Antelope, the Gobi, 219.
 Army, the Chinese, 75, 117.
 Atchinsk, 561; its cheerful look, 562; the blacksmiths’ quarter, 563.
 Atkinson, the English traveller, 369.
 Axle, a broken, 558.

 “Babington’s Curse,” 204.
 Baikal, Lake, 362; the Holy Sea, 366; hurricanes, 368; steam
   communication, 370.
 Bain-Gol Pass, the, 301.
 Balanskaya; the axle on fire, 551.
 Bandits, Siberian, 459 to 463; 484 to 486.
 Barge, a Prison, 614.
 Batouyeff, M., 145.
 Beetles, edible, 168, 203.
 Beggars, Chinese, 52, 53.
 “Bell with the ear torn off,” the, at Tobolsk, 606.
 Bell of Moscow, the Great, 640.
 Bell, John, the English traveller, 2, 368.
 Berries, Siberian, as food, 497.
 Biriousinsk, discovery of gold near, 540.
 Black Nihilists, 363, 404.
 Bogdanovitch, M., his collection in the Irkoutsk Museum, 426.
 Bogotolsk, the boundary between Eastern and Western Siberia, 564.
 Bokovskaya, post-station, 477.
 Bolshoi-Kosoul, the boundary between Eastern and Western Siberia, 564.
 Boris Godorinoff, the Czar, 606; the iron exile, 608.
 Botolskaya, post-station, 552.
 Boundary between Inner and Outer Mongolia, 217; between Eastern and
   Western Siberia, 564; between Europe and Asia, 618.
 Bouriattes, the, 442; their civilization, religion and language, 443;
   conquered by the Cossacks, 603.
 Bread, Siberian, 509.
 Breakfast in Siberia, a, 349.
 Brick tea, 151, 191, 298, 635; see Tea.
 “Brousniki,” a kind of bilberry, 498, 594.
 Burroughe’s Straits, in the Frozen Ocean, 465.

 “Cage,” the Chinese punishment of the, 49.
 Cairo, 9.
 “Called Back,” Siberia as described in, 387, 491.
 Camel, the Mongolian, 23, 221, 223, 250, 301.
 Canal, a leviathan, 464; M. Siberakoff, 465; the railway as a rival,
   466.
 “Cangue,” the, a Chinese punishment, 49.
 Caviare, fresh, 575.
 Chaman religion, the, 429, 440, 444.
 Champagne in Siberia, sweet, 414.
 Chang-Chia-Kow, see Kalgan.
 Chefoo, a Chinese watering-place, 25.
 Cherkoff, Captain, of the Cossacks, 335.
 Chiarini’s travelling circus at Tientsin, 31.
 China, 1; a tea-garden, 20; fortune-telling, 22; salt-mills, 27;
   coal-mines, 28, 141; life on a house-boat, 31 to 40; population, 38;
   an execution, 47; punishments, 49; beggars, 52; roads, 64, 93, 120;
   examinations, 74; the army, 75, 117; a funeral, 78; the women, 80;
   pigtails, 81; coinage, 82; intoxication, 83; food, 84; gambling, 84;
   cricket fighting, 85; a doctor, 85; a medical prescription, 86;
   porcelain, 86; the Emperor, 88; the Queen Regent, 89; the Great
   Audience Question, 91; the Imperial harem, 92; a railway, 95; the
   Great Wall, 110, 126, 144, 148, 169; a mule litter, 115; an inn, 121;
   a stove-bed, 122; irrigation, 125; an open-air theatre, 127; poppies,
   140; religions, 159; see Pekin, Shanghai.
 Ching-Ming-Ting, 140.
 “Chow” dogs, 84.
 Chukchee tribe, the, 434.
 Chulim River, the, Siberakoff’s waterway, 465.
 Cigarettes, Russian, 598.
 Circus, a travelling, 31.
 Clocks, sham, in Siberia, 477.
 Coal-mines, Chinese, 28, 141.
 Coinage, Chinese, 82.
 Confucius, the temple of, at Maimachin, 296.
 “Conversation Sibérienne,” 594.
 Convicts in Siberia, 363; political prisoners worse off than criminals,
   364, 406, 408, 448, 449, 556; a convict barge, 371, 614 to 616;
   criminals from all parts, 372; a forger, 373; prison songs, 374, 532;
   a remarkable story, 379; a dangerous character, 380; a Polish exile,
   401, 553; fixing dates of past events, 402; letters for Europe, 403;
   the English idea of Siberia, 404, 406; the mines, 404, 405, 412, 454,
   540; a convoy, 406, 408, 411, 452, 532, 559; prisons, 363, 409, 447,
   449, 488, 491, 492; no chance of escape, 410, 489; well treated, 411;
   food, 412, 447; costume, 412; punishment, 413; a dreaded spot, 436,
   609; comparative liberty, 448; female exiles, 450, 452, 453, 532,
   559, 560, 592; pioneers and colonizers, 451; “exile by administrative
   process,” 453; runaway convicts, 459 to 462, 480, 485, 507, 511, 517;
   _Katorgi_, 480; a prisoner’s wife, 534, 536, 539; a sad story, 536 to
   539.
 Cossacks, the, 130, 263, 264, 346, 407, 424, 428, 532.
 Courier, a Russian Government, 130, 362.
 Cricket-match in Shanghai, a, 15.
 Cricket-fighting, 84.
 Custom House, a Siberian, 375.
 Czar, a courier of the, 130.

