1 calcimined1 or painted in oil1 they should match the adjoining room if either is small or both rooms are small1 in order to gain an effect of spaciousness4 ,where the hall and the adjoining room both are large1 the walls may differ in hue2 but marked difference in tone is unpleasant4 ,for example1 light stone walls in the hall and medium light green in the living room will be agreeable2 dark stone and pale green1 disagreeable4 ,when the walls are papered1 the effect will be more interesting if the hall paper is different from that of adjoining rooms4 ,if the hall is small1 its paper should match that in the adjoining rooms rather closely in hue and tone1 differing in texture or pattern1 or in the fact that one paper is figured and the other plain4 ,small halls are high in proportion to their width4 ,a figured paper helps to correct the proportions1 whereas a stripe would raise the apparent height of the ceiling4 ,when the walls are plain1 sufficient ornament to enrich the room and relieve it from any effect of thinness must be supplied by floor coverings1 draperies1 furniture1 and accessories4 ,floor ,coverings for the ,hall4 ,in a decorative sense1 floor coverings are more important in the hall than in any other room1 because the floor area is smaller in proportion to wall area1 and there are fewer interesting pieces of furniture1 and relatively fewer accessories4 ,here are some practical suggestions3 ,linoleum is increasingly used for the hall since it permits the user to express her originality and good taste in many interesting forms4 ,plain or mottled linoleum with an attractive motif or monogram set into the center is both decorative and practical4 ,a border or trim1 in keeping with the architectural style of the room1 also adds to the decoration4 ,the linoleum may harmonize in color with the floor covering of the room adjoining or may carry out its own color scheme in keeping with the theme of the hall4 ,if the hall adjoins the living room it is well to use the same floor covering as in the living room since this has a tendency to make both the hall and the living room appear larger4 ,if small rugs are used in the hall they may be of contrasting tone to the living room rug or may blend with the general color scheme4 ,stair carpets are desirable for the following reasons3 ,they are more comfortable1 less noisy and easier to keep in condition than bare treads4 ,they are safer1 especially for children and old people4 ,they make the hall far more hospitable and inviting4 ,they add a much needed note of color to the room4 ,they serve to unite lower and upper floors artistically by a sweeping line of color4 ,draperies for the ,hall4 ,except in the case of doors with a metal grille1 or recessed doors1 ,venetian blinds1 or curtains1 or both1 are desirable on the doors and sidelight of a hall of ordinary size and architectural character1 because they ensure a sense of privacy1 temper the light1 add the interest of color and texture and help to invest the hall with a quality of intimacy and hospitality4 ,,hall ,,furniture ,,must ,,be ,,distinctive ,hall furniture must fit the room in scale4 ,avoid pieces so small and thin as to seem poor1 weak1 and inadequate1 or so large as to crowd the room and destroy its decorative balance4 ,in general1 use furniture of slender proportions against light smooth walls1 and thicker or more massive furniture against darker and rougher walls4 ,it is highly important to use distinctive pieces in the hall2 partly because it is from this room that the visitor receives his first impression of the house1 and partly because the room can use but few pieces1 which are seen against such relatively large wall spaces that they must be of unusual interest in order to redeem the room from bareness and a commonplace quality4 ,hall furniture should reveal as much variety as is consistent with the necessary harmony4 ,matched pieces usually are to be avoided4 ,even in the case of console table and mirror1 a mahogany table1 for example1 usually will be more pleasing with a gold or lacquer mirror of harmonious shape than with a matched piece in mahogany4 ,differences in woods1 finishes1 ornamental detail1 and height add interest to the room through variety4 ,as minimum equipment1 the hall should have a table or cabinet with a mirror1 and something on which to sit4 ,table and mirror constitute the dominant element2 the mirror adds desirable spaciousness1 and the charm of reflected vistas1 and both are necessary for practical as well as artistic reasons4 7,see fig4 #ci47 ,a seat of some kind is necessary to ensure a sense of hospitality1 and as a courtesy to the stranger who enters the home1 but is not immediately admitted to its inner rooms4 ,a chair1 preferably of the straight high-backed type1 a bench1 or a low chest with cushion will meet this requirement4 ,,strengthen ,,dominant ,,element ,as the dominant element1 table and mirror should not be dwarfed by the wall behind them4 ,if for any reason a small table is placed against a wide wall space1 a long wall banner or panel should be placed on the wall behind the mirror in order to build up the group at eye level4 ,it may be built up at the base by a chair at one or both sides1 torcheres1 etc4 ,never use a mirror wider than the piece that stands below it1 or a narrow mirror with a wide table1 unless a wall panel also is used to supply the necessary width4 ,modern hand-woven tapestries often are used for hall walls when their cost is not prohibitive4 ,other devices for the purpose include panels made from damask1 brocade1 brocatelle1 plain or figured velvet1 real or imitation crewel1 ,indian or ,persian calico prints4 ,a panel often is used on the wall behind a low chest4 ,the hall table need not be of the conventional console type4 ,when wall space permits1 any long narrow table will serve1 as will a round or square ,english card table1 with the half-top either flat or raised against the wall4 ,in the very small hall a large nest of tables can be used as a small console4 ,in many halls a lowboy or chest of drawers is decorative and useful4 ,other possible items include the decorative cabinet1 small tables1 flower stands1 floor or banjo clock1 screen1 lamps1 desk1 love seat1 radio1 and cane or umbrella rack4 ,always check the possibilities of the hall in a house you furnish4 ,the general methods discussed in relation to piece and group sales of living room merchandise apply equally to the hall4 ,in addition it should be noted that it is practically impossible to suggest the proper choice of hall furnishings in the absence of measured drawings1 since both the number of pieces and their size are more definitely determined by floor and wall space than is the case in any other room4 ,every sale of hall furniture of any importance should be followed by a call at the house as soon after delivery as possible4 ,if the new furniture does not fit the room1 corrections may be made promptly1 before any ill-will develops4 ,moreover1 in many cases additional merchandise can be suggested and sold4 ,,securing ,,hospitable ,,dining ,,room ,,atmosphere ,the dining room should have an atmosphere of cheerfulness and hospitality both under natural and artificial lighting2 and since it is occupied but three times a day at most1 and for short periods only1 its decorative treatment may have more snap than would be agreeable in the living room4 ,,securing ,a ,,hospitable ,,atmosphere ,to produce an atmosphere of cheerfulness and hospitality1 emphasize3 ,warm or light pastel colors particularly in the walls4 ,ample light1 properly controlled4 ,curved lines1 and curvilinear shapes to soften hard austere outlines of case pieces and windows4 ,gay1 contrasting colors in ornamental details4 ,variety and originality4 ,cheerfulness and animation will be increased by increasing the diversity of the room treatment through contrasts in hue1 tone1 line1 form1 and texture1 within the limits permitted by the requirement of unity and harmony4 ,this consideration demands special care in the dining room1 because the important pieces of furniture usually are matched1 with a resulting loss in diversity which must be made up in the other elements of the room4 ,here we have the chief single reason for the great number of monotonous1 uninteresting dining rooms4 ,to the skillful salesman this will suggest 7a7 a sound reason for pushing sales of such accessories as mirrors and pictures1 tier tables for plants and accessories1 and for plant stands2 7b7 an approach for the sale of broken suites and unmatched pieces4 ,many women feel that their dining rooms cannot possibly be correctly furnished unless they are equipped with a matched suite4 ,this is not always true4 ,many distinctive dining rooms have been furnished with harmonious1 unmatched pieces4 ,,dining ,,room ,,walls ,the same principles and processes discussed under living room wall treatments apply to the decoration of the dining room1 subject to the qualification that for the reasons noted above1 the dining room walls often may have more striking patterns and sharper contrasts4 ,scenic landscape or other highly decorative papers may be effective in the dining room1 although they would not serve as a living room background4 ,what was said concerning the living room will afford the basis for judging the proper relation of walls to the style of furniture4 ,highly figured walls do not require choice of plain dining furniture1 or vice versa4 ,the general principles of harmony govern the proper relation of walls to floor covering4 ,polychromatic walls require that two or more of the colors be repeated 7not necessarily accurately matched7 on the floor4 ,the floor covering should be somewhat lower in tone1 and characterized neither by too little vigor or boldness of drawing to harmonize with the walls1 nor too much4 ,choice among these would depend upon personal taste and the degree of sunniness and warmth required in the rug in order to bring the room total up to the level desired by the buyer4 ,,dining ,,room ,,floor ,,coverings ,the dining room may be treated with a room-size floor covering matching or harmonizing with the living room rug or linoleum or with a single large rug4 ,some housewives prefer to leave the floor bare1 except for two or three small rugs4 ,with figured linoleum the practice is unobjectionable1 except for the loss of the sense of physical comfort and hospitality created by pile carpets under foot4 ,with hardwood floors it is open to the objections that it is inhospitable2 that it is too weak in a decorative sense to support the weight of the relatively large and heavy furniture2 and that it makes the room seem thin and poor1 mars the harmony between walls and floor1 and prevents a convincing and satisfying distribution of color4 ,as compared with the living room1 the dining room is relatively small and its furniture relatively large1 striking1 and uniform4 ,this means that the floor covering must be adapted in scale and emphasis of pattern and coloring to sustain the load of this heavy furniture1 and thus to prevent an effect of stiffness and spottiness in the room2 and that it must have plenty of pattern and color when the other elements of the room are deficient in variety4 ,a single rug should be large enough to permit free movement of the chairs without letting the back legs touch the bare floor4 ,in general1 the rug should just clear the front legs of furniture placed against the wall4 ,in small rooms1 however1 it is desirable to have the rug come to within #ab or #ae inches of the wall in order to increase the room's apparent size4 ,,dining ,,room ,,window ,,treatments ,window shades1 ,venetian blinds1 glass curtains1 and draperies are desirable in the dining room4 ,their selection is governed by the general considerations discussed under living room window treatments1 page #ahb4 ,when a dining room has but one window or a single group of windows1 there is some danger that the draperies may give the room an effect of spottiness and lack of balance unless care is taken to repeat the color of the draperies in some way on two or three of the other walls4 ,with plain draperies1 touches of the same hue should so appear1 in pictures1 wall panel1 screen1 sideboard decorations1 or some similar device4 ,with figured draperies containing several colors1 at least one of the important colors should be thus repeated4 7,see fig4 #bi1 page #acj47 ,,dining ,,room ,,lighting ,the dining room should be lighted by direct light1 released through a ceiling fixture4 ,the light from this source can be turned off when candles are used2 but the ceiling will be bare and unpleasing without this central point of interest1 and most families prefer not to dine by candlelight alone4 ,the fixture should have sufficient height to keep the glare of light from the eyes of diners4 ,the effect will be most agreeable if the light is released through several globes of low wattage1 and if each of the globes is shaded in such a way as to keep the table in an arc of slightly higher illumination than the rest of the room4 ,side lights are effective as auxiliaries1 but not as the principal source of light4 ,illustration3 ,photograph by ,grignon4 ,figure #dj4--,many features of this eighteenth century dining room grouping make it adaptable to contemporary homes4 ,it is scaled to fit a small-size dining room2 it is simple in design and it provides valuable storage space in its compact design4 ,the pedestal legs on the table carry through the ,duncan ,phyfe theme of this suite4 ,the corner cabinet is decorative and practical and the credenza-type buffet adds the necessary weight to the grouping4 ,,dining ,,room ,,furniture ,usually the dining room adjoins the living room1 and it may be assumed that the same style will be carried through1 although not imperatively so4 ,any eighteenth century style--,hepplewhite1 ,sheraton1 or ,chippendale can be used with any eighteenth century style or with ,colonial or ,duncan ,phyfe furniture1 providing wood1 textures1 and fabrics have unity1 similarity1 color likenesses1 or pleasing contrasts4 7,see fig4 #dj47 ,modern in walnut living room pieces will look well with walnut dining room in contemporary design4 ,maple living room furnishings look well with ,early ,american or ,french ,provincial dining room furniture4 ,it is easier to combine single styles than several styles harmoniously4 ,frequently1 however1 the most interesting arrangements are from several styles put together well4 ,try out1 on the floor1 in idle moments1 a ,sheraton dining table with ,chippendale or ,duncan ,phyfe chairs4 ,the scale may be right or wrong--your judgment should tell you4 ,naturally1 the store finds it easier to sell sets1 but should you run into difficult customers1 this knowledge of interesting combinations may save a sale4 ,illustration3 ,courtesy ,american ,walnut ,manufacturers' ,association4 ,figure #da4--;,a living-dining room suite4 ,designed by ,gilbert ,rhode1 ,new ,york1 ,n4 ,y4 ,folding dinette table with one drop leaf4 ,photograph shows view open1 table set for four1 table moved away from wall4 ,tell customers that1 although they may buy six chairs1 it is not only good taste from a decorative standpoint but also from a practical point of view to have a host and hostess chair4 ,these are upholstered chairs with tall backs and are used at the head and the foot of the table4 ,the host chairs either should match the draperies or harmonize with the color scheme of the room4 ,many times host and hostess chairs upholstered in a print1 matching the draperies are cheerful and decorative4 ,stripes are popular as upholstered seat covers on dining room chairs1 but plain coverings in damask1 leather1 or tapestry are also in good taste4 ,small figured patterns are also used4 ,,combination ,,living ,,room ,,and ,,dining ,,room ,many of the new homes are being built with living room and dining room combined into one unit or with a large living room and very small dining room4 ,for the single-unit rooms1 a happy choice is an extension or a gate-leg table and a low chest of drawers for linen which may be used either in the living room or in dining room4 ,small dining room tables which may be extended to seat six or eight may be arranged in front of a bay window or along the wall at one side of the room in keeping with the general room harmony4 ,the dining chairs are placed near the table1 when not in use1 and may be used as bridge chairs or auxiliary seating equipment4 7,see fig4 #da47 ,illustration3 ,photograph by ,grignon4 ,figure #db4--;,a contemporary dining room grouping made of birch and finished in a light wheat tone4 ,simply carved with a modernized wheat motif1 this grouping relies upon its simplicity for smartness and distinction4 ,the chairs are upholstered in a rose-colored1 leather-like fabric and trimmed with small bronze nail heads4 ,the legs of the table and chairs taper gracefully and eliminate the box-like features usually associated with contemporary design4 ,the credenza-type buffet and china have pulls of matching wood4 ,dinette furniture1 especially made for the dinette1 offers a variety of selection and need not necessarily be in keeping with the living room scheme4 ,light woods are popular for dinettes1 maple1 oak1 birch1 and pine being popular for this purpose4 ,when the dinette is replaced by a larger dining room ensemble the dinette set may be used in the breakfast room or in the kitchen4 ,small size china cabinets and buffets accompany many of the dinette sets4 ,junior dining room sets are small scale dining room ensembles and are usually shown in fine cabinet woods in styles found in large size dining room ensembles4 ,the junior dining room sets differ from the dinette sets in that they are usually not as informal as the dinette and are designed for the small-size dining room rather than for the dinette4 ,,ensemble ,,selling ,sales of living room merchandise fall into two classes3 ,piece sales1 involving the selection of one or more pieces for use in a room already partially furnished2 and ensemble sales1 involving the selection of most or all of the furnishings necessary to equip completely a room1 or even a house4 ,these two types of sales present different problems and require the use of different methods4 ,however1 they are alike in two important respects4 ,in all of them the self-interest of the buyer is the determining factor2 and competition in one or more forms is inevitable4 ,,three ,,forms ,,of ,,competition ,the first and inescapable form of competition is a competition among conflicting desires in the mind of the average buyer4 ,in order to buy one thing1 she must give up something else4 ,furniture dealers and salesmen habitually assume that the woman who enters a furniture store and asks1 for example1 for an easy chair1 has already decided to buy one4 ,the fact is that the customer is often merely weighing the satisfactions likely to come to her through possession of a chair against those offered by other articles or services also under consideration4 ,in this case you must lead her to desire a chair more than she desires anything else before you can sell any chair1 however large your stock or low your prices4 ,unhappily1 much furniture advertising is calculated to give the reading public a false impression of the necessary price levels of good furniture4 ,it may be that you can please your customer with a chair at the price she has tentatively decided to pay4 ,if not1 you must please her in a more costly piece4 ,here you run up against new competition2 for however able your demonstration of quality may be1 your customer is certain to weigh that additional item of cost against the additional articles that she must give up in order to buy the chair4 ,hence something more than a convincing demonstration of the intrinsic worthiness of the piece will be necessary to complete the sale4 ,finally1 there is a third form of competition--that among different furniture stores for the same sale4 ,however well the customer may like your chair at the price asked1 it is natural for her to try to find something just as good at a lower price1 or more pleasing at the same price1 since that is her habit in buying other commodities4 ,she knows that there are other good stores nearby1 with scores of easy chairs to show her1 and that they are advertising bargains and holding out inducements to get her trade4 ,you cannot prove to her in advance that she will only waste her time by looking further1 and any arguments1 pleadings1 or high-pressure methods designed to keep her from doing so are quite likely to have precisely the opposite effect4 ,,what ,,shoppers ,,really ,,want ,at this point a surprisingly large percentage of salesmen weaken4 ,knowing that it is impossible to oppose successfully the self-interest of the buyer1 they can think of nothing else to do4 ,in point of fact there is nothing else to do in a great many cases1 except to make every possible effort to create an impression sufficiently powerful to bring the buyer back after her shopping tour is over4 ,in many other cases1 however1 there is a way to meet competition1 if you can develop the ability to use it4 ,the woman who wants an easy chair1 a sofa1 a rug1 or a desk1 also wants something else which is far more important to her1 namely1 a more satisfying room4 ,she doesn't tell you about it1 but she really hopes that the new piece under consideration will add more beauty1 comfort1 distinction1 or impressiveness to her room4 ,get her to thinking of her room as a whole1 with the new article a part of that whole4 ,lead her to believe that the desirable qualities which she seeks will appear in it as a result of your help in selection and arrangement4 ,in other words1 appeal to her self-interest by offering her something highly important which she knows in advance cannot be found elsewhere4 ,,the ,,room ,,picture ,,method ,to overcome the inevitable competition of opposing desires1 and to reduce or eliminate shopping for variety of selection or price1 make your customer see the piece under consideration not as an individual unit1 but as an integral part of her room4 ,as long as she is permitted to think that she is buying a chair and nothing but a chair1 she will be concerned with a multitude of details1 most of which are of no real importance1#bg and will be strongly disposed to keep on looking until she has exhausted every possibility of finding something completely satisfactory in all of these details4 ,transfer her interest to her room as a whole1 with your chair as a part of it1 and you immediately rob most of these details of their earlier importance in her mind4 ,paint a sufficiently attractive mental picture of her room as it will become with your chair in it1 and she may buy the picture1 and the chair as an essential element of it4 ,she will not care to shop further for a better looking or