The old-fashioned way of lighting such a room was from fixtures only, with transparent glass bulbs pointing down. The fixtures were usually combination gas and electricity, and the location an inheritance from the gas-only period. This style of installation is not only wasteful but dangerous. The glowing electric filaments burn the eyes terribly by contrast with the prevailing dark surfaces, and have ruined the vision of thousands. In this respect the old-fashioned open-flame gas-burner was far better. It does flicker, and it does vitiate and heat the air, but the broad, yellowish flame is almost as agreeable to the eye as that of the kerosene lamp.

Frosted bulbs are one of the most blessed inventions of the age. They absorb 10 or 15 per cent of the light, but increase the amount of effective illumination. With 85 per cent of the light, the eye can see better than it could with 100 per cent. For the burning of the eye by the filament closes the pupil and makes it inefficient Frosting also tones the light slightly toward the cream. Frosted bulbs, especially round ones, large for their power, are among the most efficient distributors of agreeable illumination. By them the quality of tungstens and tantalums is much improved and the ultra-whiteness softened. Many architects now recommend brackets only for the main living-rooms and chambers. Some of them seem to be inspired by animosity toward the word "chandelier," while others object to any kind of ceiling light except cove lighting or other forms of the so-called indirect lighting, which are wasteful as well as "bad" art. Light is the most beautiful thing in the world. It is not only beautiful in itself, but upon it depends the beauty of all beautiful objects. Without light, they might as well be nonexistent. Carefully to conceal light sources is deliberately to abandon the greatest decorative possibilities. The work of the illuminating artist is to place and so shade the lights correctly that they glow with gentle, grateful radiance. A room 20 x 22 and 9 feet 6 inches high can be lighted perfectly well with brackets only (one two-light and four one-light ones), provided the color scheme of the room is light and surfaces and textures plain and simple. But if there are rich and heavy upholsteries and draperies, and dark woodwork and furniture, and brocade-paneled walls with compartment ceiling, the number of bracket lights should be doubled, and four or five lights at the ceiling will also be advisable.

Reverting to the matter of underwiring, there recently came to the writer's notice an instance wherein a lighting-fixture salesman, in default of blue-prints or wiring plans, had distributed brackets and fixtures and lights among the outlets according to his best judgment, the result being a house by no means overlighted. Unfortunately, the electrician had been given the wiring contract for a lump sum and without definite specifications - just a general understanding to do a satisfactory job. Only after the fixtures were up was it discovered that the circuits were overloaded, i.e., had to carry more 16-candle-power bulbs (or their equivalent) than is allowed by the regulations of the National Board of Fire Underwriters. Consequently, several two-light brackets had to be replaced by one-light brackets, a sixty-watt tungsten substituted for three regular pear lamps on the dining-room dome, and one ceiling fixture omitted altogether. The only alternative was rewiring, at a cost three times that of the original wiring. Of course, the fixture salesman should have insisted on plans showing the arrangement of outlets on circuit, and the man who did the hanging should have reported the situation before making the installation. But they didn't, and the electrician, not being financially responsible, the final outcome was a poorly lighted house and a considerable loss to the firm who sold the fixtures. If the lighting had been planned first, and the blueprints marked with outlets, and lights to outlet given to the electrician as part of his specifications, this would not have happened.

I cannot sufficiently emphasize the difference that exists between the simple rooms in light colors and the elaborate rooms in dark colors. The latter take from two to five times as much light, without being satisfactorily illuminated. With gas there is much more reason for avoiding fixtures than with electricity. The electric bulbs can turn up or down or at any angle, making it easy to control the field of distribution, but gas open-flames point up only, and must be kept far from the ceiling lest they burn or smoke it. For a long time electric fixtures copied the awkwardness necessary to open-flame gas installation, and, of course, combination gas and electric fixtures are still obliged to do so. Only recently did there seem to come understanding of the completeness of the release from cramping conditions. Now we point our electric fixture lights up or down or at any angle, and locate the lights in the ceiling or close to it, or eighteen inches below it, or wherever else the best and most agreeable distribution can be obtained.