 Da-Hun-Go, 179.
 Death Lamas, 292.
 De Staal, M., 3.
 Dickens, the works of Charles, 157.
 Dimitri, Prince, 606, 608, 641.
 Dinner party in Siberia, a, 335, 337, 399.
 Doctor, a Chinese, 85.
 Dogs, edible, 84; Mongolian, 206; wild dogs of Kamchatka, 433; Ostiak,
   586.
 Dombrowski, M., a Polish exile, 553.
 “Droshki,” a, 416, 577.

 Eclipse of the sun, an, 422.
 Eggs, stale, 414.
 Ekaterinburg, 619; minerals, 620.
 Evening party in Siberia, an, 335, 399, 549.
 Executions in China, 47; a “substitute,” 49.
 “Exile by administrative process,” 453.
 Exiles, Siberian, see Convicts.

 Feet of Chinese women, the, 80.
 Ferry over the Tola, 263; the Irul, 317; the Selenga, 355; the Oka,
   505; the Uda, 527; driving on board, 545.
 Flogging; the “knout” and “pléte,” 412, 413.
 Fortune-telling in China, 22.
 Fruit-growing soil, a, 364.
 Funeral, a Chinese, 78.
 Fungus, an intoxicating, 431.
 Furs; 463, 636.

 Gadolovitch, M., the Whiteley of Siberia, 557.
 Globe Trotters, 4, 109.
 Gobi Desert, the Great, i. 22; “Shamo,” 186; scarcity of water, 188;
   monotony, 193; sheep, 202; rats, 203; mole-hills, 204; the Russian
   mail, 204; a Lama, 206, 255; the Mongol tongue, 208; the snuff
   bottle, 210; Mongol tea, 211; a _souvenir_, 213; Mongol women, 214,
   257; horsemanship, 216; the boundary, 217; sand grouse, 218;
   antelope, 219; sport, 220; death of a camel, 221; thirst, 224;
   sunstroke, 225; a sandstorm, 229; lost, 235; transparent stones, 238;
   a freak of nature, 241 to 244; a storm, 246; a runaway camel, 250;
   palmistry, 256; beautiful scenery, 262; a land of milk and honey,
   263; we reach Ourga, 267.
 Gold in Siberia, 396; 540.
 Great fair at Nijni Novgorod, the, 632 to 636.
 Great Wall of China, the, 110; offshoot at Nankow, 126; at Kalgan, 144,
   148; its dilapidated appearance, 169.
 Gribooshin, M., tea-merchant, 324.

 Haircutter, a juvenile, 425.
 Haldiéva, post-station, 567.
 Hares, enormous, 310, 482.
 Heart-rending story, a, 536 to 540.
 Honeymoon in Siberia, a, 483, 499.
 Hong Kong, 12.
 Honour amongst escaped convicts, a point of, 518.
 Horsemanship, Mongol, 216.
 Hotel bill, a monstrous, 579.
 House-boat, a Chinese, 31; nearly upset, 35; our crew, 36; rats and
   cockroaches, 37; a thunderstorm, 40.