cheaper chair1 in the fear that even if one could be found the picture would be spoiled4 ,,the ,,shift ,,from ,,unit ,,to ,,entire ,,room ,possibly you have had the experience of losing important sales to men working in stores far smaller than your own or to decorators with no more physical equipment than could be condensed into a small office or studio4 ,why should you have lost such sales when you enjoy the great advantages of ample stocks1 lower prices1 better terms1 and the prestige of a well-known and financially solid house8 ,obviously1 because the other man had the skill and the power to shift your customer's interest and desire from merchandise1 as such to what merchandise will do4 ,in order to make a normal sale by means of this room-picture method1 you will require3 #a4 ,full knowledge of your own merchandise from the technical and artistic aspects4 #b4 ,considerable knowledge of the customer's room and its important elements4 #c4 ,adequate knowledge of decorative principles1 including the emotional values of light1 color1 texture1 line1 and proportion4 #d4 ,a little knowledge of the decorative accessories--pictures1 potteries1 glass1 embroideries1 and the many small things necessary to save a room from bareness1 and to give it color1 snap1 and intimacy4 ,it is desirable but by no means necessary that you have these accessories for sale2 however1 you must know how to talk about them1 because it is impossible to make a living room genuinely attractive and satisfying without them4 ,,why ,,customers ,,are ,,disappointed ,few furniture men appreciate the extent to which sales volume is restricted by insistence upon selling parts instead of finished products4 ,not only is furniture displayed as a pharmacist displays drugs in the rows of bottles on his shelves2 but also customers are asked to do their own compounding and to accept full responsibility for the results4 ,many salesmen habitually assure the buyer that her room will be comfortable and beautiful after they have placed in it a sofa1 two chairs1 an end table1 one floor lamp1 and a radio4 ,of course it isn't1 and disappointment results4 ,she sees her room as bare1 thin1 spotty1 unhomelike1 and unlovely4 ,she knows something is wrong1 but she is without knowledge to correct it4 ,ensemble selling and complete room settings are the home-furnishings industry's modern answer4 ,unless she is able to arrange the major pieces of her furniture in a manner that will show them to the best advantage1 unless she has at least the requisites in the smaller pieces1 lamps1 and other accessories1 she may never get the full satisfaction that she should for the money she has spent in the furniture store4 ,it is the salesperson's duty to fit his customer's purchases into a complete room or home4 ,,naturalness ,,essential ,,in ,,ensemble ,,selling ,in ensemble selling1 don't lecture1 talk about yourself1 or appear in any way to be airing your knowledge4 ,simply talk in an off-hand manner1 as if you were dealing in commonplaces as familiar to your customer as to yourself4 ,the important matter is to learn promptly enough about her room to enable you to link some of its characteristics with the characteristics of your merchandise1 so that as you point out the many desirable features of her room1 and the perfect way in which your furniture harmonizes with and emphasizes these features1 she is brought to the conviction that she should have the room just as you have pictured it1 and therefore must have your furniture1 without regard to what other stores may have to offer4 ,this method is not too easy when one first begins to employ it1 nor should it be used with every customer4 ,it will interest a surprisingly large percentage of customers1 and it often will result in a sale in situations where all other methods fail4 ,it is planned selling1 which1 based on the enlightened self-interest of the buyer1 helps her to buy1 and so smoothes the path before her that she may purchase her needs room by room4 ,,selling ,,the ,,complete ,,room ,,or ,,complete ,,house ,,ensemble ,many important sales will involve the complete room ensemble or the complete house ensemble both of which are used to the great advantage of the store and of the public4 ,usually such sales are in sight long enough in advance to permit you to study and measure the rooms4 ,in important sales of this kind1 try to get the head of the house in for the first showing4 ,you will probably be unable to close the sale without him1 and he will be likely to save your time as well as to increase the amount of the sale4 ,do not overlook the fact that it is important to see the house after the sale is made1 preferably when the goods are being installed4 ,in this way you guard against possible disappointment1 ensure good will1 and often find room for more merchandise4 ,there are three general methods for dealing with these room sales4 ,the choice between them will depend upon your judgment as to the probable reactions of the customer4 ,setting ,up a ,complete ,room in ,advance4 ,measure the room accurately1 locating doors and windows2 study the room1 and so far as possible the disposition1 tastes1 and means of the buyers2 select harmonious furnishings for the entire room1 usually with one or more substitutes for the most important pieces2 lay out the room with chalk1 or with a chalk line or string tacked to the floor1 with recesses for the windows and openings for the doors in their exact locations2 set up the room with the merchandise selected1 keeping the substitutes at one side for emergency use2 arrange to have the customers call by appointment2 and show the whole setting1 making your talk while they examine it4 ,if you know the people1 and feel sure that the total cost of the room is not far above what they expect to spend1 this is a good method4 ,otherwise there is some danger that they will dislike one or more single elements of the room1 and without giving you the opportunity to correct them1 reject the whole setting2 and also that they may ask for the total price before a real desire for the setting has been aroused1 find it unexpectedly high1 and refuse to pay it4 ,building ,up ,room ,with ,customers4 ,proceed as above to the point where the room is laid out2 but instead of actually placing the furniture keep it at one side2 explain to the buyers the lay-out of the room1 locating the doors and windows2 have the furnishings brought in and placed by porters one piece at a time1 starting with the floor covering4 ,this will give you the chance to prepare their minds for each piece1 and to sell your picture as they see it grow before their eyes2 to make immediate substitutions in case one of your selections fails to please2 and to reduce the price hazard4 ,for example1 they may ask the price of some important piece such as the rug or sofa1 or you may quote it in the course of your talk4 ,if there is a quick objection1 you will be able to reassure them by a statement that something of similar appearance but lower price can be substituted later without marring the total effect4 ,laying ,out ,room to ,scale4 ,proceed at the outset as in above2 but instead of laying out the actual room1 prepare a scale drawing on a regular floor plan1 to the scale of a inch to #a foot1 or a large drawing to the scale of #a inch1 to #a foot4 ,make drawings or symbols of the furniture to be used to the same scale1 cut them out1 and fix them to the floor plan by means of thumb tacks4 ,this will permit shifting them about in case of question as to the arrangement of the room4 ,have the furnishings assembled1 and brought in by porters as needed and arranged in small intimate groups1 if space permits4 ,otherwise carry the drawing board with you as you take your customers through the stock from one of the proposed pieces to the next4 ,this method is necessary in small stores where it is practically impossible to spare floor space for a display lasting several hours4 ,it can be made somewhat more effective by drawing in the four-wall elevations and indicating the space relationships of furniture and walls4 ,in the ordinary ensemble sale where no advance preparation is possible1 quick thinking and smooth action are essential4 ,such a sale may start anywhere1 but ordinarily you will start it where your stock is most complete1 or where for any other reason you expect to encounter minimum resistance4 ,many stores have a series of model rooms1 or several series furnished completely at different price levels4 ,a visit to these rooms will give the salesman a fair idea1 of what his customers consider necessary1 what they are prepared to pay1 and where to start the sale4 ,,questions #a4 ,what methods do you follow in reducing to a minimum the kinds of competition a salesman must meet in selling furniture for the living room8 dining room8 #b4 ,a salesman asks his customer3 ,just what kind of studio couch do you have in mind8 ,why is this bad practice8 #c4 ,why do you use a floor-plan idea for getting a picture of the background which has brought a customer to your store8 #d4 ,suppose a customer seems determined to purchase a piece of furniture which you know is not suited for her use4 ,do you discourage her at the risk of losing the sale8 #e4 ,suggest three or four good ways to interest your customer in rugs for the living room4 #f4 ,few customers are able to afford use of the most costly furnishings4 ,how do you proceed to convince the average woman that certain essential harmonies actually cost nothing whatever in money8 #g4 ,suppose you are consulted by a young couple soon to be married4 ,they ask you for suggestions for furnishing their five-room apartment4 ,how do you proceed8 #h4 ,how does customer age present a problem in selling house furnishings8 #i4 ,why is it not good practice to ask your customer the style of her living room8 #aj4 ,work out a plan for furnishing an unattractive hall in the home of a well-to-do couple1 and outline steps you would take to call your ideas to their attention8 ,,suggested ,,reading ,,list ,,burrows1 ,,thelma ,m4 ,successful ,home ,furnishing4 ,manual ,arts ,press1 ,peoria1 ,ill4 #aich4 ,chapter ,,viii1 pp4 #ajc-abc4 ,,draper1 ,,dorothy4 ,decorating ,is ,fun4 ,doubleday1 ,doran ,co4 ,new ,york1 ,n4 ,y4 #aici4 ,,goldstein1 ,,harriet and ,,vetta4 ,art ,in ,every ,day ,life4 ,the ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aibe4 ,rooms of a ,homelike ,house1 ,,xix1 pp4 #cde-cij4 ,,hagman1 ,i4 ,c4 ,walls ,as ,background ,in the ,livable ,home4 ,circular #bcg1 ,university of ,kentucky4 #aicj4 ,,koues1 ,,helen4 ,how ,to ,beautify ,your ,home4 ,good ,housekeeping1 ,new ,york1 ,n4 ,y4 ,dining ,rooms--,asserting ,individuality in ,furniture1 pp4 #gc-he4 ,combination ,living ,room and ,dining ,room1 pp4 #he-ie4 ,,palmer1 ,l4 ,your ,house4 ,boston ,cooking ,school ,magazine ,co4 #aibh4 ,living ,room1 ,hall1 and ,dining ,room1 pp4 #bb-fh4 ,,powell1 ,,lydia4 ,the ,four ,main ,rooms4 ,the ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aici4 ,pp4 #c-ci4 ,,priestman1 ,,mabel ,,tuke4 ,art and ,economy in ,home ,decoration4 ,john ,lane 7,the ,bodley ,head1 ,ltd41 ,london74 ,concerning ,halls1 pp4 #dc-di4 ,,seal ,,ethel ,,davis4 ,furnishing ,the ,little ,house4 ,the ,century ,co4 ,new ,york1 ,n4 ,y4 #aibd4 ,furnishing the ,hall1 ,,vi1 pp4 #ajf-abj4 ,the ,living ,room as the ,heart of the ,house1 ,,viii1 pp4 #abj-aci4 ,dining ,rooms ,may ,be ,formal or ,gay1 pp4 #aci-aee4 ,,wright ,,agnes ,,foster4 ,interior ,decoration for ,modern ,needs4 ,frederick ,a4 ,stokes ,co41 ,new ,york1 ,n4 ,y4 ,dining ,rooms1 pp4 #aei-afd4 ,,footnotes3 #bg ,every salesman knows how exacting many buyers become when their minds are fixed upon an individual unit4 ,the chair is just a little too this or that2 the rug has a square inch of blue where there should be a square inch of red2 the cretonne is perfect in design and coloring1 but #aj cents a yard more than she had decided to pay2 and so on4 ,unit ,x ,,furnishing ,,the ,,bedroom1 ,,sunroom1 ,,kitchen1 ,,and ,,breakfast ,,room ,furnishing the ,bedroom ,furnishing the ,sunroom ,equipping the ,breakfast ,room and ,kitchen ,final ,emphasis for ,alert ,salespersons4 ,illustration3 ,courtesy ,american ,furniture ,mart4 ,figure #dc4--,tile1 long associated with the kitchen for walls and floors1 becomes the decorative theme of this ensemble1 making a striking contrast against the gleaming white walls1 and the coral table top marked off in tile effects offers a new decorative note4 ,the color is repeated at the back of the cabinet1 on the top rail of the chairs1 and on the interior of the unusual utilities which have open shelves for accessories4 ,small chrome hardware is used4 ,unit ,x4--,,furnishing ,,the ,,bedroom1 ,,sunroom1 ,,kitchen1 ,,and ,,breakfast ,,room ,,furnishing ,,the ,,bedroom ,many still think of the bedroom only as a place in which to sleep4 ,in point of fact often it is used as a secluded sitting room where one may close the door and rest1 shutting out the cares and activity of a busy day4 ,it should more properly be called a relaxation room1 and furnished with that thought in mind4 ,to meet this trend toward more diversified bedrooms1 the salesperson should organize his stock mentally on the basis of night stands1 desks1 boudoir chairs1 chaise lounges1 lamps1 and bookshelves for use in the family bedroom or guest room1 and equally suitable pieces for the nursery playroom and the individual bedrooms of young and older children4 ,for years the magazines have been describing these double-function bedrooms1 broadcasting their convenience and charm1 creating in the minds of readers a widening interest and acceptance1 and thus preparing a new field for selling effort4 ,moreover1 there are multitudes of homemakers who know little or nothing about this comfortable modern trend in bedroom decoration1 and still consider that the only furniture essential or desirable is a #c-1 #d-1 or #e-piece suite and a slipper chair or two4 ,many of our old customers1 who now regard their bedrooms as completely furnished1 can be interested in the purchase of additional new merchandise by persistent educational and development work4 ,,general ,,characteristics ,,of ,,the ,,bedroom ,the bedroom differs from the hall1 living room1 and dining room in that it is a personal room1 not shared in common by all the members of the family4 ,individual tastes and preferences may be given free rein in its decoration4 ,hence1 the salesperson who is able to help his customer express a distinctly personal quality in her room enjoys a great advantage over the salesperson who lacks this ability4 ,in selling bedroom furnishings1 the successful salesperson will require knowledge of various decorative accessories1 including bedspreads1 linens1 pictures1 ornamental glass toiletries1 and pottery4 ,many women have clear ideas as to the effect they want their bedrooms to reveal4 ,one will want a restful room2 a second1 a gaily colorful and animated room2 and a third1 a dainty room4 ,when such buyers fall into the hands of a skillful salesperson1 price 7within their economic limits7 becomes a matter wholly of secondary importance1 and competitive shopping is forgotten4 ,selling from this approach becomes largely a matter of giving studied expression to the decorative motif chosen for the room4 ,if it is daintiness--furniture1 walls1 floor covering1 draperies1 and accessories must be selected and arranged to concur in creating an effect of daintiness4 ,an ability to work out these decorative motifs and to talk about them interestingly in the course of a year's work will save dozens of orders4 ,,the ,,walls ,bedroom walls may be tinted1 painted1 or papered depending upon the type of effect desired4 ,tinted walls are used in pastel colors with beautiful effect in a wide range of colors4 ,all that is necessary to know is the customer's color preference since1 today1 any color may be worked into an effective bedroom4 ,new wallpapers offer an endless variety of color combinations and many times the entire room scheme may be furnished by the wallpaper4 ,it is good taste to keep the bedroom in pastels or light tones since dark tones have a depressing effect upon the occupant4 ,in some instances1 the type of furnishings to be used will determine the type of wallpaper to be used4 ,french furnishings require the dainty1 flowery type of paper2 ,english furnishings are more subdued--either a plain paper with a small figure1 or with subdued florals4 ,early ,american and ,colonial rooms will take a colorful flowered paper or a quaint pattern4 ,it is well to keep in touch with the decorative magazines in which room settings using correct paper on the walls are shown in color and which offer many suggestions for other interesting wall treatments4 ,,treatment ,,of ,,ceilings ,ceilings should be either cream1 off-white1 or light pastel colors harmonizing with the wallpaper4 ,it is most important that the ceiling be kept light in tone with the possible exception of an extremely modern room where a dramatic effect is to be achieved4 ,in a library1 the ceiling may be darkened to bring it closer to the floor1 but in a bedroom the ceiling should be kept light to make the room appear large and airy4 ,,floor ,,coverings ,a room-size rug is to be preferred when practicable for a small bedroom1 because it causes the room to appear larger than does a combination of small rugs1 yet many bedrooms are being artistically furnished today with small scatter rugs4 ,since the bedroom is closed off from the other rooms1 one can be more daring in the choice of floor covering2 it is not necessary to blend the coloring to the other rooms4 ,new pastel floor coverings in plain and floral tones offer endless opportunities for bedroom use and color need be considered only when selecting a pattern now that there is no longer any set method of dictating the type of pattern especially adaptable for bedroom use4 ,today1 it is merely a matter of personal preference and good taste1 the only requirement being that one keep in mind the general color scheme of the room4 ,in ,colonial and ,early ,american bedrooms1 small hooked rugs add a note of color and decoration to the room4 ,in modern bedrooms1 scatter rugs in lovely pastel colors add a new1 interesting note4 ,,draperies3 ,,glass ,,curtains1 ,,venetian ,,blinds ,in the bedroom today ,venetian blinds serve to soften and control the light2 draperies are used more or less for decorative purposes4 ,the draperies may match the spread1 pick-up the color tone of the rug1 or repeat the color of the boudoir chair1 chaise lounge1 or the accent color used in the accessories4 ,venetian blinds may be used in a variety of colors with matching or contrasting tapes4 ,in many instances1 sheer curtains are used as draperies1 crisscrossed and tied back in the manner of the formal drape4 ,usually light weight materials are used for bedroom draperies the material varying according to the type of room4 ,in the more formal room satin and lightweight damask draperies are used4 ,in the informal room printed draperies1 crepes1 voiles1 or candlewick are used4 ,while glass curtains may be used with ,venetian blinds1 in many instances they are used instead of the blinds4 ,they are made of net1 voile1 marquisette1 muslin1 organdie1 or any sheer material4 ,in color1 they are white1 off-white1 or pastel4 ,preferably1 they are made with double fullness of material1 and hung either to the sill or the apron4 ,a popular item now being added to many bedrooms is the small dressing table with detachable skirt4 ,the dressing tablet may be artistically placed in front of the window and the skirt made of the same material as the draperies4 ,in this way the draperies serve as a frame for the dressing table and create a beautiful picture4 ,in many instances where a customer is interested in investing in good bedding but cannot afford to buy the entire bedroom suite at one time1 it may be well to suggest a box spring and mattress on legs with detachable headboard and a small dressing table with detachable skirt4 ,an inexpensive chest of drawers completes the ensemble4 ,later the box spring and mattress can be used on the regular bed1 the dressing table maintained or moved into the guest room1 and the chest of drawers used in another part of the house4 ,,plus ,,selling ,,opportunities ,,for ,,summer ,the bedroom offers excellent opportunities for the salesman to interest the customer in summerizing the house4 ,during the summer1 heavy spreads should be removed and light1 washable spreads substituted4 ,cotton curtains1 spreads1 summer weight blankets1 slip covers for chairs1 scatter rugs to replace large rugs1 new dressing table skirts1 and summer pictures and other accessories are all within the realm of summer sales4 ,although all the rooms in the house offer wonderful opportunities for summer sales1 the bedroom best adapts itself to opportunities for this plus selling4 ,,furniture ,bedroom furniture usually is shown and sold in suites4 ,as ordinarily displayed on the floor1 closely crowded and with the bed in short rails1 the pieces of a suite appear so much alike that an unimaginative customer will find them monotonous and uninteresting4 ,this means that the successful salesman must find words to picture the suite as it will appear against the varied and colorful backgrounds and accents necessary to bring out its beauty and individuality4 ,there is no sound artistic or practical objection to the use of pieces from different suites in the same room2 provided1 of course1 that the resemblances in proportion1 line1 and coloring are sufficiently marked to ensure harmony4 ,this is the only way in which antiques can be used1 and it is no less effective with modern pieces4 ,this point is particularly important in the sale of furniture for a child's room or a small guest room1 which will not take a full suite in any case1 but which will offer a valuable opportunity to sell broken lots4 ,stress the fact that use of unmatched but harmonious pieces is modern practice1 that such pieces give interest and individuality to the room1 and that ensemble grouping is as desirable in the bedroom as in the living room or sunroom4 ,,the ,,bedroom ,,suite ,when a customer asks to see a bedroom suite1 but gives no further hint as to her preferences1 several questions enter your mind immediately3 ,how many pieces can she use8 ,what wood1 finish1 style1 and type of design is she likely to prefer8 ,has she been looking at furniture elsewhere8 ,how much can or will she pay8 ,illustration3 ,photograph by ,grignon4 ,figure #dd4--,right and left twin chests offer a practical new decorative treatment for contemporary rooms and may be used singly or combined into one unit4 ,included in this grouping are right and left twin beds using the same decorative treatment as the dressers4 ,a turquoise green tinted transparent lacquer finish is used on this