Page 212

MODERN ALADDIN LAMPS
themselves. They put on the market what
they believe the public is most likely to buy,
and so long as the public continues to buy
furniture which is poorly designed and
badly put together, just so long will the ma-
jority of merchants continue to make it.
WASHSTAND IN "ENGLISH COTTAGE FURNITURE."
But when people come to see the futility of
filling their houses with objects which bring
them no lasting satisfaction and instead seek
and insist upon getting those things which
stand for real comfort and beauty, then the
manufacturers will cease to offer shoddy
wares and strive to meet the new and higher
demand. Then we may hope that common
sense will take the place of fashion, and
thoroughness and beauty be prized above
the doubtful merits of a "novelty" or an
(,antique."
  To achieve such vital changes in our at-
titude toward these things will no doubt
take some time. It is no easy matter to dis-
card old habits, to root out old prejudices.
-and above all to think for ourselves instead
of accepting the opinions and preferences
of others. And besides, it is not enough for
us to adopt simple furnishings just because
they seem to be coming into vogue. That
would only be another form of imitation, of
thoughtlessness. It is when we arrive at
such conclusions by our own initiative, when
we really care about making for ourselves
the right surroundings, when we really pre-
fer simplicity to ornateness and quality of
workmanship to resplendence of varnish,
when the designs embody our own inherent
convictions of what is fitting and beautiful
-it is only then that we shall have achieved
permanent progress.
212
MODERN ALADDIN LAMPS
IT is almost impossible to see an Ori-
    ental lamp, especially a Persian one,
    without thinking of Aladdin and the
    wonders he produced by cherishing.
one of these lamps. A Persian lamp con-
jures a visionary Aladdin as certainly as
this beloved hero in times past by gently
rubbing a small lamp conjured the Genii
who gave him everything he wished for as
fast as he could think of anything else to
wish!
  A sense of opulence hovers around all
things Oriental, and a bit of brass or sil-
ver hammered in painstaking fashion by
some modern wizard of Syria, set upon
our mantels or tables seems to enrich the
whole room.
  These lamps carry great individuality
-they cannot be said to "fit in" with the
furnishings of our homes, blending un-
obtrusively with our surroundings. But
their presence enriches the whole room,
adds a tone not jarringly barbaric, but
richly luxurious.
  When a Persian lamp is lighted in Amer-
ican halls we almost expect it to give forth
aromatic perfume-the exotic color of it
seems to promise rich odors as well.
  America is now importing Persian, Sy-
rian, Japanese, Chinese lamps of exquisite
workmanship that we may have a glow-
ing note of splendor in our homes and at
a remarkably low cost.
  Lamps from Damascus come "knocked
down," as it were, and are assembled in
this country. So these lamps, rich in en-
graved and openwork designs, the patient
work of brown men who have handled the
graver's tool from time immemorial, com-
bine the art of the Orient with the prac-
ticality of the Occident. They are put to-
gether by our experienced metal workers
so they are substantial, reliable, will not
come apart, and will hold an American
burner and wick.
  For instance, take one of the adjustable
piano lamps. It is unmistakably of Da-
mascus,-the simitarlike shape of it, t'he
perforated design, the rich color of the
silk showing through, bringing out the pat-
tern, the bead fringe. But the clever way
it is mounted so that it can be bent up-
ward if placed on the side of the keyboard
so that the full rays may fall upon the
music, or bent downward if placed on top
of the piano, or sideways, so it can be