 Ignatieff, General, Governor of E. Siberia, 386, 552. ———— the
   Countess, 502.
 Ilinskaya, wheel on fire at, 543.
 Inn, a Chinese, 121 to 124.
 Irkoutsk, 385; the Government, 386; the climate, 387; the “Moskovskaya
   Podovorié,” 388, 393; the streets and pavements, 389; the shops, 390;
   costume, 391; the ladies, 392, 400; military band, 393; rudeness and
   vulgarity, 394; the gold-mining millionaires, 395; the tradespeople,
   400; the _Jeunesse Dorée_, 402; the watchmen, 403; evening
   amusements, 414; the market-place, 415; the “droshki,” 416; the
   boulevard, 417; the eclipse of the sun, 422; a barber’s, 425; the
   Museum, 426; a custom of the country, 455; police magistrates, 456;
   morals, 457; the Opera, 468; moderate hotel bill, 469.
 “Iron exile of Boglitch,” the, 608.
 Irtish, the river; dangerous navigation, 595; desolate scenery, 596;
   landslips, 599.
 Irul, the river, 301, 313.
 Ivan II., the conquests of, 600.
 Ivanoff, M., tea-planter, 145.

 “Kalatchi,” oatmeal cakes, 582.
 Kalgan, 144; Russian hospitality, 146; comfort, 148; caravans, 150;
   resembles an Arab town, 152; a street scene, 155; the mission, 157;
   locked in, 161; partridge shooting, 166; wolves, 175.
 “Kamaoulie Koloko,” the, 606.
 Kamchatdales, the, 429 to 431.
 Kamchatka, 426 to 428.
 Kansk, 447, 549.
 Karra, 363, 436.
 “Kasche” porridge, 634.
 _Katorgi_, see Convicts.
 Kazan, 627; boundary between European and Asiatic Russia, 628; its
   Eastern appearance, 629.
 _Kazanetse_, the, 580, 582.
 Kharra, the river, 301, 305.
 Kiakhta, 320; the inn, 322; the town, 325; the bells, 326; the college,
   331; the cathedral, 332; tea-merchants, 333; gambling, 334; a dinner
   party, 336; the market, 344; the barracks, 349; drink, 352.
 Kirghiz Tartars, the, 526.
 “Kirpitchni,” brick-tea, 635.
 Kluchevski, Mount, the highest volcano in Kamchatka, 427.
 “Klysti,” or Flagellants, the, 419.
 “Knout,” abolition of the, 412.
 Kolestnikoff, M., postmaster at Kalgan, 166.
 Koo-ash, the village of, 120 to 125.
 Kootchoom Khan, 600, 601.
 “Koo-Too,” the, 52.
 Kootookta, the, 187, 268, 270, 285, 288.
 Koriaks, the, 429 to 432.
 Koumiss, 294.
 Koutoulik, a pleasant evening at, 482; the ostrog, 493.
 Krasnoiarsk, 447; red cliffs, 556; fire brigade, 557; founded by the
   Cossacks, 603.
 Kremlin of Moscow, the, 639; the cathedrals, 641; architecture, 642;
   cannon, 643.
 Kuriles, the, 432; queer customs, 433.
 Kwang-Su, the Emperor, 88.
 Kwi La Shai, 132.

 Lady Missionaries in China, 157.
 Lama, a, 206 to 209, 255.
 Landslips in Tobolsk, 599.
 Langtry, a portrait of Mrs., in a Siberian post-house, 359.
 Lassa, the capital of Tibet, 270.
 Lemmings, a migration of, 434.
 Lew Buah, Captain, 163; his adventures, 164; we say good-bye, 178.
 “Ling Chi,” death by the, 47.
 List of post-stations between Irkoutsk and Tomsk, 571.
 Listvenitz, a port on Lake Baikal, 362; the Custom House, 375; a
   watering-place, 378.
 Listvinskaya, post-station, 507.