unusual suite to give an iridescent effect4 ,the large pouf hassock is upholstered in turquoise blue pin-dot satin4 ,the ,axminster rug has large multi-colored cineraria flowers on a soft grey background4 ,do not ask any of these questions at the outset4 ,normally1 the first actual question is whether the furniture is for use in her own room4 ,if the answer is ,yes1 she is likely to acquaint you at once with her ideas1 if she has any well-defined preferences4 ,in the absence of such a lead1 take her at once to an attractive suite1 never at either extreme of your bedroom patterns4 ,the ideal starting point is an open-stock pattern1 complete both with beds and with a full assortment of cases4 ,if she is at all interested in this suite1 probably she will tell you at once that she cannot use all the pieces4 ,this naturally will lead to information as to the size and character of her room1 its woodwork1 walls1 and floor covering1 whether it is to be used by two people1 and if so1 whether she prefers a full-size bed or twin beds4 ,,limit ,,number ,,of ,,suites ,,shown ,in any event try to gain a fairly clear idea of the room1 particularly of its size and available wall spaces1 before you show a second suite1 as this information will help you to cut down selling time4 ,in the absence of a voluntary and positive statement1 do not ask how many pieces she wants4 ,once on record1 she may stand pat2 otherwise there always is the chance1 even if she plans to use only three pieces1 that she may buy a full suite1 using the extra piece1 if necessary1 in another room in order to get a pattern that particularly pleases her4 ,bedroom suites are so much alike in general appearance1 and usually displayed in ways which so thoroughly rob them of individuality that it is dangerously easy to show too many4 ,baffled by the prolonged attempt to compare a multitude of minor details and to picture a long succession of suites in her own room1 the average customer may be expected to become confused1 lose confidence in her own judgment1 and decide either to think it over or to look further4 ,partitions1 dividers1 and model rooms speed up the sale of bedroom furniture because they make it possible to preserve a more marked appearance of individuality among the suites thus separated4 ,they serve also to confine the buyer's attention to the suite under consideration1 and to reduce the likelihood of confusion and indecision by enabling the salesman to show only such suites as promise to be acceptable4 ,for the same reasons the box method of arranging an open bedroom floor usually is to be preferred to arrangement in rows4 ,the exact method of boxing must be determined by the location of floor columns and the number of pieces shown in a suite4 ,,buyers ,,do ,,not ,,want ,,to ,,see ,,entire ,,stock ,it is important to limit the number of suites shown to the minimum necessary to effect a sale4 ,obviously1 this is possible only in the degree that we learn enough about the buyer's tastes and the details of her room in the earlier stages of a sale to keep away from all unsuitable merchandise4 ,most women do not care even to look at unsuitable merchandise4 ,they want to see the right thing1 measured in terms of fitness for their own purposes and use4 ,the woman who shops for a dress1 hat1 or coat in a modern store neither expects nor desires to see the entire stock or any considerable part of it4 ,she is comfortably seated in a well-lighted room which contains little1 if any1 exposed merchandise4 ,the salesperson1 after a quick mental appraisal1 asks a few leading questions1 and brings from the stockroom one1 two1 or possibly three models1 carefully chosen on the basis of suitability1 size1 and style4 ,if these are rejected they are removed1 and a second small selection brought out4 ,unsuitable merchandise is not seen by the customer1 and the possibility of confusion and indecision thus is reduced to the minimum4 ,,see ,,actual ,,room1 ,,if ,,possible ,in important bedroom sales which are worked up in advance of the customer's visit to the store for the purpose of actually making selections1 it is important for the salesman to see the room to be furnished if possible1 or in any event to secure measurements of the floor and wall spaces4 ,this will eliminate guesswork and enable you to have the suite you want to sell set up under such conditions1 and with such accessories and related merchandise as will bring out its individuality4 ,even in ordinary floor sales sometimes it is desirable to have a suite taken off the floor and set up in a situation where it can be seen to the best advantage4 ,,steps ,,in ,,selling ,a ,,suite ,as a means of summarizing certain factors which the salesman constantly must keep in mind1 let us consider in order the steps to be taken in conducting a normal floor sale of a bedroom suite3 ,meet the customer and take her to the suite with which you have decided to start the sale4--,throughout the entire interview1 whether it results in an immediate sale or not1 the customer must be aware of a degree of courtesy1 alert and intelligent interest1 patience1 and attention to her comfort and convenience noticeably greater than she is accustomed to receive in other stores or from other salesmen4 ,this is fundamental1 and indispensable to successful salesmanship4 ,show the first suite4--,this suite is a trial balloon4 ,you do not expect to sell it1 but rather to use it as a means of gaining necessary information about the customer's tastes and needs and the room to be furnished4 ,high light the set in a few words1 and then keep still and let her talk if she is willing to do so4 ,remember that you are not in position to instruct or even to advise her as to what she ought to buy4 ,your first duty is to find out as soon as possible what she wants to buy1 or at least what she does not want to buy4 ,in high-lighting this suite1 avoid superlatives1 and statements which may set up resistance4 ,do not1 for example1 proclaim that it is the latest1 the buyer's favorite1 or that you have a suite just like it in your own home4 ,make your introduction as interest-compelling as possible1 but base it on some such noncontroversial subject as wood1 style1 or beauty of design4 ,if she says nothing1 turn to the case nearest her1 comment on its wood and finish1 run your finger lightly along it1 and try to get her to do the same thing4 ,then say something interesting about the style1 the design1 or the manufacture4 ,if there still are no signs of real interest1 shift to the subject of her room1 and begin to draw out the information you require4 ,this should stir her interest4 ,if not1 move on to another suite which you know will look well in her room1 and begin all over again4 ,illustration3 ,courtesy ,american ,furniture ,mart4 ,figure #de4--,square upon square offers a new decorative theme in this ,ipswich bedroom group4 ,this suite combines the simplicity of contemporary design with ,early ,american charm4 ,the #d-row ,axminster rug illustrated is in one of the new hooked designs4 ,remember to point out any gadgets which the suite may have--special shirt drawers1 locks1 secret compartments1 jewelry compartments1 hidden box1 stocking drawers1 or drawer mirrors4 ,all of these items offer plus selling features and many times are a factor in the sale of a suite4 ,be sure you have examined all of the suites on the floor thoroughly so that you have discovered all possible gadgets and opportunities for plus selling features4 ,unless a customer shows such a keen and unusual interest as to warrant the belief that an immediate sale is possible1 do not spend too much time with the first suite4 ,illustration3 ,courtesy of ,american ,furniture ,mart4 ,figure #df4--;,an ,early ,american bedroom grouping ideally suited to ,american homes4 ,simple in design1 it is rich in ,american tradition1 for it is the type of furniture first used in this country by the original settlers4 ,scaled to fit a medium-size room1 the furniture is sturdy1 practical1 and decorative4 ,made of maple and finished in a rich1 red-brown tone1 a suite such as this is adaptable to rural or urban homes4 ,show the second suite--a contrasting type4--,since all things gain in individuality and distinction by contrast with their opposites1 usually it is good salesmanship to show a second suite sharply different from the first in appearance4 ,if you watch some salespersons at work1 you will see that they move slowly and regularly down one aisle and back the next1 taking each suite as it comes1 however closely it may resemble the one before it4 ,at best1 this method wastes time1 while with many customers it results in weariness1 confusion1 and a well-defined suspicion that the salesperson is only an order-taker4 ,in general1 move toward the sale by longer but fewer jumps1 and show contrasting types in the effort to heighten the buyer's interest1 and to arrive as quickly as possible at an understanding of her likes4 ,we know1 for example1 that some women prefer slender1 delicately designed bedroom furniture1 while others want bulk4 ,it is quite impossible to judge their preferences from their appearance4 ,suites shown by the method of contrast will uncover this and similar preferences immediately1 and thus speed up the sale4 ,assuming that you pick the second and all succeeding suites in the light of increasing knowledge of the customer's tastes and the size and decorative character of her room1 move forward slowly4 ,since you are not guessing blindly1 but acting in the light of knowledge and taste1 you must assume that the buyer will be interested in what you are showing1 and take ample time to develop her interest4 ,remember that the customer must like the appearance of any suite at which she is looking and regard it as well suited for her own use before she will consider buying it4 ,emphasis upon the beauty and distinction of wood1 finish1 and design1 and skillful use of the room-picture method of presentation should precede emphasis upon construction and price4 ,however1 construction becomes an important factor when you reach the second suite just as soon as you see signs of acceptance for appearance and decorative fitness4 ,if no such signs appear1 move on to the third suite4 ,show just as many additional suites as may be necessary but no more4 ,close the sale1 if and when possible4--,there is no simple formula for closing a sale1 and no set point in the sales interview at which to make the attempt4 ,notwithstanding a vast amount of theorizing on the subject1 the only rule of practical value to the salesperson appears to be the old rule of experience and common sense3 ,try to close any sale the moment you have reason to believe the customer is ready to buy2 not before1 and not after4 ,,furnishing ,,the ,,sunroom ,the sunroom1 though of ancient origin1#bh is a comparatively recent addition to the ,american home4 ,its rapid development doubtless is due to widening popular confidence in the therapeutic value of sunlight4 ,today's sunroom is in practice an informal lounging room which takes the place of the disappearing back parlor1 and as such is a highly useful and important part of the home4 ,add the fact that it can be1 and usually is1 so decorated as to offer the relief of striking and colorful contrast to more conservatively furnished rooms1 and we have ample reason for the popularity of this room in ,american houses4 ,many housewives whose homes contain small sunrooms do not know how to make them attractive1 and many others apparently have no desire to do so4 ,often the room is a mere catch-all and final resting place for worn or outmoded furniture discarded from the other rooms4 ,many homemakers who come to our stores for ideas on sunroom decoration either turn away to the decorators or big-city stores1 or are promptly headed to low-priced merchandise1 and leave with little more than two #f4ge reed or metal chairs1 a small table1 a fiber rug1 a bridge lamp1 a smoking stand1 and a few yards of cretonne4 ,salesmen must shift from emphasis upon the drab and commonplace to emphasis upon the distinctive4 ,this will be easy1 because persons who have sunrooms usually can well afford to pay for making them attractive4 ,in every sale of sunroom merchandise1 whether for a new house or an old1 we must have the courage to point out that this room1 potentially so large a factor in the comfort and enjoyment of the family1 so much used by intimate guests1 and so conspicuously placed as to be an open advertisement of the taste of its owners1 should be furnished in a manner consistent with its proper importance4 ,in order to convert this talk into profitable sales1 we must of course have a stock of interesting ideas and suggestions on modern sunroom treatments4#bi ,,general ,,considerations ,the sunroom should be comfortable1 but colorful and stimulating4 ,this will demand good furniture and well-sprung seating1 careful arrangement for convenience without crowding1 colorful textiles1 good lighting1 and interesting accessories4 ,since the sunroom often is small and of irregular shape1 it should be measured before furnishings are selected4 ,,the ,,walls ,it is common practice to find sunroom walls covered with bright and strikingly figured papers4 ,usually the effect is unpleasant because3 #a4 ,such papers make the room seem smaller1 #b4 ,with windows on two or three sides of the room1 such papers on the remaining wall spaces rob the room of balance1 #c4 ,draperies or furniture coverings1 or both1 together with the necessary colorful accessories1 give the room all the animation it can stand1 and therefore make plain or simple wall treatment desirable4 ,walls may be painted1 papered1 paneled in natural wood1 or covered with one of the new cloth or wood-veneer fabrics4 ,,the ,,floor ,,coverings ,for general considerations governing choice of floor coverings for the sunroom1 see ,furnishing the ,hall1 page #ahh4 ,note as an exception that a plain carpet or large rug often is preferred to a figured carpet or rug in spite of a tendency to shade and the fact that it shows dust and ashes more easily because3 #a4 ,it offers a more effective background for gaily figured draperies and floor coverings4 #b4 ,the rich and unusual colors often desired for sunroom use are easier to find in plain carpetings4 ,,window ,,treatments ,some method of controlling natural light must be afforded by the window treatment4 ,venetian blinds are preferable for this purpose1 because they can be adjusted instantly to the varying height of the sun2 whereas moveable draperies1 lined and interlined to make them opaque1 either will exclude the light altogether when closed1 or leave a band of bright light from top to bottom when partially closed4 ,glass curtains are not always used on windows which have ,venetian blinds and draperies4 ,when such draperies are omitted1 thin unlined curtains in a neutral or in a positive color are used alone4 ,they should be made to draw1 with sufficient material to provide double fullness when fully drawn4 ,sunroom draperies may be of any material not too heavy to accord with the scale of the room or too elegant to accord with its decorative character and other furnishings4 ,choice among plain1 simply figured1 and strikingly figured fabrics will be governed by the size of the room and the amount of ornament in other surfaces4 ,,the ,,sale ,,of ,,sunroom ,,merchandise ,suggestions will be welcomed4--,although no new principles are involved in the sale of sunroom merchandise1 the subject merits brief comment4 ,a woman interested in home furnishings for any other room in her home is likely to have fairly definite ideas of her own1 or least to be familiar with conventional methods of furnishing these rooms4 ,this makes the salesman's talk one of discovering and interpreting her ideas1 and helping to carry them out by means of his own merchandise4 ,with the sunroom this is not often the case4 ,it is relatively a new room1 serving one purpose in one home1 another in the second1 and none at all in the third4 ,customers are likely to be open to suggestions1 and to buy better merchandise and with less resistance1 in the degree that these suggestions are clever and a little out of the ordinary4 ,this means that initiative and imagination are necessary to marked success in selling sunroom furnishings1#cj and that accordingly we must be alert both to gain ideas on sunroom treatments from books1 magazines1 and markets1 and to study our own merchandise from the viewpoint of its possibilities for sunroom decoration4 ,,sunroom ,,treatments ,the old days when reed and willow were top favorites for sunrooms has passed4 ,despite the fact that many beautiful styles in these materials are on the market1 other types of furnishings have moved into the sunroom to augment and in many instances replace the old favorites4 ,early ,american furniture in soft brown or honey-colored1 maple1 covered in chintz or printed linens1 or in one of the many new textures developed for this type1 is a happy choice for many sunrooms4 ,others are attractive when equipped with light-colored woods upholstered in lovely pastel fabrics4 ,chrome-steel furniture offers many opportunities for the sunroom as do bentwood1 glass1 enameled furniture1 and rattan4 ,the sunroom offers an opportunity to sell such plus items as studio couches1 sofa beds1 standing bridge sets1 radios1 magazine racks1 desks1 and lamps4 ,since many sunrooms may be interpreted as an extension of the living room1 these offer an opportunity to sell regular living room stock1 upholstered chairs1 a sofa or love seat1 the necessary tables1 lamps1 and accessories4 ,,equipping ,,the ,,breakfast ,,room ,,and ,,kitchen ,the breakfast room has no fixed position or character4 ,it may be a nook or small alcove1 equipped with built-in table and settles1 and decoratively a part of the kitchen2 an important room of fair size and pronounced individuality2 or--as is often the case--a room so small as to be pretty well crowded by a small table1 four chairs and their occupants1 and connected with the dining room by a cased opening or ,french doors4 ,the proper aims of breakfast room decoration are 7a7 to make it as comfortable1 spacious1 and uncrowded as possible2 7b7 to give it a sunny1 inspiring quality2 and 7c7 to emphasize its individuality while linking it harmoniously with the more important room1 if any1 into which it opens4 ,,woodwork ,,and ,,walls ,,in ,,the ,,breakfast ,,room ,since the breakfast room is a gay informal room it should be cheerful1 light1 and colorful4 ,walls may be tinted1 painted1 or papered4 ,if tinted1 light pastels should be used4 ,if painted1 colored decalcomanias may be used to add a decorative note4 ,fruit and flower prints in gay colors on a light pastel or white background1 gay stripes1 or colorful figured wallpaper may be used4 ,woodwork1 if possible1 should be white or the pastel color of the walls4 ,since most of the furnishings for the breakfast room are light in color1 gay1 colorful accents should be used both in the wall decoration and in the pictures and accessories4 ,,floor ,,coverings1 ,,draperies1 ,,furniture ,here--as in the hall and the sunroom--imagination1 familiarity with good current work1 and energy will sell more goods in less time than the stodgy1 conventional1 lackadaisical methods which so many buyers meet when they undertake the furnishing of a breakfast room4 ,in this field it is easier for a good man to trade up than down1 no matter what class of customers he works with4 ,in the comment1 ,this would be a delightful place in which to start the day1 we have the starting point for all good work in furnishing the breakfast room4 ,,the ,,kitchen ,within the last few years1 more money has been spent by the consumer on the kitchen and laundry than on any other rooms in the house4 ,mrs4 ,america today is kitchen conscious and is ready for a thorough modernization job on her kitchen4 ,kitchen planning as an important phase of selling should be carefully studied4 ,kitchens should be planned to be efficient and should be laid out carefully1 preferably by an architect1 for the installation of sink bases1 extra built-in cabinets1 and other features4 ,however1 the kitchen also offers unlimited opportunities for the sale of portable cabinets1 kitchen tables and chairs1 cabinet bases1 work tables1 curtains1 linoleum1 pots1 pans1 and accessories4 ,the modern kitchen had its beginning in the ,united ,states1 less than #be years ago4 ,the rise in the general standard of living in our country1 rather than the increasing scarcity of domestic help1 has been greatly responsible for the development of modern kitchen equipment and the innumerable mechanized aids now available to the housewife4 ,as usual1 beauty at first lagged behind invention4 ,indeed the early cabinets1 refrigerators1 and ranges differed as sharply in appearance from the beautifully proportioned and smartly colorful models found in the shops today as the automobile of #bj years ago differed from the streamlined aristocrats of today4 ,in the beginning1 convenience and the elimination of drudgery seemed enough1 and drab ugliness was accepted as an inescapable part of kitchen work4 ,later1 in a sort of blind devotion to cleanliness and sanitation1 kitchens were done like hospitals in hard and shiny white tile1 white walls1 white curtains1 white range1 cabinet and refrigerator1 white utensils and dishes4 ,from this intolerable tyranny of white we have at last been delivered4 ,the door has been thrown open2 color has entered the kitchen4 ,the ,american homemaker of today1 whether her room be large or small1 asks for a kitchen which not only is a convenient and pleasant place in which to work but a source of pride and a delight to the eye4 ,illustration3 ,courtesy ,american ,furniture ,mart4 ,figure #dg4--;,chrome adds sparkle and verve to this attractive kitchen ensemble made with flared hairpin-curved legs and enamel and natural-wood top4 ,color and convenience in the kitchen4--,and truly1 the best of modern kitchens are charming places4 ,seeing them1 one wonders how further improvement can be possible4 ,vibrantly light1 yet without glare2 cozily warm without excessive heat2 tranquil with the tranquility of perfect adaptation of parts to function2 unbelievably convenient2 and bathed in the glow of soft harmonious-color1 they are immensely more pleasant and distinguished than the shops and offices where men must spend their working days4 ,among all the professions1 homemaking has been outstanding in creating an attractive and satisfying environment4 ,of course this does not mean that all kitchens are attractive and satisfying4 ,that unhappily is still far from true4 ,yet beyond doubt1 the desire for them is widespread and growing4 ,yearly1 and with accelerating speed1 the processes of modernization are going forward4 ,floor coverings for the kitchen4--,first