The open-flame gas fixture is an ugly thing that casts ugly shadows below, and the mantle flames, pointed either up or down are not much better. But a single mantle flame, high in a small light room, with abundant ceiling and wall reflection, is the extreme of economy and effectiveness. Groups of mantle flames on a single fixture destroy the attractiveness of a room, and burn the eye quite as badly, though differently, as the clear glass electric bulb. Mantle flames are best and most effective, as well as least ugly, in a large room when installed on brackets extending far enough from the wall to give good wall reflection. Two of them are sufficient to light a room 12 x 22. This is the cheapest illumination known in cities where the price of gas is reasonable and the gas is of fair quality.

Of fixtures and brackets the shades are a most important part. While frosted, round, and pear, and cone bulbs can be used uncovered, the desire, founded on reason, to increase the area while decreasing the intensity of the luminous surface makes the use of crystal, iridescent, or opalescent glass shades common. The crystal shades of better quality are ground and ribbed, ground and cut, or plain ground (roughed or frosted or sandblasted). They come in the most various shapes and sizes, from narrow to wide, making it possible to secure any desired distribution, and the majority of them are planned to cover the regular 16-candle-power incandescent bulb. The light of this being slightly orange, is very agreeable when sifted through the frosted shade. The incandescent shades are extremely interesting, with their mysterious tones and rainbow tints, but only the light ones are satisfactory from the illumination point of view. The dark ones absorb too much light. Particularly interesting and fairly economical of light are the pearl and crystal iridescents. Leaded shades are satisfactory on fixtures and brackets in the luminous tones only - the golden yellows and soft browns and pale greens. Silk shades are comparatively opaque, but very beautiful, especially to direct the light down from upward-pointing candle lights. Of course, they are lined with white cambric to increase the reflection. Beautiful beyond description are the carved alabaster bowls imported from Italy. They glow with a milky light that brings out the beauty of the carving sufficiently, but not too much. The designs are classic, and they demand a classic environment. The glass imitations of alabaster are surprisingly good and far less expensive. Alabaster bowls and lanterns of various styles and materials are especially suitable for entrance halls, where brilliant illumination is not desired. The material of which most fixtures are made is brass, which is very obedient in the foundry, or on the lathe, or under the hammer, or in the press. It also takes numerous finishes easily, and holds them well when they are well applied. But the finish of very cheap fixtures is fleeting and looks more stained and spotted after six months than it should after six years. The metal work of very cheap fixtures also lacks durability, being so thin and weak that slight knocks and injuries injure it beyond repair. The finest fixtures are made of bronze, that might be described as a "sublimated kind of brass." It costs much more and is more difficult to cast and work, but is vastly harder and more durable, interpreting the most delicate outlines definitely, and deserves the reputation in the arts it acquired thousands of years ago. At the Metropolitan Museum of Art, New York, the bronze statuettes and other objects from Roman and pre-Roman days are a permanent testimony to its durability.

Once polished brass and bright gilt appealed to the multitude; now even they accept dull brass and dull gilt. But there are other finishes, like antique brass and yellow bronze and Pom-peian, that should be more generally ordered. The antique brass finish is particularly good on the hand-hammered brass fixtures and brackets for Mission and rustic rooms. Pompeian (vert antique) is above all a finish for porches and out-of-door pieces, and for pieces in the classic styles (being reproduced from the ancient bronzes that during the ages turned a white and flecked green of delightful texture). Yellow bronze is much warmer than dull brass, and better for living-rooms and rooms fairly rich in color. Gold and silver, which increases the cost by 20 Per cent. are suitable only for more expensive fixtures.

Fixtures that deserve to be put in a class by themselves on account of their great beauty are those in carved wood or compo, principally in the Gothic and Italian Renaissance styles and styles derived from them. The finishes are antique gold, antique silver, and antique oak, often with polychrome, and the effects are large and noble without the ponderosity of metal. Compo fixtures are at least a third cheaper than carved wood, and do not split like wood when subjected to moisture. But they do check and chip, slightly, which, with reasonable care, does not injure them - rather accentuating the antique character with which they are born. Fixtures in similar models that will not check or chip are those in the so-called armor bronze, which is copper-plated compo.

Among attractive novelty fixtures are those with ground and slightly tinted glass shades, enameled in color. These are suitable for dining-rooms and Mission rooms and unconventional rooms generally. They give a very soft and agreeable light, and have a distinct decorative character of their own. Another feature is, they are not at all expensive.