 Malta, 8.
 Manchin Tartars, the, 75.
 “Michel Strogoff,” 2, 387.
 “Midshipman Easy,” the triangular duel, 339.
 Missionaries in China, ladies as, 157.
 Mole hills, 204.
 “Molokani” or milk-drinkers, the sect of the, 419.
 Monastery of St. Innocent, 477.
 Mongols, the, 153; on a journey, 181; population, 187; lazy and filthy,
   194, 198; the women, 195, 214, 283; a yourt, 196; gluttony, 197;
   head-dress, 199; dogs, 206; a Lama, 207, 255; the language, 208;
   interior of a tent, 209; the snuff-bottle, 210; a cup of real Mongol
   tea, 211; a conversation, 212; a superstition, 213; wooden guiding
   rods, 224; revolting specimens, 240; tobacco, 248; cleaner and better
   mannered, 252; a belle, 257; disposal of the dead, 259, 290;
   “Moo-moo,” 260; fear of death, 261; few people know anything of the
   Mongols, 266; in Ourga, 282; grotesque appearance, 283; Golgotha,
   290; our new drivers, 302; wakeful at night, 304; water-supply, 306;
   a contented race, 309.
 Monshafskaya, the village of, 363; wild fruit, 364.
 Moonlight target-practice of the Russian troops, 346.
 Moscow, 638; the “Slavenski Bazar,” 639; the “King of bells,” 640; the
   cathedrals, 641; the Kremlin, 642; politeness, 643; the room where
   Skobeleff died, 644; snow, 645.
 “Moskovskava Podovorie,” the, at Irkoutsk, 388, 468.
 Mosquitoes, 304, 314, 436, 530.
 Mount Lavinia, 11.
 Mule-litter, a Chinese, 115, 190.
 Music, Siberian, 495.
 Musketry by moonlight, 346.

 Nankow, 125, 128.
 “Napoleonists,” the sect of, 418.
 Navigation of the River Irtish, 595.
 Nempshinof’s mausoleum, 333.
 Nertchinsk gold-mines, 363.
 Neviansk, the watering-place of Ekaterinburg, 622.
 Nicolaievsk to Tashkent, a journey from, 521.
 Nihilists, see Convicts.
 Nijni Novgorod, 630; Hôtel de la Poste, 631; the Great Fair, 632;
   eating-houses, 634; overland tea, 635; furs, 636; two smaller fairs,
   637; fire engines, 638.
 Nijni Tagilsk, dining-room at the railway station, 621.
 Nijni Udinsk, 447; the post-house, 527; the town, 529.

 Obdorsk, the canal to, 465.
 Obi river, the, 581 to 594.
 Oka, the river, 504; the ferry, 505.
 Okhotsk, “the end of the world,” 435.
 “Oleni,” the skin of the reindeer above nine months old, 637.
 Ostiaks, the, 442, 585.
 Ostrogs, 363, 409, 447, 488 to 493.
 Oural Mountains, the, 618.
 Ourga, 267; the Mecca of Mongolia, 269; the Russian Consulate, 271; the
   European cemetery, 277; depression, 280; Mongol women, 282; dogs and
   beggars, 284; a Buddhist temple, 285; the huge figure of Buddha, 286;
   Golgotha, 290; the death-chamber, 292; Maimachin, 295; the Temple of
   Confucius, 296.
 Ourouni, 213.
 Outfit, our, 4.

 “Palikao,” the bridge of, 46.
 Palmistry in the Desert, 256.
 Partridge shooting, 167.
 Peiho, the river, 26; landslips, 37; a thunderstorm, 40.
 Pekin, 53; dust, 54, 65; we lose ourselves, 55; insolence of the
   Pekinese, 57, 83; the “Legation de France,” 58; the Hôtel, 58; the
   capital of China, 60; the Roman Catholic Church, 62; the gates, 63;
   the roads, 64, 93; the climate, 66, 99; small-pox, 67; dirt, 68; the
   English Embassy, 69, 96; the Russian Minister, 70; the Tartar wall,
   72; the observatory, 73; the Board of Examinations, 74; Mancha
   soldiery, 75; a native cab, 76, 97; a street scene, 77; a funeral,
   78; the _Pekin Gazette_, 79; the women, 80; the coinage, 82; the
   “Jeunesse Dorée,” 83; cricket-fighting, 84; a doctor’s shop, 85; the
   porcelain shops, 86; the Summer Palace, 87; the dogs, 97; no insect
   pests, 97; the European population, 98; Jubilee Day, 100; a
   disappointment, 104; our departure, 113.
 Penang, 12.
 Perm, 623.
 _Perm_, the, 623, 626.
 Petchora River, the, Siberakoff’s canal, 465.
 Petroff, Colonel, 278, 280.
 Petropaulosk, earthquakes at, 428.
 Philipitch, founder of the Flagellants, 419.
 Photography in Siberia, 579.
 Piatko, at the junction of the Obi and Chulim rivers, 465.
 Pigtails, 81.
 “Pijick,” the skin of the reindeer at one month old, 636.
 Pike, the Siberian, 278.
 “Plète,” punishment by the, 413.
 Podarojna, a, 445.
 Poll-tax, a, 496.
 Polovilnaya, post-station, 482.
 Poloushouba, the, a pelisse of sheep’s wool, 627.
 Ponies, Mongolian, 102, 118, 139, 154, 199, 201, 216, 234.
 “Poorgas,” or Kamchatka snowstorms, 428.
 Poppies, 140.
 Porcelain, Chinese, 86.
 Port Said, 9.
 Posting in Siberia, 353; our “Troika,” 354; a strain on the nerves,
   355; a ferry, 356; inadequate number of horses, 524; the post-horses,
   346.
 Postmaster, a Siberian, 348, 475.
 Prayer-wheels, 209, 281, 287, 385.
 Prescription, a Chinese, 86.
 Prisons, see Ostrogs, Convicts, &c.
 “Privatne,” or ordinary podarojna, the, 446.
 Punishments, Chinese, 49, 50.