comes the floor4 ,there was a time when linoleum was regarded purely as a utility1 but that time has passed4 ,the new linoleums are handsome in appearance1 pleasant to work on1 and easy to care for2 hence they are almost universally employed in the modern kitchen4 ,the walls4--,the walls may be done in enamel paint1 or papered with the new washable fabrics1 which offer a wide range of choice in pattern and texture4 ,never use really dark color on the walls1 and remember that the lighter you make the wall color1 the larger the room will appear4 ,as to hue1 yellow tones1 from pale cream to maize1 will help to make the room sunny and cheerful2 light gray-green will make it cool and restful2 apple1 or any yellow-green1 will make it restful but sunny2 and such yellow reds as peach1 apricot1 or pale salmon will make it warm and cheerful4 ,the trim4--,in very small kitchens the woodwork often is painted to match the walls1 either exactly1 or in a slightly lighter or darker shade4 ,in rooms which are larger1 or where more decorative snap is desired1 the woodwork may be done in a contrasting color1 as apple green with cream walls1 or a soft green-blue with apricot4 ,kitchen curtains and accessories4--,kitchen curtains may be used as an opening wedge in kitchen sales4 ,interest in a pair of curtains has been known to start a complete remodeling job4 ,on the market today are innumerable curtains in a variety of colors and designs4 ,since much originality and ingenuity is used in making attractive kitchen curtains1 many women are attracted to these inexpensive items1 to pep up their kitchens4 ,often they lead to the sale of a cabinet1 table1 or new linoleum4 ,kitchen furniture should be shown with dummy windows on which crisp1 attractive curtains are hung4 ,decorative towels add to the gayety of the kitchen and are helpful in setting up a kitchen display4 ,accessories for the kitchen are colorful and decorative and a little ingenuity and suggestion will get a woman interested in the kitchen4 ,national magazines and the women's section of newspapers are constantly giving suggestions for fixing the kitchen4 ,cookie cutters with colorful handles nailed to the walls1 kitchen implements with colored handles hung on attractive racks2 wooden bowls cut in half and nailed to the wall1 then planted with ivy--all are unusual suggestions appreciated by women4 ,the endless variety of new things which may be suggested for the kitchen is a veritable gold mine for the salesman who takes the opportunity to investigate the possibilities4 ,many interesting and delightful things go into the modern kitchen which were unknown in those of #bj years ago4 ,one sees a colorful pad for the work chair1 a hanging bookshelf for cookbooks and accessories1 an ornamental wall clock1 colored prints1 and plants4 ,and of course in many a kitchen there is the breakfast nook1 with its decorative furniture and its colored linen1 glass1 and china4 ,some breakfast nooks are just sufficiently shut-off from the kitchen by a buttress or low partition to tempt the housewife to make a sharp difference in their decorative treatment4 ,usually this is a mistake1 particularly if it results in a large or striking paper on the walls4 ,it is better to carry the same wall color throughout1 and to depend upon small things to lend the desired individuality to the alcove4 ,there is no danger of monotony in this practice2 while a sharp change impairs the spaciousness of both rooms1 and robs them alike of serenity and beauty4 ,study of the above will enable you to offer definite advice to women who want to modernize their kitchens4 ,even though some of the details may not deal with merchandise you sell1 all this knowledge will prove valuable in winning the customer's confidence4 ,,final ,,emphasis ,,for ,,alert ,,salespersons ,since we are working in a free country which now contains more than #dj1jjj retail furniture outlets1 it should be clear that we cannot make anyone buy anything4 ,selling continues to be chiefly a matter of people1 not of goods in stock2 for example1 we find one dealer1 operating with a small stock in a small town1 complaining that all the good business goes to the city2 while a second dealer1 operating with a similar stock in a similar trading area1 allows almost nothing to get away from him4 ,the latter makes it his business to know what is going on in his community2 goes out after an order well in advance of the time the goods will be needed2 learns what is required2 knows how to sell it2 and where and how to secure it4 ,the main difference is in the men1 not in conditions4 ,,be ,,alert ,,for ,,opportunities ,the able salesperson is energetic1 stout-hearted1 and enthusiastic4 ,he never permits himself even during periods of slow business to fall into the dangerous habit of assuming that every customer will be reluctant and exacting1 and every sale difficult4 ,he expects a fair percentage of quick and easy sales1 and is prepared to seize every opportunity to make them4 ,having confidence in himself1 his store1 and his merchandise1 he works on the assumption that most of the people who enter a furniture store are definitely interested in an immediate or later purchase of merchandise to suit their particular needs and tastes4 ,he further assumes that he will be able to learn those needs and tastes1 find in his stock the right merchandise to satisfy them1 and present the advantages of this merchandise in a clear and convincing way2 and that when they are so presented1 the customer will buy4 ,this assumption may not always be valid2 but it never fails to give him confidence and driving power1 and is the necessary basis of consistently successful salesmanship4 ,the able salesperson never forgets that his customer will not buy until she is satisfied and convinced1 however attractive his merchandise1 low his prices1 or logically complete his demonstration4 ,he knows that she may have prejudices which are not easy to discover1 or bits of information or misinformation which may cause her to question or distrust what he tells her1 and thus to impede or wreck the sale4 ,,orderly ,,presentation ,,of ,,merchandise ,one may never be certain which method and selling appeal will cause any particular individual to buy4 ,accordingly the salesperson will be prepared to follow an ordered procedure which will in theory exhaust all the possibilities4 ,the important factors may be emphasized in the following order3 #a4 ,pleasing appearance 7design1 coloring1 materials1 finish74 #b4 ,personal and decorative suitability 7size1 convenience1 emotional effect1 prestige value74 #c4 ,sentimental appeal 7style1 historical1 or social associations1 prestige value74 #d4 ,quality 7materials1 construction1 finish1 established service record1 manufacturer's reputation1 store's reputation or guarantee74 #e4 ,price 7in relation both to the customer's means and spending habits1 and to the sum total of values provided by all other factors74 ,,close ,,of ,,sale ,,should ,,come ,,logically ,ordinarily the charted sale will develop in this order3 #a4 ,elimination of possible alternatives and concentration upon merchandise to be sold4 #b4 ,elimination of resistances through answering spoken or unspoken objections4 #c4 ,final demonstration of appearance1 suitability1 and values4 #d4 ,direct suggestion to buy1 when suggestion is necessary4 ,however1 closing a sale is not a separate operation1 but rather the natural and logical culmination of a continuous process1 planned from the beginning to help the customer buy what she wants or needs4 ,thus the difficulties of closing a sale often are the result of inept work in the earlier stages4 ,good salesmanship is far less a matter of overcoming these difficulties than of foreseeing them at the beginning of a sale1 and thus making it impossible for them to arise at the end4 ,for this kind of salesmanship we require3 #a4 ,a knowledge of people and the way their minds habitually work4 #b4 ,a thorough knowledge of home furnishing merchandise in general1 and our own in particular4 #c4 ,a sound working knowledge of the principles and practice of the home-furnishing art2 and #d4 ,planned procedure in showing our goods and in closing sales4 ,give a chemist a bottle of colorless liquid containing three or four metals in solution1 and in an hour or less he will tell you exactly what those metals are4 ,he doesn't guess1 but puts the solution through an ordered series of reactions which gradually exhaust all the possibilities4 ,making a sale is roughly an analogous process4 ,in dealing with a long succession of unknown customers we cannot possibly guess just which procedures will satisfy any one customer's tastes and personal1 decorative1 and financial requirements4 ,human beings never react with the exactness of chemical combinations1 but their reactions may be relied upon to make planned selling enormously more profitable than use of any combination of haphazard methods yet devised4 ,,questions #a4 ,what do you do when your customer says1 ,i will wait for the spring sales8 #b4 ,in what ways may good window display aid you in selling bedroom furniture8 #c4 ,illustrate1 if possible from your experience1 the use of the complete room picture method4 #d4 ,what are the advantages of glass curtains8 #e4 ,under what conditions would you sell pieces from different suites for the same bedroom8 #f4 ,give a demonstration of harmony in furniture for the sunroom4 #g4 ,what part may effective use of the ,english language play in helping you close sales8 #h4 ,if it were your decision1 would you rearrange your display floors on the basis of harmonious and convenient groupings1 or on the basis of displaying articles selling in greatest quantity8 #i4 ,explain satisfactorily how the idea of groups may make sleeping quarters sparkle with the occupant's personality4 #aj4 ,show what is meant by the statement that the floor is really the key to a well-balanced room4 ,,suggested ,,reading ,,list ,,baldwin1 ,,william ,h4 ,the ,shopping ,book4 ,the ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aibi4 ,sun ,parlors1 ,,iii1 pp4 #fg-gj4 ,,fales1 ,,winnifred4 ,what's ,new ,in ,home ,decoration4 ,dodd1 ,mead ,co41 ,new ,york1 ,n4 ,y4 #aicf4 ,the ,busiest ,room ,in ,the ,house1 ,the ,kitchen1 ,,xii1 pp4 #bej-bge4 ,,knauff1 ,,carl ,g4 ,b4 ,refurbishing ,the ,home4 ,mc,graw-,hill ,book ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aich4 ,wall ,coverings1 pp4 #hc-ajj4 ,pictures1 ,hangings1 ,accessories1 pp4 #cjb-cag4 ,,koues1 ,,helen4 ,how ,to ,beautify ,your ,home4 ,good ,housekeeping ,institute1 ,new ,york1 ,n4 ,y4 #aicj4 ,halls1 ,sunrooms and ,porches1 pp4 #ie-ajg4 ,colonial and ,modern ,bedrooms1 pp4 #ajg-abc4 ,,palmer1 ,,lois4 ,your ,house4 ,boston ,cooking ,school ,magazine ,co4 #aibh4 ,the ,kitchen and the ,sunroom1 pp4 #fh-gh4 ,,powell1 ,,lydia4 ,the ,attractive ,home4 ,the ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aici4 ,the ,bedroom1 pp4 #ea-fg4 ,the ,kitchen1 pp4 #gb-id4 ,,stewart1 ,,ross and ,,gerald1 ,,john4 ,home ,decoration4 ,garden ,city ,publishing ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 #aich4 ,sunrooms1 ,x1 pp4 #aed-aic4 ,,whiton1 ,,sherrill4 ,elements of ,interior ,decoration4 ,j4 ,b4 ,lippincott ,co41 ,chicago1 ,philadelphia4 #aicg4 ,pictures1 ,,xiv1 pp4 #dfa-dic4 ,,wright1 ,,agnes ,,foster4 ,interior ,decoration for ,modern ,needs4 ,frederick ,a ,stokes ,co41 ,new ,york1 ,n4 ,y4 ,pp4 #ace-ade and pp4 #bac-bbe4 ,,footnotes3 #bh ,ancient ,roman houses often had an apartment or enclosure on the roof which was open to the sun1 and accordingly known as the solarium4 ,this term is applied to the sun-drenched rooms built into modern hospitals for the use of convalescents1 and also is employed by architects and writers as a substitute for sunroom in the modern house4 #bi ,highly valuable suggestions1 and illustrations of smartly furnished sunrooms1 can be obtained from books and magazines1 and also from the manufacturers of furniture1 floor coverings1 drapery1 and upholstery fabrics and window shades4 #cj ,the same thing applies to the sale of porch furniture--another undeveloped field4 ,drab1 weather-worn1 and utterly undistinguished furniture is out of place on the modern porch1 and should be replaced by the smartly colorful and genuinely comfortable furnishings now available in wood1 reed1 or metal4 ,unit ,,xi ,,accessories ,,that ,,mean ,,plus ,,sales ,lamps and ,lighting ,pictures and ,mirrors ,wall ,decorations ,plastics ,enter the ,home ,furnishings ,field ,do's and ,don't's for the ,salesperson ,illustration3 ,photo by ,grignon4 ,figure #dh4--;,fluorescent lighting is adapted to new lamps of period and modern design1 as illustrated in this grouping designed by ,c4 ,e4 ,waltman4 ,at the left the tubes are used in a vertical position and the lamp follows period design4 ,the center modern table lamp has a chrome base and oblong shade4 ,at the right a round shade is used4 ,unit ,,xi4--,,accessories ,,that ,,mean ,,plus ,,sales ,,lamps ,,and ,,lighting ,those engaged in selling home furnishings are well aware of the fact that accessories of all types are important factors in increasing sales1 and that by suggesting the use of proper accessories1 many plus sales are made4 ,many times1 new accessories are so incongruous with the other older furnishings in the room1 they have caused an entire room to be refurnished and brought up to date4 ,this is particularly true of lamps4 ,we are standing today on the threshold of an entirely new era in lighting4 ,new illuminants are being developed and new methods are being devised for applying light to meet the needs of modern living4 ,only a little over a third of a century has passed since the first incandescent lamp was invented by ,thomas ,a4 ,edison1 and the electrical industry has since made tremendous progress4 ,the cost of current has been cut in half due to engineering accomplishments and the illuminating engineer has taken advantage of this progress to develop a more liberal and a more intelligent use of light4 ,scientific principles have been applied to all phases of home lighting and standard specifications worked out by the ,illuminating ,engineering ,society for all types of lamps4 ,using a footcandle as a standard measurement of light intensity1 the illuminating engineers have made these findings3 #a4 ,in normal sunlight there are #aj1jjj footcandles of light4 ,in the shade of a tree there are #a1jjj footcandles1 and indoors during the sunlight hours there are #e footcandles of light4 #b4 ,the efficiency of a standard candle flame source is calculated to be the equivalent of about #j4a of a lumen per watt 7#a lumen is the quantity of light given from a single candle on a surface #a foot square74 ,edison's first lamp had #a4d lumens per watt1 and present-day #ajj-watt electric bulbs have #a1ebj lumens4 #c4 ,light is made up of all colors of the rainbow4 ,this was discovered in #afff when ,newton passed a beam of sunlight through a prism and learned that light had in it all the colors of the rainbow1 which1 when mixed in the proper proportions1 produce white light4 ,a combination of all these colors produces sunlight1 and in different proportions1 incandescent light4 ,lamps for home use1 now on the market1 may roughly be divided into two major divisions1 decorative lamps and utilitarian lamps4 ,under these main divisions are the classifications of the various types of lamps1 such as decorative1 table1 commode1 and floor lamps1 scientific desk lamps and utilitarian lamps for various rooms and purposes4 #a4 ,decorative lamps are those used primarily for decoration4 ,table and commode lamps fall largely under this classification1 for living room use1 and vanity and boudoir lamps for bedroom use4 ,decorative lamps use a variety of materials for bases such as china1 glass1 metal1 pottery1 terra cotta1 wood1 porcelain1 and marble and employ ornate shades which in many instances greatly reduce the illuminating ability of the lamp4 ,several years ago1 before the principles of lighting were given the consideration they are receiving today1 lamps which were purely decorative were in much greater demand than they are at present4 ,today's decorating principles demand that lamps should be useful as well as decorative1 and most lamps on the market conform to good standards of lighting4 ,there are1 however1 lamps designed strictly for decoration which employ dark shades using such materials as quilted velvet1 chenille1 wood veneer or other opaque fabrics1 and which are of unusual shapes that restrict the light4 ,these lamps1 while serving a definite need in a decorative scheme1 should not be used for reading purposes or provide the only illumination in a room4 ,the purely decorative lamp should be treated merely as an accessory and used in the same manner as a vase or a non-illuminating object4 #b4 ,utilitarian lamps are those which adhere for the most part to scientific standards of lighting1 and are designed for specific rooms and purposes4 ,according to specifications laid down by the ,illuminating ,engineering ,society1#ca the minimum light requirement for average reading in the home is #bj footcandles of light4 ,for fine print and sewing the minimum requirements are #ce to #ej footcandle intensity4 ,standards for study and table lighting set up by this society1 call for lamp bases #bh inches in height equipped with a reflector bowl made of opal diffusing glass1 #h inches in diameter4 ,at a distance of #ab inches from the base of the lamp1 a #ajj-watt bulb must give #cj footcandle intensity to comply with their standards1 and at a distance of #cf inches1 #e footcandle intensity4 ,divided into groups1 utilitarian lamps fall into these classes3 ,study lamps4--,these are lamps which adhere to all of the ,i4 ,e4 ,s4 standards and are used on desks for reading purposes or as a table lamp4 ,they are somewhat less decorative than the regular living room lamp since they are more severe usually being made with a brass base and parchment or simple silk shade4 ,table lamps4--,these are decorative lamps with bases made from the same materials as the purely decorative lamps2 however1 they are usually more conservative than the purely decorative lamps1 and rigidly avoid unusual shaped shades or novelty treatments which might cut down the utility of the lamp4 ,i4 ,e4 ,s4 standards are not rigidly followed on all table lamps1 but the specifications serve as a master guide4 ,when dark shades are used they are usually lined with white to reflect the light4 ,reflector bowls are used to encase the light bulb4 ,these are made of holophane1 milk1 or glazed glass1 and provide a diffused indirect light4 ,commode lamps4--,commode lamps are smaller than table lamps and are usually used to flank a sofa or as pairs on either side of a chair grouping4 ,i4 ,e4 ,s4 standards for this type of lamp call for a base #bc inches in height1 an #h-;inch reflector bowl and an intensity of light1 #ab inches from the center of the lamp1 of #cj footcandles1 when a #ajj-watt bulb is used4 ,floor lamps4--,several types of floor lamps are now in use--the lamp with diffusing bowl and fabric shade and the reflector lamp4 ,floor lamps show a tendency to shorten and new junior floor lamps are about #aj inches shorter than standard models4 ,i4 ,e4 ,s4 standards on floor lamps call for a base #eh inches in height1 a reflector bowl #h inches in diameter and an intensity of light #ab inches from the base1 of #cj footcandles1 when a #ajj-watt bulb is used4 ,at #bd inches from the base a #ajj-watt bulb should give #aj footcandles of light intensity1 according to these standards4 ,floor lamps are usually made of metal or wood and many have marble or crystal inserts in the base4 ,many of the new floor lamps have three-way mogul-type lamp arrangements in addition to a reflector1 which give four intensities of light4 ,the reflector bowl may be lighted separately from the bulbs4 ,reflector lamp4--,the reflector lamp is a tall floor lamp with a glass or metal bowl4 ,the light is reflected upward toward the ceiling4 ,this is in contrast to the lamp with the diffused glass reflector bowl and fabric shade which directs the light downward toward the floor as well as throwing a portion of light toward the ceiling4 ,the reflector lamp may be used instead of a ceiling light but is not recommended as a reading lamp4 ,bridge or lounge-chair lamps4--,most of the old-type bridge lamps in which a bulb hung from a projected arm have been replaced by a reflector type lamp which employs a diffusing bowl4 ,these bridge or swinging-arm lounge-chair lamps are smaller than the floor lamps1 and can be adjusted to any position over a chair4 ,many have a cover or closed top on the diffusing bowl so the light will not shine in the user's eyes4 ,although theoretically lamps have no traditional period styling1 since all lamps are a product of modern invention1 manufacturers have styled lamps of all types to blend with period decorations1 and have classified them as to ,english1 ,french1 ,colonial1 ,early ,american1 modern1 nautical1 juvenile1 and commercial types to meet various decorative demands4 ,lamps for use in period rooms should be selected in the same manner as accessories1 the simpler types of lamps for ,english settings1 the more ornate types for ,french and ,victorian4 ,materials long associated with the various periods of furniture design1 and popular during certain centuries have been employed in lamp bases2 bone china1 ,wedgewood1 ,sheffield silver1 brass1 and ,chinese porcelain bases have been used on eighteenth century lamps4 ,just as one would select brass or milk glass accessories for an ,early ,american room1 lamps made to resemble old vases1 oil lamps used during the period1 and hurricane lamps with an electric light replacing the candle in the glass chimney1 are appropriate for rooms furnished in ,early ,american style4 ,for the ,french room are the more elaborate lamps such as onyx1 crystal1 metal figurines1 and ,french china4 ,modern lamps are made in such materials as wood1 glass1 cork1 plastics1 and metal4 ,floor lamps1 as well as table lamps1 follow period styles1 and lamps are designed to accompany practically every type of setting4 ,after determining the style of lamp for a particular room1 the next problem is the type of lamp to use4 ,it is well to remember that enough light should be provided in home decoration so that the ratio of darkness to light will not exceed #aj to #a4 ,it is also a cardinal rule of decoration that each grouping should have a light in keeping with the purpose of the grouping2 for example1 a lounge chair is used primarily for lounging and reading4 ,to place a lounge chair in a room without a lamp as its companion decreases the utility and enjoyment of the chair4 ,illustration3 ,courtesy ,american ,furniture ,mart4 ,figure #di4--,many interesting new pieces make up this grouping4 ,the chair side table provides accommodation for books1 lamps1 and smoking accessories and offers the new approach to eighteenth century utility pieces4 ,the refreshment cart heralds the return of the once-popular tea table4 ,a drawer in the back of the table provides space for silverware and linens4 ,the lounge chair is covered in maroon striped satin damask4 ,the rug is an all-over textured ,axminster4 ,if a table is used beside the chair1 a lamp in proper proportion to the table should be used4 ,the lamp may provide a color accent beside the chair or may be of a material in keeping with the decorative trend4 ,since the lounge chair is used for reading1 the lamp should be a good reading lamp and should come up to the scientific standards set up for good light4 ,if no table is to be used1 a bridge or lounge chair lamp may be added4 ,commode lamps should be in proportion to the sofa with which they are used4 ,reflector lamps fit into corners1 or may be used beside a grand piano or in front of windows4 ,if the decorator keeps in mind that the lamp is an accessory1 that it should complement the room and serve a specific purpose by its use1 the correct use of lamps is made quite simple4 ,when a woman wishes to buy a lamp the salesperson should first inquire where the lamp is to be used4 ,if it is a table lamp find out if there are other lamps in the room4 ,ask if there is a chair next to the table and if that chair is used for reading or sewing4 ,if the lamp is to be used purely for decorative purposes it may be of a different type than that which provides adequate light for a specific purpose4 ,find out the general period of the room and the color scheme so the lamp will be in keeping with the surroundings and provide the proper accent4 ,impress the customer with the necessity of a lamp for every grouping1 and with the importance of good lighting4 ,oil lamps for farm use have been styled to resemble electric lamps and have enameled bases1 diffused reflectors and attractive shades4 ,all lamps regardless of the source of light have been materially improved and there is no need for any person to have poor lighting in the home today4 ,,pictures ,,and ,,mirrors ,pictures and mirrors are important accessories in present day decorating and their correct use can change the appearance of the entire room4 ,pictures vary according to size1 subjects1 and medium used4 ,there is no set1 all-comprehensive rule for the use of pictures1 but certain types of pictures are used with certain types of settings either because the subject matter confines it to a certain period1 or the technique used is in keeping with a definite century4 ,frames many times control the use of a picture1 and an old picture may be placed in a modern frame and used in a contemporary setting4 ,mats used on pictures may be varied according to the subject matter and the frame selected according to the manner in which the picture is used4 ,wood frames are popular and in good taste and are shown in natural wood color1 mahogany1 walnut1 maple1 or enameled4 ,gilt frames are still in use1 but for the most part picture frames are simpler than in the past century4 ,pictures should be selected according to their subject and should be in keeping with the general trend of the room4 ,certain subjects are known to be ageless and are in good taste when used in an eighteenth century room or in a modern room4 ,this specifically refers to ,chinese pictures or florals and they vary in use only by the type of frame employed4 ,portraits may be used with all periods if they are done in oil and properly framed and preserved4 ,many times a picture1 if large and particularly lovely1 may furnish the decorative theme of the room1 and the colors used in the picture picked up in the upholstered pieces and the accessories4 ,at other times pictures will provide a necessary color accent4 ,certain subjects1 popular during a particular century1 lend themselves to rooms of that century1 as for example1 hunting scenes are known to be of ,english origin and lend themselves to ,english settings4 ,elaborately dressed women of the ,french court shown in a court scene are best used with a ,french setting1 and a daintily furnished girl's room requires dainty subjects on the wall such as flowers1 birds1 or feminine subjects4 ,pictures may be hung singly1 in pairs1 or groups according to the manner in which they are used4 ,a small picture placed over the center of a sofa is out of balance with the sofa4 ,one large picture or a group of small pictures may be used depending upon the size of the picture4 ,a sense of balance should be brought into play when hanging pictures1 and common sense used not to let the picture over-balance the piece with which it is used1 nor to appear dwarfed on a large wall area4 ,pictures should be hung so that the center is eye level to the person standing in the room4 ,they should be hung flat against the wall with the hooks and cords used to suspend the pictures entirely concealed4 ,many novel arrangements are being used effectively in contemporary decorating1 and it is a good habit to watch the home furnishings pages of the newspapers and national magazines for new methods of arranging pictures4 ,mirrors are playing an increasingly important part in today's decorating scheme as they have been found to serve a multiple purpose4 ,architecturally1 mirrors may be used to give the illusion of increased space4 ,a wall covered with mirrors will make a room appear twice its size4 ,because of this illusion of space1 many rooms1 furnished in the modern manner use large1 full wall mirrors as part of the decorative scheme4 ,mirrors fall into two main classes1 the ,venetian type without frames1 and the framed models4 ,mirrors may be etched1 painted1 sand-blasted or have decorations applied to the exterior1 such as pieces of wood1 flower containers1 or bits of metal4 ,many frames are made of wood and finished in mahogany1 maple1 walnut1 or bleached wood or gilt frames4 ,many times genuine gold leaf is used4 ,single1 double1 and triple beveled edges are used1 in many instances the beveled edge being the only decoration on the mirror4 ,mirrors with beveled edges are shown with and without frames4 ,the old belief that mirrors vary in quality according to the thickness of the glass has been disproved4 ,the ,united ,states ,department of ,commerce under its commercial standards 7,c4 ,s4 #bg-cf7 has set up three grades of mirrors for classification by the manufacturers4 ,these include3 ,a quality4--,the best type of mirror1 in which the central area of the glass is free from major defects but the mirrors may contain tiny1 well-scattered bubbles 7referred to by the ,government as seeds7 and short1 faint hairlines on the back or face of the mirror4 ,the outer area of the mirror may also contain well-scattered bubbles and faint clouds4 ,no4 #a quality mirrors are rated as second grade and may contain tiny1 well-scattered bubbles1 short faint hairlines and scattered clouds4 ,no4 #b quality mirrors are rated as third grade and may contain scattered bubbles1 some coarse bubbles1 light beams1 light scratches and some cloudiness4 ,the ,no4 #b mirror may also have a bull's-eye 7distortion7 if it is not visible from directly in front of the mirror4 ,although these are highly technical specifications laid down by the manufacturer1 the consumer may watch for certain imperfections when purchasing mirrors4 ,a good test which may be made of a mirror as to its quality is to examine the mirror from the front and the side to see that the reflection is not distorted4 ,ceiling and floor lines should appear perfectly straight1 and not waved4 ,the mirror should be comparatively free from bubbles1 and scratches should be very faint4 ,mirrors which employ window glass1 show distortion when given the side test1 and lines will appear to be waved4 ,the quality of the mirror depends upon the manufacturer since many chemicals are used and atmospheric conditions have a pronounced effect upon the finished product4 ,mirrors made under proper conditions should give at least #e years of service without tarnishing4 ,improper silvering will result in tarnishing within a few months4 ,color of the mirror is also a determining feature of the quality4 ,good mirrors should be a sparkling white color4 ,poorly silvered mirrors reflect a yellowish tint4 ,tinted mirrors for decorative purposes are shown in blue and peach tones4 ,these reflect a colored image and are considered in good usage in certain instances when this color is needed in the room4 ,plain silver mirrors are most popular and when used in a room1 pick up and reflect the colors of the room without adding an additional tone4 ,many times1 when it is necessary to bring color into a certain part of the room1 a mirror is used since all of the colors are concentrated in the glass and reflected back into the room4 ,both period and modern mirrors are on the market with period types especially adapted to period rooms4 ,the shape of the frame and decorative accent determine the period of the mirror1 and sizes vary according to the purpose for which they are to be used4 ,the same principle applies to hanging mirrors as in the case of pictures1 and mirrors should be in related balance to the piece with which they are used4 ,unless designed as a left and right mirror1 mirrors should be used singly rather than in pairs although mirrored wall plaques may be used in pairs or grouped in the same manner as pictures4 ,mirrored frames on pictures are being widely used since they combine the use of a mirror with a picture4 ,mirrors may be used in the dining room over a buffet or commode2 in the living room over the mantle1 sofa1 or wall grouping1 in the hall1 in the bedroom1 bathroom1 and in the kitchen4 ,kitchen mirrors should be plain1 unframed1 and undecorated4 ,many times an interesting group is made up of a mirror flanked by a pair of pictures4 ,,wall ,,decorations ,in addition to mirrors and pictures1 there are many other types of wall decoration4 ,sconces1 or small shelves nailed to the wall on which plants or small art objects are placed1 are growing in popularity4 ,wall brackets for growing plants1 knickknack shelves1 corner shelves1 clocks1 plates mounted on wall holders1 murals1 and tapestries are all used in today's decorative scheme4 ,in an eighteenth century room1 an effective grouping can be made of three wall sconces arranged in pyramid fashion1 on which ,chinese celestial figures are placed4 ,sconces may be used singly1 in pairs or in groups1 and may be made of wood1 glass1 or metal and either finished in natural color1 gilded1 or enameled4 ,a grouping of sconces with art objects over the fireplace1 above a sofa1 on a narrow wall1 or in the hall is extremely effective4 ,plants with drooping vines may be placed on the sconces1 or colorful art objects in keeping with the general scheme of the room4 ,the popularity of touches of living green in the room has brought wall brackets for holding potted plants to the fore4 ,these brackets are usually made of wrought iron and are enameled white or pastel colors4 ,a ring holder keeps the pot in place and provides accommodations for one or several such plants4 ,wood plant brackets are also on the market and are used in the more formal period rooms4 ,wall brackets for plants can be used in any room from the kitchen to the front porch and may be placed on the window frame1 in the archway of a hall1 on the walls flanking a mirror or picture1 on a narrow wall1 or may hang from a central doorway4 ,many times colored pots in contrast to the wall bracket are shown1 and the effect is cheerful and adds color and growing greens to the home4 ,knickknack shelves have become popular with the increased hobby of collecting art objects by the amateur4 ,knickknack shelves are shown in a variety of styles for various rooms1 and are available in wood1 enameled metal1 chrome1 and glass4 ,in the bathroom knickknack shelves are used to hold bath accessories1 powder1 toilet water1 and attractive bottles and jars2 in the kitchen these shelves may hold salt and pepper shakers1 tiny decorative pitchers and gayly colored kitchen accessories2 in the bedroom1 perfume bottles1 and knickknacks find their way to these shelves2 and in the dining room and living room1 plants in decorative pots1 and art objects add color to the wall and the room4 ,corner shelves1 which fit into a corner of the wall and make use of otherwise waste space are used in the same manner as the knickknack shelves which are shown in a variety of shapes and sizes4 ,clocks to hang on the wall are made in styles to harmonize with every room in the house4 ,kitchen clocks1 in white and pastel enamels to match the room's color schemes1 novelty bedroom clocks1 and living room clocks come in period and modern varieties4 ,popular for the ,colonial and ,early ,american room is the banjo clock4 ,many of the new clocks are operated by electricity4 ,a popular wall decoration consists of rare plates1 placed in wall-plate holders and arranged in groups on the wall either over a sofa1 or mantle1 or on plain walls4 ,plates may be used in the same manner as pictures but care should be taken to select plates which have genuine decorative value and have interest either by their antiquity1 coloring1 or subject4 ,murals in which photographic subjects are enlarged in a panoramic manner are used as wall decorations1 particularly in rooms furnished in a contemporary manner4 ,outdoor scenes1 familiar scenes of the city1 or a composite of photographic subjects of interest to the occupants of the room are applied to the wall either in the manner of wallpaper or in a frame as a gigantic picture4 ,murals1 properly used1 are extremely decorative but should be used under the guidance of an expert who understands the correct application of the mural to the wall4 ,tapestries are not in as common usage as a decade ago1 having been abandoned in favor of pictures1 mirrors1 wall brackets1 and other newer accessories4 ,tapestries many times give a heavy appearance to a room and have been condemned by many modern housewives as dirt catchers4 ,many of the tapestries in use today are framed and these may be used in the same manner as a picture4 ,a large tapestry hanging may be used on the wall of a study or den or behind a large wall piece4 ,the subject of the tapestry should be in keeping with the general room scheme and the color in harmony with the other furnishings in the room4 ,,plastics ,,enter ,,the ,,home ,,furnishings ,,field ,for years plastics have been of major importance in the industrial field4 ,now the chemist's test tubes are revealing new and outstanding uses for plastics in architecture1 lighting1 decorator's accessories1 furniture novelties1 and miscellaneous items4 ,the records show that #afj1jjj1jjj pounds of plastics are produced in a single year in the ,united ,states alone1 and that new plastics are being developed at the rate of one a year4 ,this evolution of plastics has made possible large-scale production of articles within a price range that makes them available to large numbers of homes4 ,a recent issue of the ,british ,yearbook devotes #ee pages to the mere listing of products made of plastic and #cj pages to substances from which plastics are derived4 ,the fifth annual modern plastics competition brought more than #a1jjj entries4 ,top award in the furniture classification went to a display of occasional tables with revolving tops1 made without using screws1 bolts1 and other attachments ordinarily used in furniture construction4 ,at the ,january and ,june 7#aida7 ,furniture ,mart shows in ,chicago1 ,ill41 plastics definitely entered the competitive fields for interior decoration1 surfacing1 hardware1 and paneling4 ,there were all-plastic rooms featuring dinette sets1 bedroom suites1 dressing tables1 vanity chairs1 bar stools1 consoles1 bedside tables1 and sophisticated modern stow-away chests4 ,chrome and wood were combined into a high chair with a back formed of pink and blue opaque woven plastic4 ,there were bedroom groupings in soft1 light grays matched by the woodwork of the room4 ,plain panel backs of beds were in cedar to match the carpet4 ,wall paper was plaided in ivory and two-tone gray4 ,there were bedrooms in ,french ,provincial style2 others in simple ,colonial1 or ,georgian4 ,dining room groupings were shown in sparkling furniture that was not glass but was warp-resisting and impervious to mars1 nicks1 chipping1 and such abuse as would require refinishing in the case of wood or metal pieces4 ,the talent of ingenious designers and decorators had been used to aid in producing home accessories in plastics4 ,there were on display table lamps1 curtain rods1 picture frames1 salad bowls and utensils1 vases1 wastepaper baskets1 bird cages1 carved ornamental centerpieces1 mirror frames1 and coat trees4 ,plastics were shown in fluorescent lighting effects possessing the advantages of day-like light1 less heat1 less power consumption1 and greater illumination per unit of power consumption4 ,there seemed to be no major product in the home furnishings field1 including lighting and accessories1 for which this plastics age had not prepared an entry4 ,illustration3 ,photograph by ,grignon4 ,figure #ej4--;,exhibit #bdi1 ,june 7#aida7 ,american ,furniture ,mart1 ,chicago1 ,ill41 showing reproduction of wood grain so applied as to take the form of a veneer as an integral part of the surface processed4 ,the chair shows zebrawood graining4 ,as talking points for plastics in the home furnishings field1 consider the following claims3 #a4 ,the plastic used for furniture is neither a finish nor a protection for a finish4 ,it is a hard-surfacing substance said to be many times as strong as wood4 #b4 ,tests show that it is not affected by hot dishes up to #bjj ,f4 ,liquids of all types and unusual temperatures harm plastics not in the least4 ,these include perfumes1 ordinary acids1 alcohol1 nail polish1 and fruit stains4 #c4 ,plastic surfacing will not discolor or fade1 even though exposed for a long period to the sun's rays4 #d4 ,plastic pieces need neither polish nor wax4 ,they are washed with ordinary soap and water4 ,salespersons should understand a few basic technical facts in order to discuss plastic pieces or sets or all-plastic rooms with interested customers4 ,the term plastics is a commercial1 rather than a scientific1 designation2 the line is drawn not so much by what the substance is1 as by what it will do4 ,the materials called plastics have in common not only the ability to be formed while soft into a desired shape possessing rigidity1 but also the chemical characteristics of having been polymerized2 that is1 they are constituted of large molecules which are aggregates of similar molecules4 ,plastics are classified into two types depending on their physical properties3 #a4 ,thermoplastic4 #b4 ,thermosetting4 ,thermoplastic materials soften upon being heated and become solid again when cooled4 ,this change of state can be repeated over and over4 ,thermosetting plastics on the other hand are compounds which definitely alter their chemical constitution in the course of molding under heat or pressure or both4 ,plastics also may be classified according to their chemical source4 ,the #ah or so known basic types fall into #d general fields3 ,cellulose plastics1 protein plastics1 natural resin plastics1 and synthetic resin plastics4 ,,cellulose ,,plastics ,cellulose nitrate1 the classic in this type1 begins life as cotton linters--the short fibers next to the seed in a cotton boll4 ,purified1 the cellulose is treated with mixed nitric and sulfuric acids to produce pyroxylin4 ,camphor1 alcohol1 and color are added as desired4 ,the mixture becomes a dough-like substance which is rolled1 baked1 seasoned1 and polished4 ,when heated1 it may be shaped to any form desired2 and it can be cut1 sawed1 filed1 blown1 rolled1 planed1 hammered1 drilled1 and turned on lathes4 ,it may be obtained in practically every shade and hue1 in transparent1 translucent1 opaque1 and in mottled and pearl effects4 ,,protein ,,plastics ,protein plastics date back to #ahij when ,dr4 ,adolph ,spitteler of ,hamburg1 ,germany1 set out to make a white blackboard for classroom use4 ,he mixed sour milk with formaldehyde and got a casein plastic1 a shiny substance from which many a modern button and buckle is made4 ,it is possible to use soya beans1 lignin from wood1 coffee beans1 and peanuts in making protein-type plastics4 ,,natural ,,and ,,synthetic ,,resins ,an example of a natural resin is lac secreted by a little red insect that sucks the sap of trees and converts it into a protective covering for itself4 ,lac1 upon being refined and dissolved in a suitable solvent1 forms a shellac4 ,dr4 ,leo ,baekeland in #aijg was investigating this natural process when he combined formaldehyde and phenol with the aid of a catalyst and heat4 ,the result was a synthetic resin1 the basis of the first molded phenolic plastic--the familiar substance of telephone receivers and many other objects4 ,the commercial development of urea-formaldehyde plastics was made possible by availability not only of formaldehyde but also of synthetic urea4 ,comparatively new in the field of structural materials1 but significant for those who sell home furnishings1 are laminated plastics1 plywood1 and veneers4 ,laminated plastics are made by treating sheets of paper or woven cloth with synthetic heat-reactive resins and subjecting built-up layers of the treated materials to heat and pressure4 ,such plastics also may be bonded to thin wood sheets and to metals4 ,the resulting materials are useful for furniture and for interior decoration4 ,this type of material was used in decorating the ,library of ,congress ,annex4 ,it was extensively used on the ,british superliner1 ,queen ,mary4 ,from vinyl resins1 one of the new families1 comes the center of the sandwich in safety glass4 ,the plastic interlayer is not broken by a blow but stretches1 at the same time holding broken pieces of glass together and preventing flying splinters4 ,at the present time the varied diversity of plastics is a major asset4 ,in the home furnishings field1 whoever wants a new1 strong1 graceful1 functional material for a new product has a wide range of materials in all color combinations from which to make a choice4 ,for the first time1 the claim may be advanced that certain limitations in furniture design have been released and that innumerable variations without changing the shape or structure of the product are possible4 ,by the use of fascinating surfaces1 textures1 and colors1 it is possible to create designs which1 while simple1 possess charm1 intrinsic beauty1 and distinction4 ,the introduction of such a product to the home furnishings field brings a new competitive element4 ,,do',s ,,and ,,don',t',s ,,for ,,the ,,salesperson ,every salesperson has his own technique for closing a sale1 but there are certain methods which seem to impress favorably the potential customer and others which react unfavorably4 ,among the objectionable selling methods is that of making personal comparisons2 for example1 to tell a customer that you have a chair1 a lamp1 or a rug exactly like the one she is buying usually does not impress her4 ,the average customer likes to feel her taste is superior to the salesperson's and that she can afford something beyond the price range of the person serving her4 ,many sales are lost by the salesperson making a personal reference to himself in this manner4 ,don't take a superior attitude when waiting on a customer1 who seems less informed on the subject than yourself4 ,suggest1 rather than tell her what to use1 and appear to be serving her in a graceful manner1 letting her know you enjoy waiting on her4 ,mate her feel perfectly at ease in your presence1 yet treat her with the respect that she as a customer deserves4 ,many people rather like being referred to by their name as it gives them a personal feeling with the store4 ,when you know the name of the person you are serving1 refer to her name from time to time but don't repeat it too often4 ,when she leaves1 thank her1 by using her name and once or twice during the conversation mention it4 ,be sure you pronounce the name correctly1 however1 and that you refer to her by her correct title1 noting whether or not she is married or single4 ,people are usually interested to know that the merchandise they choose compliments their personality and their persons4 ,this is true of clothes and is an important element of style4 ,it is true of homes and rooms where the harmony of color and design can be used to the best advantage when properly adjusted to the personality of the due or the family that uses it4 ,obviously this lies in the realm of newer advances in proper home styling and decoration4 ,nevertheless1 many salesmen in average stores can enhance their effectiveness and their service by helping their customers to avoid choices that do not seem to harmonize with their obvious personal characteristics4 ,to truthfully assure a customer that her choice does properly reflect herself is likewise obviously good salesmanship4 ,people have become accustomed to prideful ownership of automobiles similar to those bought by their neighbors4 ,the backbone of the home-furnishings industry is1 however1 the individuality of the ,american home and it has never succumbed to stereotyped style or decoration4 ,almost every customer either consciously or unconsciously recognizes this and will be interested in furniture that sets her home apart from others and represents her individual taste and planning4 ,the first time a customer may ask questions of a salesman2 the second and third time1 just return to look4 ,never make any customer feel that you are annoyed by her delayed purchase or that you recognize that she is still looking4 ,make yourself available1 should she want additional information1 but allow her time to consider the merchandise at her leisure1 if she is so disposed4 ,,questions #a4 ,what is the most satisfactory arrangement of lighting units for a living room8 ,a dining room8 #b4 ,what is cove lighting8 #c4 ,the texture of objects determines the amount of colored light they will absorb4 ,explain4 #d4 ,explain the terms3 ,candlepower1 footcandles1 lumens1 parabolic reflector1 and indirect lighting4 #e4 ,under what conditions would you advocate the use of tapestry wall hangings8 #f4 ,are you familiar with the light specifications worked out by the ,illuminating ,engineering ,society1 #fa ,madison ,avenue1 ,new ,york1 ,n4 ,y48 #g4 ,how would you build an effective window display to increase sales for your lighting fixtures department8 #h4 ,discuss the correct use of rhythm in display4 #i4 ,do you advise use of price cards in connection with your accessories display8 #aj4 ,what opportunities exist to display accessories combined in use8 #aa4 ,in what way is display a silent salesman8 ,,suggested ,,reading ,,list ,,burris-,,meyer1 ,,elizabeth4 ,decorating ,livable ,homes4 ,prentice-,hall1 ,inc41 ,new ,york1 ,n4 ,y4 7#aicg47 ,accessories1 ,,viii1 pp4 #bjf-bcb4 ,light1 ,,ix1 pp4 #bcb-bdh4 ,,crane1 ,,ross4 ,home ,furnishing and ,decoration4 ,frederick ,j4 ,drake ,co41 ,inc41 ,chicago1 ,ill4 7#aicc47 ,pictures1 ,,xii1 pp4 #ahc-aia4 ,lighting1 ,,xx1 pp4 #bdg-bec4 ,lamps1 ,,xxi1 pp4 #bec-bfa4 ,,eberlein1 ,,mcclure1 ,,holloway4 ,the ,practical ,book of ,interior ,decoration4 ,j4 ,b4 ,lippincott ,co41 ,philadelphia1 ,pa4 7#aiai47 ,artificial ,lighting1 ,,ix1 p4 #cbd4 ,pictures and ,their ,framing1 ,,xi1 p4 #cej4 ,decorative ,accessories1 ,,xii1 p4 #cfd4 ,,fales1 ,,winifred4 ,what's ,new in ,home ,decorating4 ,dodd1 ,mead ,co41 ,inc41 ,new ,york1 ,n4 ,y4 7#aicf47 ,science of ,lighting1 ,x1 pp4 #bjg-bbi4 ,,jackson1 ,,alice and ,,bettina4 ,the ,study of ,interior ,decoration4 ,doubleday1 ,doran ,co41 ,inc41 ,garden ,city1 ,n4 ,y4 7#aibh47 ,accessories1 ,,xiv1 pp4 #cag-cdj4 ,,knauff1 ,g4 ,b4 ,refurbishing ,the ,home4 ,mc,graw-,hill ,book ,co41 ,inc41 ,new ,york1 ,n4 ,y4 7#aich47 ,lighting ,problems1 ,,xiv1 pp4 #bhi-cjb4 ,pictures1 ,hangings1 ,accessories1 ,,xv1 pp4 #cjb-cag4 ,,footnotes3 #ca ,the ,illuminating ,engineering ,society is made up of illuminating engineers and those engaged in the lighting field who have worked out set standards for illumination from tested specifications4 ---------------------------------------- ---------------------- ,a ,,final ,,word ,we bring the final unit of this course to an end with a cordial wish for your prosperity and success4 ,we have tried to open more widely the door of opportunity4 ,no man can fix a limit to your progress but yourself4 ,the sale of home furnishings at retail can be one of the most interesting of occupations with professional standing and a good professional income as its rewards4 ,we hope and believe that you will win and enjoy these rewards1 and with them another and greater4 ,this is the happiness of creative effort4 ---------------------------------------- ---------------------- ,,appendixes ,a4 ,glossary of ,terms ,b4 ,general ,reading ,list ,c4 ,a ,suggested ,teaching ,outline for a ,group ,leader ,d4 ,the ,leading ,furniture ,woods ,e4 ,common ,rug ,terms ,f4 ,an ,advertising ,check ,list ,g4 ,fivefold ,selling ,plan for ,floor ,coverings ,h4 ,color and ,style in ,modern ,advertising ,copy ,i4 ,check ,list for ,planning a ,store-,wide ,promotion ,j4 ,ready ,reference ,index ,appendix ,a3--,,glossary ,,of ,,terms ,acanthus leaf4--,a classical ornamental form1 derived from the acanthus plant4 ,arabesque4--,intricate interlacing ornament1 in the ,arabian manner4 ,arcade4--,a series of arches1 supported by columns 7fig4 #aj1 page #ei74 ,aubusson4--,a fine quality of hand-made tapestry2 originally made at ,aubusson1 ,france1 used for carpets or upholstery4 ,baluster4--,in architecture1 a turned or square upright support for the rail of a balustrade2 in furniture1 a splat with the outlines of a baluster4 7,see fig4 #bb1 page #ajf47 ,band or banding4--,a narrow inlay which contrasts in color or grain with the surface which it is used to embellish4 ,banister4--,same as baluster4 ,baroque4--,the style which followed that of the ,renaissance2 characterized by rectangular outline much softened by use of curves1 and exemplified by ,louis ,,xiv furniture1 and in modified form by that of the late ,jacobean and ,william and ,mary styles4 ,bead or beading4--,a small molding1 usually of semicircular shape4 ,beauvais tapestry4--,a fine hand-woven tapestry made in ,beauvais1 ,france1 since #affb1 and used for wall panels and furniture coverings4 ,bomb4--,puffed1 rounded1 or bulged4 ,brass4--,an alloy of copper and zinc4 ,broken pediment4--,see pediment4 ,bronze4--,an alloy of copper and zinc4 ,bun foot4--,see foot4 ,c-scroll4--,in the form of the letter ,c4 ,cartouche4--,an ornamental form based originally upon the open scroll2 an oblong1 elliptical1 or shield-shaped flat panel1 used in the decoration of furniture4 ,caryatid4--,a draped female figure1 used as a support in place of a column or pilaster4 ,chamfer4--,the surface formed by cutting away the angle formed by two sides of a board4 ,classic4--,as here used1 conforming to the style of ancient ,greek and ,roman art4 ,collar4--,a narrow strap or band1 used near the top and 7or7 bottom of the leg4 ,court cupboard4--,a short cupboard2 originally a small cupboard set on a side table1 but later built as one piece4 ,cyma curve4--,a double or ,s curve1 as in the cabriole leg4 ,dado4--,the lower part of a wall1 when marked off by panel or moldings4 ,deal4--,scotch fir4 ,fiddleback4--,having splats shaped something like a violin4 ,finial4--,a terminating or crowning detail4 ,flemish scroll foot4--,see foot4 ,fluting4--,decoration by means of flutes or channels1 as in a chair leg or dresser post4 ,foot-- ,ball4--,globular1 and attached to leg by slender ankle4 ,ball and claw4--,derived from the ,chinese and representing a dragon's claw holding the great pearl4 ,bell4--,bell-shaped1 and joined to leg by slender ankle4 ,bracket4--,used for cabinets1 but not for chairs4 ,bun4--,in the form of a flattened ball4 ,see trumpet-turned leg1 under leg4 ,dutch4--,another name for pad foot4 ,flemish scroll4--,see illustration1 page #fb4 ,french4--,see illustration1 page #eg4 ,hoof4--,see cabriole leg with hoof foot1 under leg4 ,leaf scroll4--,see illustration1 page #af4 ,pad4--,see illustration1 pages #ei1 #fe4 ,paw4--,see illustration1 pages #ei1 #fe4 ,peg top4--,turned to a point1 like a top1 and attached to the leg without a sharply defined ankle4 ,spade4--,see illustration1 page #fh4 ,spanish4--,see illustration1 page #ec4 ,serpent4--,used on tripod tables4 ,fresco4--,in the fine arts1 a method of painting on freshly laid plaster before it dries4 ,fret4--,interlaced ornamental work1 carved on flat surfaces or pierced for galleries1 chair backs1 or aprons4 ,gallery4--,an ornamental railing of wood or metal along the edge of a table1 desk1 or sideboard4 ,gesso 7pronounced jes-o74--a plaster-like material spread on a surface or moulded into ornamental forms as a base for painting or gilding4 ,gilding4--,an overlay or covering of gold leaf1 or of gold powder with size4 ,girandole4--,a very elaborate type of candle holder1 used on the walls of late seventeenth and eighteenth century ,french salons1 and usually made in pairs4 ,highboy4--,a tall chest of drawers1 mounted on legs4 ,japanning4--,art of varnishing with japan2 see lacquer4 ,knee4--,the projecting upper curve of a cabriole leg2 see leg4 ,lacquer4--,in period decoration1 a varnish1 of which the best was produced in ,japan by tapping the varnish tree and drying the sap in the air4 ,pigments were often added for color4 ,in ,japanese lacquer work at least #ae coats1 separately polished1 were applied4 ,leg4-- ,cabriole4--,made in many styles4 ,illustration on pages #af1 #fe show an example with hoof foot and carved knee4 ,s-scroll4--,see illustration1 page #fb4 ,trumpet-turned4--,here shown with inverted cup and bun foot4 ,many variations of this general form include octagonal legs and pear bulb legs4 ,term4--,many variations of this form1 which is here shown in an ornate leg of the style of ,louis ,,xiv4 ,lowboy4--,a chest of drawers1 usually not more than #d feet high and standing on four legs4 ,marquetry4--,inlaid work1 usually in colored woods1 but occasionally with the addition of ivory1 bone1 mother-of-pearl1 etc4 ,sometimes differentiated as intarsia1 in which the materials are placed in channels gouged out of the surface of the base1 and marquetry1 in which the pattern is formed as a veneer and glued to the surface of the base4 ,mullion4--,a slender bar or pier1 forming a division between windows1 screens1 etc4 ,neoclassic 7,new classic74--,designating the revival of classic taste in art1 and here applied to the second revival after the discovery of ,pompeian art early in the eighteenth century4 ,ormolu4--,an alloy of copper and zinc2 used in ,france for the production of furniture mounts1 which were usually first cast1 then chiseled with jewel-like precision1 and gilded4 ,parquetry4--,an inlay of geometric or other patterns for floors1 often in colored woods4 ,patina4--,in furniture1 the surface appearance assumed by wood1 marble1 or other materials as the result of long exposure4 ,pediment4--,in classic architecture1 the flat triangular space between the roof lines on the end of a building2 now often curved1 and applied to over-doors1 cabinet tops1 etc4 ,in the broken pediment the top line is cut away4 ,pewter4--,an alloy of tin with some other metal usually copper1 lead1 or antimony4 ,reeding4--,embellishment produced by narrow convex moldings2 the reverse of fluting4 ,rococo4--,the general decorative style which developed from and followed the ,baroque2 characterized by exclusive employment of curved line1 avoidance of complete symmetry1 and exuberant and fanciful ornament in which shell and scroll forms were freely employed4 ,s-scroll4--,a scroll roughly in the form of the letter ,s1 often used for the legs of chairs or cabinets2 see leg4 ,serpentine4--,sinuous or winding2 in furniture1 bow-shaped1 with the ends straight or bent back like a ,cupid's bow4 ,splat4--,a broad1 flat upright member in middle of chairback4 ,splay or splayed4--,spread outward obliquely4 ,strap-work4--,a decorative design consisting of a narrow fillet or band with crossed1 folded1 or interlaced ornament4 ,silhouette4--,as applied to stretchers or skirts1 an ornamental outline or profile4 ,squab4--,a thickly stuffed loose cushion1 especially one used for the seat of a sofa1 couch1 chair1 or stool4 ,swag4--,a decoration in wood or metal1 resembling festoons or draperies4 ,truss4--,in furniture1 a rigid frame1 of solid1 open1 column or arcade construction1 used in pairs to support the ends of a piece of furniture1 and usually connected by some form of stretcher4 ,tester4--,a canopy over a bed1 supported by the bedposts4 ,trestle4--,a braced frame1 forming whole support of a table top4 ,appendix ,b4--,,general ,,reading ,,list ,in order to avoid confusion1 this list is restricted to a few books which are adequate for our present purpose1 and usually are to be found in every public library4 ,books dealing with materials1 construction1 and special aspects of home-furnishing practice1 and with salesmanship and merchandising principles are listed for suggested reading at the end of each unit4 ,,general ,,reference ,the new ,encyclopedia ,britannica 7#adth edition7 contains an astounding wealth of well written and beautifully illustrated material very useful to the salesman4 ,,general ,,reading ,,suggestions ,,where ,,to ,,begin ,,crane1 ,,ross4 ,interior ,decoration4 ,a ,study ,course for ,furniture ,men4 ,the ,seng ,co41 #adcj ,no4 ,dayton ,street1 ,chicago1 ,ill41 #aibh4 ,,eberlein1 ,,harold4 ,practical ,book of ,interior ,decoration4 ,j4 ,b4 ,lippincott ,co41 ,philadelphia1 ,pa4 #aicg4 ,,kelsey1 ,,clark4 ,furniture3 ,its ,selection and ,use4 ,national ,committee on ,wood ,utilization1 ,united ,states ,department of ,commerce4 ,superintendent of ,documents1 ,united ,states ,government ,printing ,office1 ,washington1 ,d4 ,c4 #aica4 ,,muselwhite1 ,,katherine4 ,principles and ,practice of ,interior ,decoration4 ,suttonhouse1 ,ltd41 ,publishers1 ,los ,angeles1 ,calif4 ,,palmer1 ,,lois4 ,your ,house4 ,boston ,cooking ,school ,magazine ,co4 #aibh4 ,,post1 ,,emily ,,price4 ,personality of a ,house4 ,funk ,wagnalls ,co41 ,new ,york1 ,n4 ,y4 #aicc4 ,,powell1 ,,lydia4 ,the ,attractive ,home4 ,macmillan ,co41 ,new ,york1 ,n4 ,y4 #aici4 ,,reyburn1 ,,samuel ,w4 ,selling ,home ,furnishings ,successfully4 ,prentice-,hall1 ,inc41 ,new ,york1 ,n4 ,y4 ,,whiton1 ,,sherrill4 ,elements of ,interior ,decoration4 ,j4 ,b4 ,lippincott ,co41 ,philadelphia1 ,pa4 #aicg4 ,,making ,,an ,,attractive ,,interior ,,burris-,,meyer1 ,,elizabeth4 ,decorating ,livable ,homes4 ,prentice-,hall1 ,inc41 ,new ,york1 ,n4 ,y4 #aicg4 ,,burrows1 ,,thelma4 ,successful ,house ,furnishing4 ,manual ,arts ,press1 ,peoria1 ,ill4 #aich4 ,,knauff1 ,,carl ,g4 ,b4 ,refurbishing ,the ,home4 ,mc,graw-,hill ,book ,co41 ,inc4 ,new ,york1 ,n4 ,y4 #aich4 ,,koues1 ,,helen4 ,how ,to ,be ,your ,own ,decorator4 ,tudor ,publishing ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aici4 ,,maas1 ,,carl4 ,common ,sense ,in ,home ,decoration4 ,greenberg ,publishing ,co41 ,new ,york1 ,n4 ,y4 #aich4 ,,merivale1 ,,margaret4 ,furnishing ,the ,small ,home4 ,studio ,publications1 ,london1 n4 d4 ,,miller1 ,,gladys4 ,decoratively ,speaking4 ,doubleday1 ,doran ,co41 ,new ,york1 ,n4 ,y4 #aici4 ,,storey1 ,,walter4 ,period ,influences in ,interior ,decoration4 ,harper ,bros41 ,new ,york1 ,n4 ,y4 #aicg4 ,,furniture ,,styles ,,aronson1 ,,joseph4 ,book of ,furniture and ,decoration4 ,crown ,publishers1 ,new ,york1 ,n4 ,y4 #aicg4 ,,aronson1 ,,joseph4 ,encyclopedia of ,furniture4 ,crown ,publishers1 ,new ,york1 ,n4 ,y4 #aici4 ,,holloway1 ,,edward4 ,practical ,book of ,american ,furniture and ,decoration4 ,j4 ,b4 ,lippincott ,co41 ,philadelphia1 ,pa4 #aicg4 ,,kimerly1 ,w4 ,l4 ,how ,to ,know ,period ,styles in ,furniture4 ,grand ,rapids ,furniture ,record ,co4 #aiab4 ,,ormsbee1 ,,thomas4 ,early ,american ,furniture ,makers4 ,tudor ,publishing ,co41 ,new ,york1 ,n4 ,y4 #aicj4 ,metropolitan ,museum of ,art1 ,handbook of the ,american ,wing4 ,r4 ,t4 ,h4 ,halsey-,charles ,o4 ,cornelius4 ,metropolitan ,museum of ,art1 ,new ,york1 ,n4 ,y4 #aibh4 ,,strictly ,,modern ,,draper1 ,,dorothy ,,tuckerman4 ,decorating ,is ,fun4 ,doubleday1 ,doran ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aici4 ,,frankl1 ,,paul4 ,space ,for ,living4 ,doubleday1 ,doran ,co41 ,inc41 ,new ,york1 ,n4 ,y4 #aich4 ,,patmore1 ,,derek4 ,color ,schemes for the ,modern ,home4 ,studio ,publications1 ,london4 #aicf4 ----4 ,decoration for the ,small ,home4 ,g4 ,p4 ,putnam's ,sons1 ,new ,york1 ,n4 ,y4 #aich4 ,yearbook of ,decorative ,art4 ,studio ,publications4 #aich4 ,appendix ,c4--,a ,,suggested ,,teaching ,,outline ,,for ,a ,,group ,,leader ,unit ,,iv contains much more material than can be discussed at one meeting4 ,the group leader must be selective and decide which points are to be developed at the group meeting4 ,two programs are suggested4 ,,for ,,the ,,first ,,group ,,meeting #a4 ,opening remarks by the group leader 7#e minutes73 a4 ,no matter what kind of furniture we stock and sell1 we first must have a working knowledge of the historic styles4 b4 ,this unit contains condensed information on period decoration4 ,you will not need to learn all these details thoroughly--at least not at once4 ,take the unit home and read it carefully4 c4 ,after this reading1 think over your own stock and decide just what parts of the description of period furniture will be most useful to pick out and study in detail4 #b4 ,high-lighting a furniture sales talk 7#ce minutes73 a4 ,a series of talks made by various salesmen and limited to #e minutes each4 ,have five or six articles1 furniture and rugs1 grouped in front of the class and assign one piece to each man after he gets on his feet4 ,stress the style appeal of the piece under discussion4 b4 ,permit a minute or two for criticism after each talk and criticize them solely as to their probable effect in influencing a buyer4 #c4 ,a ,colonial bedroom 7#ae minutes73 ,demonstration by ,mr4 ,williams will cover all the elements of a good selling talk--fitness1 room arrangement1 color appeal1 beauty of design1 style 7with emphasis upon sentimental appeal and present vogue7 and price4 ,the demonstration should be criticized on the basis of its smoothness and cumulative effect1 or build-up4 ,intermission #d4 ,is our merchandise properly styled for our own trade8 7#be minutes73 ,designed to put the buyer on the defensive1 and to develop through frank discussion any need for changes in the character of the merchandise from the point of view of design and price only4 ,you are trying to build up a business-getting machine1 with no friction1 dissatisfaction1 or mental alibis4 ,the idea that a salesman can sell anything to anybody will have to be discarded4 #e4 ,promotion plans for this season's business 7#ae minutes73 ,by some owner or by the chairman2 a brief1 candid statement of plans for buying display1 advertising1 and all forms of promotion and sales effort4 ,good to insure enthusiastic teamwork and to build up loyalty4 #f4 ,personal experiences 7#aj minutes73 ,the chairman will draw upon the selling experiences of individual members of the group4 ,,for ,a ,,second ,,group ,,meeting 7,,if ,,desired7 #a4 ,opening remarks by the group leader 7#e minutes73 a4 ,we can make the best start1 with least likelihood of resistance1 by helping the customer to find articles that suit her needs1 tastes1 and means1 and add to the comfort1 harmony1 and beauty of her home4 b4 ,style in furniture doesn't stop with the historic styles1 but it does start there1 and if we are going to make profitable use of style as a selling factor we must first know how our own merchandise is styled4 #b4 ,styling our own stock 7#ej minutes73 a4 ,early ,european styles4 ,mr4 ,stark 7#ae minutes74 b4 ,eighteenth century ,european styles4 ,mr4 ,pearson 7#bj minutes74 c4 ,american styles4 ,mr4 ,hahn 7#ae minutes74 ,go in a body directly to the nearest piece to be shown1 and move on the minute that this piece has been adequately discussed4 ,see to it that the men give a brief1 orderly statement on three points3 7#a7 ,the style with which they identify the piece2 7#b7 reasons for the classification2 and 7#c7 types of non-period pieces1 rugs1 etc41 in your own stock that could be used harmoniously with it4 ,time should be allowed for criticism and comment1 even if very few pieces can be examined4 ,if the group fails to arrive at general agreement on any piece1 request the men who are arguing most keenly about it to consult other authorities and report at the next meeting4 ,intermission #c4 ,selling furniture on style basis 7#cj minutes73 ,demonstration by ,messrs4 ,black and ,herrick4 ,in this demonstration1 let the men have #ae minutes free from interruption1 with the time limit announced in advance2 stop them promptly when their time has expired2 and call for comment and criticism4 ,these sales rehearsals are of the utmost value if properly conducted4 ,they should never be permitted to lag or become involved in windy discussion4 #d4 ,how can we make use of unit ,,iii in closing any sales now pending8 ,open discussion 7#bj minutes73 ,a sale of importance often has to be as carefully prepared and staged as a stage play4 ,if the style appeal can be used to advantage in sales hanging fire or in sight1 use the brains of the entire organization to find out how to do it4 ,as an alternative procedure to that suggested in #d above1 the following may be preferred by some group leaders3 ,appoint three style leaders1 or divide the entire force into three style committees1 to deal respectively with 7a7 the early ,european styles1 from the ,renaissance to ,william and ,mary2 7b7 the eighteenth century ,european styles2 and 7c7 the ,american styles4 ,these leaders or committees should be instructed to go through the stock1 assign as many pieces as possible to the various historic periods1 and be prepared to give the reasons for these assignments to the whole group4 ,in a large stock1 limit the assignment to living room furniture only4 #e4 ,assignment of practice work 7#e minutes73 ,typed forms prepared about as follows should be distributed at this time3 ,historic style ,name of salesman ,approximate dates of beginning and end ,reigning monarch ,principal characteristics of the style ,details of construction1 ornament1 and decorative practice ,other styles more or less closely related to this one ,pieces in our own stock which can be assigned to this style4 ,give number1 article1 and finish ,criticism and comment by ,mr4 7,name of second salesman to be filled in later7 ,fill in one of these sheets with a different style for each salesman4 ,choose only the styles important for your own business4 ,hand these forms out with the request that they be filled in after careful study4 ,appendix ,d4--,,the ,,leading ,,furniture ,,woods ,acacia4--,africa1 ,australia1 and generally throughout the warmer regions of the globe4 ,the #eej species of acacia include several valuable timber woods1 among them the ,australian blackwood and acacia koa 7see ,koa7 of the ,sandwich ,islands4 ,acacia was used as a furniture wood in the ,byzantine and ,romanesque styles more than #a1bjj years ago4 ,amaranth4--,chiefly from ,british ,guiana1 ,south ,america4 ,also known as purpleheart tree and violet wood4 ,it is of fair size2 wood heavy1 hard1 and of a deep purple color not fast to light2 used in marquetry embellishment of ,louis ,,xv furniture1 and still popular in fine furniture4 ,amboyna4--,east ,indies1 ,malay ,archipelago4 7,also spelled ,amboina1 from the island of that name1 ,dutch ,east ,indies47 ,this beautifully figured and mottled wood has much the color of satinwood4 ,amboyna burl1 so-called1 comes from the padouk tree4 7,see ,padouk47 ,it is a rich golden yellow1 shot with brilliant red1 and is one of the most costly woods in the world4 ,apple4--,the fruit wood1 used in ,elizabethan ,england and since1 as an inlay4 ,ash4--,europe1 ,asia1 and ,north ,america4 ,a large1 widely distributed group related to the olive family4 ,there are #bj species in ,north ,america1 ranging from desert shrubs to the magnificent white ash of the lower ,ohio valley4 ,the wood is markedly ring-porous1 and when skillfully finished is very handsome1 either plain or quarter-sawed4 ,varieties commonly used for veneer are figured trees of ,american white ash1 ,english1 ,australian1 and ,japanese ash1 the latter known as tamo4 ,color ranges from grayish white to nut brown in tamo2 a small fiddle or peanut figure is characteristic4 ,aspen4--,chiefly from ,maryland and the ,appalachian ,mountains4 7,also known as silver poplar47 ,large trees1 yielding some figured logs having a characteristic small block mottle figure4 ,the wood is of light-straw color with some light-brown streaks1 and takes a beautiful finish4 ,avodire4--,west coast of ,africa1 near the equator4 ,a creamy colored wood1 yielding a handsome figure in crotch or quarter-sliced veneers4 ,ayous4--,west coast of ,africa4 ,cream-colored wood of a slight greenish tinge2 resembles prima vera in appearance1 and because of its low cost is sometimes used as a substitute for blond woods4 ,basswood4--,north ,america4 7,also known as linden and whitewood47 ,this tree1 which belongs to the lime family1 has a wood of cream-white color1 almost free from visible markings due to pores1 annual rings1 or rays4 ,in furniture manufacture it is used for plywood cores and kitchen table tops to be left unfinished4 ,beech4--,europe1 ,asia ,minor1 and eastern ,north ,america4 ,of the same genus as the oak and the chestnut1 this tree yields furniture wood of light reddish-brown color4 ,it has about the same weight and hardness as sugar maple4 ,birch4--,north ,america1 ,europe1 ,asia ,minor1 and northern ,siberia4 ,a hardy1 beautiful tree1 yielding a hard and handsome wood1 whether in plain or quarter-sawed surfaces1 or in the form of veneers4 ,the wood is of close texture2 often has a wavy grain1 producing what is known as curly birch1 noted for wavy figure of changing high lights and shadows4 ,bosse4--,africa1 ,french ,ivory ,coast4 ,this large tree1 closely resembling the cedar1 has a wood light red or pink in color1 which takes an excellent finish4 ,it is used in ,america only as a veneer4 ,boxwood4--,europe1 ,north ,america1 and the ,west ,indies4 ,an extremely heavy1 tough1 close-grained wood1 white or pale yellow in color1 used in making musical instruments and also in furniture inlay4 ,bubinga4--,west coast of ,africa4 ,closely related to the rosewood1 and its equal in weight1 hardness1 and capacity to take a high polish4 ,the wood is slightly darker than mahogany4 ,the veneer is usually striped1 but sometimes figured1 with a gorgeous black mottle4 7,see ,kewazingo47 ,butternut4--,north ,central ,united ,states4 7,also known as white walnut47 ,this relatively small tree has a short trunk which makes it difficult to get veneer logs of good length and free from knots4 ,cedar4--,asia1 ,africa1 and ,north ,america4 ,the cedar of ,lebanon has been a favorite with poets and painters for thousands of years4 ,other famous members of this family are the deodar or god tree of the ,himalayas1 and the thuya4 ,among the ,american varieties are the incense or white cedar1 the ,port ,oxford or ,oregon cedar1 and the red or ,american cedar4 ,cedar was used as a furniture wood in ancient ,egypt1 ,mesopotamia1 and ,persia almost #d1jjj years ago4 ,cherry4--,europe and ,north ,america4 ,this fruit wood is now rare and little used in furniture making but it is highly valued by cabinet makers by reason of its handsome fine-grained texture1 its freedom from warping1 and its capacity to take a high polish4 ,chestnut4--,europe and ,north ,america4 ,the wood is closely allied to that of the oak1 which it resembles in general appearance1 though it is softer and the medullary rays are finer and less pronounced4 ,ideal for lumber cores of hardwood plywood4 ,decay resistant2 easily glued and easy to work4 ,the blight in no way subtracts from the quality of the wood1 but it has decreased the amount now available4 ,cypress4--,europe1 ,asia1 and ,north ,america4 ,the common cypress is straight1 tapering1 and stately1 but dark and forbidding in appearance4 ,the wood is hard1 close-grained1 of a rich reddish hue and durable4 ,a veneer of cypress stumps1 with a highly intricate grain1 is used in furniture making under the name of faux satine1 or false satin4 ,deal4--,scotland4 ,the ,scotch fir1 used to some extent in ,elizabethan ,england and later as a furniture wood4 ,ebony4--,india1 ,east ,indies1 and ,ceylon4 ,accurately1 the black1 heavy heartwood of a genus of tropical trees4 ,according to legend the wood was used by the ancient kings of ,india not only for scepters and images1 but also as drinking cups4 ,macassar ebony1 so named from ,macassar1 seaport of the island of ,celebes1 ,dutch ,east ,indies1 is notable for its close grain1 intense hardness and rich hazel brown color1 striped or mottled with black4 ,it is much used in this country1 where it is often known as marblewood4 ,elm4--,europe1 ,asia1 and ,north ,america4 ,a noble and beautiful tree1 widely distributed in the north temperate zone4 ,in this country white elm is chiefly important for furniture1 with some use of rock elm and slippery elm4 ,the wood is hard1 ranging in color from reddish brown at the heart to white sap wood1 and has a fine wavelike grain when plain sawed4 ,the richly figured leather-brown burl veneers made from trunk burls of elms from the ,carpathian mountains1 in central ,europe1 are among the costliest of cabinet woods4 ,goncalo alves4--,brazil4 ,a hard and beautiful wood1 closely related to rosewood4 ,it has a rosy straw color1 streaked with dark brown and black2 is both sawed and sliced on the quarter1 and is used for the same purposes as ,macassar ebony4 ,greywood or ,silver ,greywood4--,see ,harewood4 ,gum4--,united ,states4 ,the term gum tree is applied to several unrelated gum-bearing trees in the ,united ,states1 of which the wood of the red gum is chiefly used for furniture4 ,it has a close grain1 uniform texture1 white sapwood1 and reddish brown heartwood1 the latter sometimes containing dark streaks1 and known in the trade as figured gum4 ,tupelo gum and black gum have almost the same texture as red gum1 but are white or warm gray in color4 ,gumwood was formerly called satin walnut in this country and still bears that name in ,england4 ,red gum is one of the most widely used hardwoods for plywood and ranks second among native hardwoods in production of face veneers and first in production of utility or commercial veneers4 ,the sap wood is commonly called sap gum4 ,harewood 7artificial74--,england and the ,continent4 ,harewood1 a ,west ,indies wood now practically extinct1 was much used by eighteenth century cabinet makers4 ,artificial harewood1 also known as silver grey-wood1 is made from carefully chosen ,english curly maple1 known there as sycamore4 ,the logs are first cut into planks and air-dried for three months2 then cut into veneer and dyed with iron salts in huge tanks under pressure1 which produces a beautiful silver grey wood with a slightly metallic sheen4 ,it is one of the most costly veneers4 ,holly4--,england4 ,english white holly has been used since the time of ,elizabeth for inlays4 ,the thin veneers1 having an exceptionally close texture1 can be dyed to various colors4 ,it is similar in appearance and use to boxwood1 but less expensive4 ,iroko4--,africa4 ,though not of the teak family1 this wood is called ,african teak4 ,it is hard1 firm1 of the color of a ripe cucumber1 and in veneers has a waxy figure4 ,kewazingo4--,africa4 ,a veneer made in ,france from a species of bubinga1 and cut in a peculiar way to a wavy figure4 ,it is used as a decorative as well as a base wood in tables and case goods4 ,khaya4--,africa4 7,african mahogany47 ,see ,mahogany4 ,koa4--,hawaiian ,islands4 ,belonging to the acacia family1 the koa is the most valuable ,hawaiian tree4 ,its beautiful wood is of golden color1 sometimes streaked with black or brown4 ,most logs have some figure and many have a pronounced ripple grain in veneers4 ,kingwood4--,british ,guiana1 ,south ,america4 ,a heavy wood1 related to the rosewood1 and sometimes called violet wood because of its color4 ,it is chiefly used in the form of veneers sawed from small logs1 about the size of fence posts4 ,koko4--,andaman ,islands1 ,east ,indies4 ,the ,east ,india walnut2 has a hard1 smooth texture similar to koa2 not much figure1 but a narrow prominent stripe when quartered2 nut brown color4 ,lacewood4--,australia4 7,also known as silky or ,australian oak or selano47 ,this wood of a light1 rosy color has pronounced medullary rays1 and when quartered yields a beautiful effect of grain strikingly similar to that of coarse lace4 ,lauaan4--,philippine ,islands4 7,pronounced la-wan'1 with both a's as in arm47 ,a tall tree native to the ,philippines1 the wood of which bears a marked resemblance to mahogany4 ,formerly marketed as ,philippine mahogany1 and now as red lauaan4 ,laurelwood4--,andaman ,islands1 ,east ,indies4 ,related to koko1 and one of the finest timbers of the ,east4 ,laurelwood is a highly figured wood1 gray with black stripes1 and with a wavy grain4 ,lime4--,europe4 7,also known as linden1 the ,north ,american variety is basswood47 ,a soft1 white wood1 extraordinarily well adapted for carving in high relief or in the round4 ,macassar4--,see ,ebony4 7,often1 and properly1 spelled ,makassar47 ,makassar oil1 originally produced from the sandalwood of ,makassar1 was so much used as a hair dressing in ,victorian ,england that it gave rise to the use of antimacassars or tidies1 as a protection to upholstered chair backs4 ,magnolia4--,southeast ,united ,states4 ,also species are found in ,japan1 ,china1 the ,himalayas4 ,the wood is fine-grained1 fairly hard1 white at the sap and of a pale yellowish or greenish tinge at the heart4 ,mahogany4--,a fine cabinet wood1 is noted for variety and beauty of figure or pattern of the grain of the wood4 ,widely used for veneers and lumber of extreme dimensions and freedom from defect4 ,used for traditional furniture styles such as ,chippendale1 ,hepplewhite1 ,sheraton1 and ,duncan ,phyfe1 and desirable for modern styles either in traditional or the lighter finishes4#cb ,three general types of mahogany are recognized3 ,west ,indian1 conceded to be the hardest and strongest4 ,most of this type now comes from ,cuba1 but less than #e percent of the ,american imports of mahogany are from the ,west ,indies4 ,the mainland ,tropical ,american1 which grows from southern ,mexico to ,colombia and ,venezuela and appears again on the ,upper ,amazon and its tributaries in western ,brazil and eastern ,peru4 ,somewhat milder textured than the ,west ,indian4 ,a third type comes from the ,west ,coast of ,africa4 ,this mahogany is not quite as firm textured as the ,american mahogany1 but the trees are large and many are highly figured4 ,accordingly1 the most of the mahogany veneers used in this country are ,african4 ,mahogany wood is strong and tough1 uniform in structure and close or moderately open grained1 depending upon the locality where it is grown4 ,mahogany possesses a combination of physical and woodworking characteristics that have brought it into high renown as a cabinet wood4 ,it is receptive to the finest of finishes4 ,freshly cut mahogany ranges from a light pink to yellow1 but on exposure to light and air1 quickly turns to a reddish brown or sherry color4 ,mahogany has an interlocking grain which1 on the quarter1 usually reveals a straight stripe or ribbon figure4 ,to a more limited degree some trees show broken stripe1 rope1 ripple1 mottle1 fiddleback1 and blister figures and various combinations of these figures4 ,outstanding are the crotch and swirl figures obtained from sections of the trunk immediately beneath a fork or crotch in the tree4 ,mahogany does not produce clearly defined annual growth rings common to trees of the temperate zone4 ,consequently1 the shell or leaf pattern in flat cut mahogany is due to the interlocking grain rather than to annual growth rings4 ,maidou4--,burma and ,indo-,china4 ,this tree is closely related to the amboyna1 but has a coarser figure and a darker brown color4 ,maidou burls are hard1 sound1 and valuable4 ,makore4--,africa1 ,west ,coast4 7,also known as ,african cherry47 ,a large tree1 yielding a furniture wood similar in texture and coloring to our cherry1 but frequently revealing a strong black mottle4 ,madrone4--,california and ,oregon4 7,also called ,madrona47 ,chiefly used in in the form of burl veneer1 which has a tough hard surface1 intricately veined figure1 and rose-pink color4 ,maple4--,north temperate zone4 ,there are about #aej species in the maple family1 of which #ac are native to ,north ,america4 ,the sugar maple 7also known as hard maple and rock maple7 is a magnificent tree which sometimes attains a height of #abj feet4 ,the wood is heavy1 hard and of fine grain1 as is that of the black maple4 ,in veneers the maples yield many beautiful effects1 including curly maple1 bird's-eye maple1 and the remarkable maple burls from ,oregon trees4 ,with the natural finish it is principally used for bedroom1 porch1 and kitchen furniture4 ,occasionally it is used in combination with other woods for exposed parts which are stained or painted and for interior parts where strength or rigidity are essential4 ,marblewood or ,marble-heart4--,see ,ebony4 ,movingue4--,africa1 west coast4 ,a straw-colored wood resembling ,java teak1 but more yellow in color4 ,in veneers it produces mottled wood and fine feather crotches4 ,myrtle4--,northern ,california and ,oregon4 ,a greenish-yellow wood1 which when used in veneers has the peculiarity of showing the characteristic figuration of plain1 butt1 and burl woods in a single small area4 ,chiefly used in burls4 ,narra4--,dutch ,east ,indies and the ,philippines4 ,red narra varies in color from deep red shadings to attractive rose tint4 ,yellow narra ranges through the brilliant browns to golden yellow4 ,when cut on the quarter the appearance is not unlike quartered unfigured satinwood4 ,new ,guinea ,wood4--,a recent popular importation4 ,brown to light gray with definite black lines4 ,large trees produce wide1 long veneers4 ,a highly figured wood with straight narrow stripe4 ,resembles oriental wood1 but slightly lighter4 ,usually cut on the quarter4 ,oak4--,north temperate zone4 ,of the hundreds of species of oak1 #hd are found in the ,united ,states4 ,some of the splendid forest oaks reach a height of #aej feet4 ,in the trade1 oak lumber is classified as white oak 7cut chiefly from the white1 chestnut1 post1 burr1 over-cup1 and swamp chestnut oaks71 and red oak 7cut chiefly from the red1 ,shumard red1 scarlet1 black1 and yellow oaks74 ,english brown oak is taken from certain ,english white oak trees1 the wood of which has become brown from an infection of microscopic fungus which feeds on the tannin in the wood1 leaving a brown residue which gives the wood the appearance of fine tortoise shell4 ,many of these trees were sturdy specimens hundreds of years before the ,norman conquest in the year #ajff4 ,pollard oak is the term applied by ,english cabinet makers to oak burls4 ,the veneers are choice and costly4 ,its uses are legion1 but in fine furniture it has great strength1 durability and attractive appearance4 ,oriental wood4--,queensland1 ,australia4 7,also known as ,queensland or ,australian walnut47 ,these huge trees resemble the ,australian silky oak and the ,american blue beech4 ,the wood1 which is comparatively new on the ,american market1 resembles walnut in appearance1 and the veneers1 quarter cut1 yield stripe1 fiddleback1 and mottled effects4 ,padouk4--,burma and the ,andaman ,islands4 7,also known as ,vermilion wood47 ,a beautiful wood of reddish golden color with prominent ribbon stripe4 7,see ,yomawood47 ,pearwood4--,europe and ,north ,america4 ,the fruit wood1 much used by seventeenth century furniture makers4 ,peroba4--,brazil4 ,the largest family of fine ,brazilian woods4 ,peroba ,rosa has a pink color1 somewhat resembling that of tulipwood1 while ,peroba ,blanca resembles satinwood4 ,the veneers have a fine grain and take a remarkable polish4 ,poplar4--,united ,states4 ,the cabinet wood known as yellow poplar1 whitewood1 and poplar in this country1 and as canary whitewood in ,england1 comes from a tall ,north ,american tree known as the tulip tree4 ,the wood is of fine grain1 uniform texture1 and of a color ranging from the yellowish white in the sap to yellowish green1 purplish brown1 or iridescent blue in the heart4 ,it closely resembles magnolia1 but is somewhat softer4 ,must not be confused with the rarer ,brazilian tulipwood4 ,prima ,vera4--,central ,america4 ,while not a mahogany1 prima vera is generally known as white mahogany4 ,the wood is of cream color with a greenish cast1 and resembles stripe mahogany in texture4 ,purpleheart4--,see ,amaranth4 ,redwood4--,northern ,california4 7,also known as ,sequoia47 ,chiefly used in furniture in the form of veneers cut from the huge trunk burls1 which yield sheets #e #f feet without defects4 ,the wood has a strikingly veined figure and a light brick-red color4 ,rosewood4--,brazil1 eastern ,india1 and ,madagascar4 ,brazilian rosewood1 also known as ,rio rosewood1 was formerly extensively used in making piano cases and musical instruments1 and is still sometimes known as piano-wood4 ,color varies from brownish yellow to deep red1 with black growth lines4 ,the veneer is generally cut rotary1 but also sliced on the quarter or across the heart4 ,east ,indian rosewood1 sometimes known in veneer form as malabor or ,bombay rosewood1 is one of the finest cabinet woods4 ,it varies in color from clear yellow through the reds to purple1 with dark stripes4 ,madagascar rosewood1 also known as faux rose1 is a heavy hardwood ranging from pale pink to dull red in color1 and revealing a fine pin-stripe in veneer4 ,sapele4--,west ,african coast4 ,most ,sapele logs are cut on the quarter and produce a straight stripe that in width is about halfway between the stripe of mahogany and stripe of satinwood4 ,satinwood4--,puerto ,rico1 and ,island of ,ceylon4 ,this finest of cabinet woods was obtained by the eighteenth century masters from the ,west ,indies1 but little is now to be had outside ,ceylon4 ,whether straight-grained or figured1 satinwood has an incomparable beauty and fire4 ,snakewood4--,brazil4 ,this term is applied to several woods1 of which the most striking is the handsomely mottled wood of the ,south ,american leopard tree4 ,it is used only in veneer4 ,sycamore4--,united ,states4 ,this name is applied to the native ,american plane tree1 although the term still is applied to the ancient ,egyptian and ,asia ,minor mulberry4 ,sycamore wood1 generally known in ,europe as maple1 is reddish-brown in color and when quartered is handsomely figured4 ,it has interlocked grain and is therefore difficult to split4 ,tamo4--,japan4 7,native name for the ,japanese ash47 ,veneers cut from figured logs reveal an extraordinary wavy-like figure1 and are beautiful and costly4 ,tanguile4--,philippine ,islands4 ,a ,philippine hardwood similar to red lauaan 7see ,lauaan7 and like the latter at one time marketed as ,philippine mahogany4 ,teakwood4--,region of the ,gulf of ,bengal4 ,a hardwood of extreme durability1 with white sapwood and a beautiful golden-yellow heartwood which on seasoning becomes dark brown1 mottled with still browner streaks4 ,the teak tree is native to ,india1 ,burma1 and ,thailand1 and the wood is known to have been used in ,india for more than #b1jjj years4 ,it is one of the most enduring woods1 and instances are recorded of teak beams which lasted more than #a1jjj years4 ,thuya4--,algeria1 ,africa4 7,formerly and properly spelled thuja47 ,this is the botanical name for the arbor vitae1 or tree of life1 of the cedar family4 ,in ,europe the thuya burl is considered to share with amboyna the distinction of being the finest of all woods4 ,the veneer is of reddish brown color1 with a characteristic figure remotely suggestive of the feather crotch1 and speckled with small round eyes4 ,it is used in ,europe chiefly for fine cigarette and jewel cases4 ,tigerwood4--,africa1 west coast4 7,also known as ,african or ,benin walnut47 ,an inexpensive but handsome veneer wood1 ranging from golden-yellow to dull brown in color1 with a wide and pronounced ribbon stripe4 ,the crotches are large and good4 ,tulipwood4--,brazil4 ,an extremely hard wood of pinkish-red color1 much used since the seventeenth century for marquetry4 ,vermilion wood4--,see ,padouk4 ,violet wood4--,see ,amaranth and ,kingwood4 ,walnut4--,north temperate zone of ,america and ,europe4 ,american walnut is produced commercially from ,wisconsin and ,southern ,ontario to ,kansas1 ,tennessee1 and the ,carolinas4 ,it is widely used for lumber and veneers4#cc ,its use as a cabinetwood for furniture began in the late fifteenth century and has continued from that time until the present4 ,the wood's natural color1 within its outer band of creamy sapwood1 ranges through a gamut of soft grayish browns whose deepest note is pale chocolate sometimes lightly tinged with violet4 ,dean ,s4 ,j4 ,record1 ,yale ,university says3 ,walnut is one of the finest cabinet woods in the world4 ,it has stood the test of time4 ,trace its use back through the centuries1 and it will be found a medium of expression for what successive periods have considered most beautiful and worthy in furniture design4 ,as one lover of the wood phrases it1 'from the massiveness of the ,flemish1 the elegance of the ,italian and ,french1 and the balanced beauty of the eighteenth century ,english walnut1 by its inherent qualities1 has been the one cabinet wood that fulfilled all demands4' ,this record resulted from walnut's unusual combination of physical and mechanical properties4 ,it is widely used not only for the most costly furniture1 but for the medium priced as well1 because of another important feature--its great variety of figure types4 ,these vary from the severely plain straight-quartered walnut1 commonly seen on modern furniture and architectural woodwork1 through sliced wood1 rotary1 many types of stumpwood1 to the swirls1 burls1 and highly figured crotches4 ,in addition to the ,american species1 imported varieties such as ,french1 ,english1 ,italian1 and ,circassian1 are still used occasionally4 ,however1 more than #ii percent of all ,america's needs are supplied by our own ,american walnut1 which ranks somewhat higher in strength properties than the ,european variety4 ,yomawood4--,burma and the ,andaman ,islands4 7,also known as ,burmese ,padouk47 ,this is one of the most beautiful woods1 varying in color from deep crimson through cherry red1 pink and red-brown to brown4 ,the figure is commonly of the straight ribbon type1 but some veneers show a cross figure1 a little like that of figured satinwood4 ,zebrawood4--,africa1 west coast4 7,also known as ,zebrana47 ,this highly decorative wood has been used since the early eighteenth century4 ,the trees are large1 and the veneer logs are imported in squares #d to #e feet square and #bj feet or more in length4 ,the wood is light in color1 and when cut on the quarter the veneers reveal dark stripes of extraordinary straightness1 which makes the wood a favorite for matched diamond veneers4 ,the name is derived from the resemblance of this wood to the skin of the zebra4 ,appendix ,e4--,,common ,,rug ,,terms#cd ,burling4--,an inspection treatment after weaving1 to straighten up sunken tufts1 to clip off long tufts1 and otherwise add to finished appearance of fabric4 ,chenille4--,a soft tufted or fluffy cord of cotton1 wool1 silk1 or worsted1 made by weaving four warp threads about soft filling threads1 afterward cut4 ,filling4--,threads thrown across the warp to fill up space between knots4 ,ground color4--,the prevailing color against which other colors create the motif or design4 ,jaspe4--,broad irregular stripes of two shades1 usually a lighter and darker shade of the same color1 used either as an effect in plain goods or as a ground frame 7sometimes in top colors as well7 of figured goods4 ,it is produced by dipping a skein of yarn twice in the dye1 first the entire skein in the lighter shade and then a portion of it in the darker shade4 ,various types of fine or broad jaspes are obtained by the twist given the yarn4 ,from the ,french word meaning marbled4 ,linoleum3 ,a two-toned pattern resembling marble4 ,jute4--,fiber from inner bark of jute plant1 used as base for cheaper rugs4 ,pick4--,the weft thread shuttled through the fabric crosswise of the loom between the warp threads4 ,the weft serves to tie in the yarn that forms the surface tufts or loops4 ,the number of picks per inch is indicative of the closeness of the weave2 for example1 a high class ,wilton has about #ac picks per inch4 ,in the ,axminster weaves1 the word row means the same as pick4 7,see ,wires47 ,pile4--,projecting fibers or tufts on surface of rug2 the nap4 ,pile weaving4--,in which there are two warps one with the weft forming the base and the other1 formed into loops over wires1 making the pile4 ,in ,brussels1 the wire is pulled out leaving the loop intact4 ,in ,wiltons1 there is a knife at the end of each wire which cuts the yarn as the wire is drawn out1 making each loop a tuft4 ,the pile is closer on ,wiltons than on ,brussels1 as #ac wires are used to the inch1 #h being customary on ,brussels4 ,pitch4--,indicative of closeness of weave1 considered in connection with pick or rows4 ,pitch means the number of warp threads per inch measured crosswise of the loom4 ,the warp threads run lengthwise of the fabric and interlock to bind in the weft1 thus fastening the surface yarn4 ,the closer together the warp threads the finer the weave2 for example1 good ,wilton rugs are #bef pitch1 meaning that there are #bef warp threads to each #bg inches of width of carpet1 or #a1jbd in a #i by #ab rug4 ,quarter4--,unit of loom width1 #i inches1 or of a yard4 ,the standard carpet width is 1 or #c times #i equals #bg inches4 ,yard-wide carpet is known as _/2 #i feet wide as _/2 #ae feet wide as _/1 etc4 ,shot4--,the number of weft threads 7see pick7 considered in reference to the tufts or loops of surface yarn4 ,two-shot means that there is one weft thread between each row of pile tufts4 ,three-shot means three weft threads to each row of tufts1 one on the back and one on each side4 ,three-shot1 requiring more material and more loom motion1 adds to the cost1 but increases durability4 ,staple4--,the general fibers of wool or cotton1 considered as an index of quality2 for example1 a single fiber judged by itself as to length1 thickness1 and resiliency denotes the quality of the batch4 ,stuffers4--,coarse yarn 7usually jute7 running lengthwise of the fabric that is caught by the weft and warp and bound into the fabric to form a thick1 stiff1 protective backing4 ,top colors4--,colors forming the design1 as distinguished from the ground color4 ,tuft4--,a bunch of flexible fibers like hairs1 united at the base4 ,fine ,wiltons contain #ah1jjj tufts to the square foot4 ,warp4--,threads running the long way of rug1 between which the weft1 or woof 7cross threads7 are woven4 ,weft4--,threads running the short way of the rug4 ,wires4--,metal rods inserted between warp at same time weft is inserted1 crosswise of loom4 ,when withdrawn1 resulting loops compose the pile4 ,number of wires is also used as index of quality4 ,woof4--,same as weft4 ,worsted4--,selected wool yarn made from long fibers1 combed parallel and twisted hard4 ,three pounds of raw wool provide one of worsted4 ,appendix ,f4--,,an ,,advertising ,,check ,,list ,this advertising check list was worked out by the ,chicago ,tribune for appraising the effectiveness of retail advertising4 ,copy which gets #gj points or better has proved to be satisfactory4 ,sample checking of your advertisements against this table occasionally is suggested4 ,rating #a4 ,does the headline contain news value8 #ae #b4 ,is there a promise to the reader's self-interest8 #ae #c4 ,is there an appeal for direct action8 #aj #d4 ,is the advertisement of proper size for the importance of the offer and for its most favorable presentation8 #aj #e4 ,is the advertiser's signature clearly displayed8 #e #f4 ,is the merchandise or service mentioned in the headline8 #c #g4 ,does the headline include the name of the firm8 #b #h4 ,does the illustration show the merchandise or service in use8 #e #i4 ,does the illustration invite the reader to project himself into it pleasantly1 profitably1 or favorably8 #c #aj4 ,does the lay-out locate elements logically and eye-invitingly8 #e #aa4 ,is the lay-out exciting or attention compelling8 #c #ab4 ,does the copy tell what is new1 different1 or better about the merchandise or service1 especially from the style angle8 #c #ac4 ,does the copy inspire enthusiasm for the merchandise or service8 #c #ad4 ,does the copy have a definite ring of truth and sincerity8 #e #ae4 ,does the copy tell the merchandise or service is priced to save money8 #b #af4 ,does the copy tell that the product is guaranteed1 lasting1 and gives good service8 #c #ag4 ,does the copy develop and appeal to price8 #b #ah4 ,does the copy or illustration imply the merchandise increases sex appeal8 #c #ai4 ,does the copy tell why the merchandise is so priced8 #a #bj4 ,does the copy tell of the seasonal appeal of the merchandise8 #a #ba4 ,does the copy describe the merchandise or service with reasonable completeness8 #b #bb4 ,does the copy indicate a personal loss for not buying or using the product8 #a #bc4 ,are all negative thoughts connected with the product eliminated from the copy8 #b #bd4 ,does the copy indicate enthusiasm of users1 such as testimonials8 #b #be4 ,does the copy bring out superiorities of the merchandise or service over competitive products8 #a #bf4 ,is the urge to action repeated three times--in the heading1 in first paragraph1 and in closing8 #e #bg4 ,is the price displayed so it will command sufficient attention8 #c #bh4 ,is there a free deal1 free offer1 free trial1 or something free included8 #c #bi4 ,have all details to facilitate action been included8 7,phone number1 order blank1 store hours1 mention of air conditioning1 parking1 etc47 #b ,appendix ,g4--,,fivefold ,,selling ,,plan ,,for ,,floor ,,coverings#ce ,one furniture store has enjoyed a record of sales increases every month but one for the last #b years in the floor coverings department4 ,this is attributed to a fivefold merchandising approach based upon style and value4 ,during the entire year1 other than at special sales periods this company promotes oriental reproductions1 finer broadloom 7tone on tone7 carpeting1 washed carpet1 inlaid linoleum 7yard goods71 always accenting ,style and the necessity of fine floor coverings in relation to fine home furnishings4 ,during the so-called sale periods of the year1 the store features ,room-wide floor coverings1 ,bound broadloom remnant rugs1 low-priced #i by #ab ,axminsters1 and1 in ,february and ,august1 oriental reproductions at reduced prices4 ,the store theme is1 ,value in every advertisement4 ,customers are always sold the advertised merchandise1 and full stocks make it unnecessary to say--,madam1 we are sold out4 ,these two things build customer confidence in the store's publicity and in the store itself4 ,here are the fundamentals of the ,fivefold ,plan3 #a4 ,advertising4--,based on #e percent of the departmental volume1 the floor covering department is represented in the newspaper #eb weeks of the year4 ,constant promotion insures results4 #b4 ,window display4--,a window is assigned to the department every week wherein may be found the advertised merchandise1 or new and highly styled floor covering innovations4 ,a ,window ,every ,week4 #c4 ,inner-store displays4--,the theme is ,fine floor coverings are a necessity in the home of today4 ,every one of the model rooms features as an integral part of the furnishings a fine rug4 ,the same holds true in the ,smaller home groupings4 ,these rugs are not placed on the floor and forgotten4 ,the furniture salesmen call attention to them daily4 ,the carpet salesmen from time to time make use of these groupings as selling aids4 #d4 ,trained salespersons4--,new merchandise is sold first to the salespersons4 ,they are taught also that truth is the most powerful selling argument4 #e4 ,service4--,the customer is not sold to be forgotten4 ,this company keeps in constant touch with the customer after the sale is made1 both to foster business and to keep her satisfied4 ,appendix ,h4--,,color ,,and ,,style ,,in ,,modern ,,advertising ,,copy8 ,for months we have been interested in checking home-furnishings advertising copy in daily papers4 ,this easily may become more than an absorbing pastime4 ,as this is written1 there is before us copy of a double-page spread by a well-known company which sells home furnishings4 ,the copy fairly shouts color1 tapestries1 and period styles4 ,even brief study of the copy will show how many and varied are the offerings to meet ever-increasing competitive demands for something new4 ,this one piece of copy--typical of many appearing in the daily papers--should convince any home-furnishings salesman that he must be a constant student if he is to appear at his best as an interpreter of color and style to his customers4 ,look at this parade of #ai different colors1 both plain and pebbly twist1 in carpets in #i-1 #ab-1 and #ae-;foot widths4 ,plain colors ,reseda green4 ,beaver taupe4 ,royal blue4 ,heather-mist4 ,cherry red4 ,normandie rose4 ,horizon blue4 ,french peach4 ,burgundy4 ,maple tan4 ,henna wine4 ,roseglow4 ,dubonnet4 ,french grey4 ,pebbly textured colors ,burgundy4 ,reseda4 ,maple tan4 ,roseglow4 ,royal blue4 ,tango rust4 ,jade green4 ,french peach4 ,platinum beige4 ,burnt copper4 ,deer-tone4 ,dubonnet4 ,oriental rugs in exquisite blending of colors and native originality in design are offered in ,india1 ,teheran1 ,garevan1 ,kirman1 ,bidjar1 and ,ardebil weaves4 7,see footnote #e1 p4 #afj1 unit ,,viii47 ,for the dining room there are ,sheraton-,hepplewhite groups of genuine mahogany construction rubbed and then waxed to its deep rich red color4 ,choice is offered of pedestal dining table1 or one of the leg type2 also choice of the famous ,hepplewhite shield back or ,sheraton model chairs4 ,other offerings include an ,adam group in genuine ,honduras mahogany with beautifully figured swirl mahogany veneers1 delicately carved2 an ,english ,chippendale group2 an ,early ,american group of solid rock maple construction4 ,separate pieces for the apartment dining room from which one may create his own ensemble include offerings of a-- ,sheraton extension console--genuine ,honduras mahogany construction inlaid with satinwood4 ,duncan ,phyfe side chair of lyre back design4 ,colonial corner cabinet--genuine ,honduras mahogany4 ,sheraton drop-leaf table of the pedestal type4 ,for the living room are offered upholstered pieces--sofas1 wing chairs1 easy chairs1 open armchairs1 'tailored' in effective coverings2 but which may be purchased in muslin and tailored in fabrics of your own selection4 ,look at these noteworthy dependable furniture friends3 ,chippendale wing chair with handsomely carved cabriole legs2 ball and claw feet4 ,tapestry tailoring4 ,fireside wing chair4--,colonial ,chippendale design2 ball and claw feet of solid mahogany4 ,tailored in tapestry4 ,english easy chair4--,exposed frame solid mahogany covered in a combination of tapestry and velvet4 ,english club chair4--,seat cushions filled with genuine down4 ,tailored in damask4 ,english ,chippendale sofa4--,tailored in damask4 ,eighteenth century easy chair4--,tailored in frieze4 ,barrel-back chair of ,english design4--,tailored in brocatelle4 ,the occasional pieces include3 ,secretary ,desk in three designs--,american ,hepplewhite1 ,colonial ,sheraton1 and ,early ,colonial4 ,cocktail table4--,hepplewhite design--hand-tooled leather top4 ,cocktail table4--,chippendale period--swirl figured veneer top4 ,tier table after the colonial period--each of the tops is square in shape making an ideal lamp table for the chair side4 ,knee-hole desk4--,eighteenth century ,english4 ,kidney desk4--,finished in the old colonial red tone4 ,nest of tables4--,sheraton in design--master table has hand-tooled leather top4 ,book shelf4--,early colonial in design1 genuine ,honduras mahogany4 ,for the bedroom are many new interpretations of old periods in interesting color finishes and a variety of woods1 including an offering of-- ,american ,hepplewhite finished in the new silver green known as silver-mint4 ,american ,sheraton4--,honduras mahogany inlaid with satinwood4 ,english ,sheraton4--,inlays of marquetry4 ,chippendale group following the ,chinese influence4 ,modern figured oak4--,blond color--trimmed with silver hardware--hanging mirrors of crystal type4 ,chinese ,chippendale group4--,genuine ,amazon mahogany with crotch mahogany panels4 ,early ,american4--,solid maple finished in the traditional tone4 ,french ,provincial4--,solid maple1 finished in lovely pine color1 each piece effectively proportioned--twin beds of the footless type with upholstered headboards1 covered in chintz4 ,appendix ,i4--,,check ,,list ,,for ,,planning ,a ,,store-,,wide ,,promotion 7,courtesy the ,national ,retail ,furniture ,association1 ,chicago1 ,ill47 #a4 ,opening date2 closing date4 7,,note4--,the most successful store-wide promotions run #aj days4 ,two weeks should be the limit4 ,make your plan at least a month ahead4 ,be all set at least a week in advance47 #b4 ,name4 7,this should include at least a hint of the reason why you are holding this sale47 #c4 ,merchandise to be featured4 7,see that a good percentage of this is new merchandise1 items that you have never run before4 ,store-wide events based entirely on old merchandise are never as successful as they should be47 #d4 ,total advertising expenditure for event3 a4 ,newspapers4 b4 ,direct-mail4 c4 ,radio4 d4 ,window and store displays4 #e4 ,advertising expenditure by days4 7,start your sale off with a bang and end it with a grand finale4 ,the middle will take care of itself47 #f4 ,presale or old-customer courtesy days3 a4 ,the dates4 b4 ,form of announcing them to customers 7letter1 folder1 phone calls1 etc474 c4 ,special terms1 premiums or other inducements to old customers who purchase on these dates4 7,,note4--,sale or no sale1 most of your business comes from old customers4 ,see that they get special attention in any store-wide event47 #g4 ,window displays3 a4 ,merchandise to be featured4 b4 ,window streamers4 c4 ,price and description signs4 #h4 ,interior and other displays3 a4 ,aisle banners1 post hangers1 elevator signs1 cashier and credit department signs4 b4 ,general floor arrangement and special merchandise displays4 c4 ,buttons or other special identification insignia for salesmen4 d4 ,truck banners4 #i4 ,price tags4 ,for any store-wide event1 your merchandise should carry special price tags--not the ones you ordinarily use4 #aj4 ,quotas3 a4 ,by departments4 b4 ,by salesmen4 #aa4 ,meetings3 a4 ,special meeting for all employees4 b4 ,meeting for sales employees only4 c4 ,meeting for credit employees only4 #ab4 ,special employee remuneration3 a4 ,store-wide sales contest1 selling and non-selling help4 b4 ,contest for salesmen only4 c4 ,special spiffs on particular pieces of merchandise which you wish to push4 7,,note4--,it is not recommended that every store-wide promotion embrace every one of these points1 although this is possible4 ,you should1 however1 consider all these possibilities in planning your store-wide sale47 ,appendix ,j4--,,ready ,,reference ,,index ,accessories1 #acf1 #ade1 #aia1 #aih1 #bae1 #bbg1 #bcb ,adam furniture and decoration1 #eh1 #ff1 #fg1 #gb ,adjoining rooms1 relationships among1 #aga ,advertising1 #c1 #g1 #aif1 #bfe1 #bff1 #bfg ,all-over carpeting1 #aga1 #aha ,aluminum1 #gc ,american styles1 #gj1 #afe ,analogous color harmonies1 #aca1 #acd ,animal fibers1 #aec ,antique3 ,furniture1 #fj1 #gc1 #afa ,rugs1 #afj1 #afa ,apartment living room1 #bfg ,architectural factors in selling furniture1 #aca1 #acc ,argument1 folly of1 #gh ,armures1 #aeg1 #afh ,axminster carpetings1 #ga1 #aeg1 #afj1 #afd1 #bca ,balance in room arrangement1 #adb1 #adg ,basket weave1 #afg1 #afh ,beauty3 ,nature of1 #aca ,relation to price1 #acb ,bedding1 #ajg1 #ajh1 #bje ,bedroom3 ,children's bedrooms1 #bjh ,decorative processes1 #fa1 #bjf1 #bcg ,draperies1 #bjg ,floor coverings1 #agb1 #bjg ,relaxation room1 #bje ,sales of merchandise for1 #gf1 #bje1 #bjh1 #baj ,wall treatments1 #bjf ,bedsprings1 #aai1 #bjh ,blond woods1 #ajj ,body ,brussels carpetings1 #aed1 #afd ,book rack1 use of hanging1 #eh1 #bba ,brackets1 #ff ,breakfast nook1 #bag1 #bba ,breakfast room1 #ajj1 #bag1 #bah ,broadloom carpetings1 #afe1 #afh1 #bff ,brocades and brocatelles1 #ed1 #fj1 #aef1 #aeg ,buffets1 #ed1 #aif1 #bce ,bureaus1 #ea1 #id ,burls1 #ia1 #bee ,buying habits1 #c1 #bd1 #ce1 #cf1 #ch1 #db1 #hc1 #hd1 #aif1 #baj ,cabinets1 #ej1 #ef1 #fc1 #fi1 #ahi1 #aij1 #aic1 #aif ,cabriole leg1 #da1 #fi ,calcimine colors1 #ahj1 #ahg ,call trade1 #e1 #h ,carolean style1 #gj ,carpetings1 #aec1 #aee1 #afj1 #afb1 #agj1 #agd ,case goods1 #ea1 #id1 #baj ,cedar chest1 #ahg ,cellulose plastics1 #bci ,center of interest1 #ada1 #ahd ,chairs1 #ea1 #ee1 #fd1 #ib1 #id1 #aib1 #aid1 #bca1 #bcg ,chaise lounge1 #ee1 #eh1 #bje ,charles ,i1 ,,ii furniture1 #fa ,check-up1 the daily1 #aj ,chenille carpetings1 #aed1 #afj1 #afb1 #bfc ,chests1 #ea1 #eb1 #ed1 #ahi1 #aij1 #bjh1 #bji1 #bci ,chiffonier1 #eh ,china shelves1 #ff1 #aif ,chinese1 influence in decoration1 #fc1 #ff1 #bcb1 #bce ,chintzes1 #fd1 #aeg1 #aeh ,chippendale furniture1 #af1 #fd1 #fe1 #ff1 #gb1 #gf1 #bfg1 #bfh ,chromatic circle1 #aci ,chromium1 #gc1 #ig1 #bai1 #bcf ,clocks1 #ef1 #fc1 #aij1 #bce1 #bcf ,cocktail tables1 #aeg ,coils1 #aab1 #aac1 #aad1 #aae ,coir1 #aec1 #aee ,colonial furniture1 #gj1 #gb1 #aic1 #bcg1 #bfg ,color3 ,chart of color combinations1 #ace1 #adf ,definitions1 #acd1 #acf1 #bbg ,emotional effects of1 #acc1 #acd1 #acf1 #ade1 #bah ,management1 #ace1 #acf1 #aci1 #adj1 #bce ,means for larger sales1 #bfg ,names and families1 #acd1 #ace ,sales talk based on1 #acc1 #acf ,color schemes3 ,general1 #acc1 #acf1 #aci1 #aga ,bedroom1 #aga1 #bjf ,breakfast room1 #ajj1 #bah ,connecting rooms1 #aie ,dining room1 #aij1 #aia ,hall1 #aga1 #ahf ,kitchen1 #bai ,living room1 #aga1 #ahj1 #ahe1 #bca ,sunroom1 #ajj1 #aga ,commodes1 #cf1 #bce ,competition3 ,factor in selling1 #cf1 #aig ,forms of1 #aif ,complementary colors1 #acd1 #ace1 #acf1 #agf ,confidence3 ,destroyed by unproved assertions1 #cc ,winning the buyer's1 #cd1 #dj1 #aig1 #bbb ,console tables1 #ed1 #fg1 #adc1 #ahi1 #bcg ,construction3 ,hidden values1 #cj1 #ic1 #if ,methods in floor coverings1 #afb-aff ,methods in furniture1 #ie1 #bad ,order of in sales presentation1 #ca1 #hd1 #bad ,women's attitude toward1 #di1 #hd1 #aig1 #bdj ,consumer education3 ,wide spread1 c1 #e1 #aj1 #cg1 #gd1 #ajg ,problems increasing1 #e1 #aig ,service to1 #e1 #ic1 #abc1 #aih1 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