 “Quass,” 323, 495.
 Quicksilver in Siberia, mines of, 405.

 “Rabchick,” the, a Russian partridge, 593.
 Radovitch, M., 360, 376.
 Railways in China, 95; in Siberia, 466, 575, 612; in Russia, 621, 623.
 Rasgonnaia, ostrog at, 492.
 Rats, edible, 84; Gobi, 203; Lemmings, 434; Siberia, 501.
 Red Sea, the, 10.
 Reiff’s Russian Grammar, 463.
 Reindeer skins, 636.
 _Reutern_, the, 597.
 Ribinskaya, post-station, 551.
 Route, our, 3; an alternative, 105.
 Russian language, the, 463.
 Russians, the, 145, 146, 294, 300.
 “Russians of To-day,” the, 406, 491.

 Sakhalien, the most dreaded prison in Siberia, 363; convicts sent by
   sea, 409; formerly belonged to Japan, 429; climate, 436.
 Salt, Ostiak hatred of, 588.
 Salt-mills, Chinese, 27.
 Samoyédes, the, 442, 588.
 Sandflies, 304, 314.
 Sand-grouse, 218.
 Sand-storm, a, 229.
 “Scotch woodcock,” 165.
 Seals in Lake Baikal, 368.
 Sects, religious, in Siberia, 418.
 Selenga river, the ferry over the, 355, 357.
 Shanghai, 12; the club, 14; sport, 15; hospitality, 16; the bund, 17,
   18; the electric light, 18; the native city, 19; a tea-garden, 20,
   21; fortune-telling, 22.
 Sheep, Gobi, 202.
 Shishmaroff, M., 264, 275, 278.
 “Shtchi,” or cabbage soup, 624, 634.
 Siberakoff, M., 144; his waterway, 145.
 Siberia, 33, 70, 322; a dinner party, 335; a tarantass, 341; a
   post-master, 348, 475; breakfast in barracks, 349; a farewell, 351;
   posting, 353, 524, 546; a ferry, 355, 505, 527, 545; criminals,
   exiles, &c., 364, 401, 448, 488, 493, 517, 530, 560; discomfort, 383;
   climate, 385; books of travel, 387; wealthy gold-miners, 391 to 397;
   dress, 391; washing appliances, 392, 576; gold, 396, 540; the ladies,
   400; champagne, 414; eggs, 414; religious sects, 418; tribes, 426,
   444; bandits, 459 to 486; scenery, 471; post-houses, 474, 500, 566;
   telegraphs, 476; sham clocks, 477; a supper in the wilds, 483;
   village prisons, 363, 488; eternal delay, 493, 525; monotony, 498,
   525, 564; a cottage, 494; a swinging cradle, 495; music, 495;
   berries, 497; a honeymoon, 499; rats and vermin, 501; lady
   travellers, 502; our troubles commence, 503; timekeeping
   extraordinary, 508; bread, 509; refreshment for escaped convicts,
   517; wild flowers, 529; gold and silver, 540; reckless apathy, 565;
   posting a letter, 574; photography, 579; the steamer on the Obi, 580;
   the eternal _menu_, 593; “Conversation Sibérienne,” 594; meals, 598;
   Ivan II., 600; conquest, 601 to 603.
 Silver Fox, the, 636.
 Singapore, 12.
 Skobeleff’s room, 644.
 Skopti, the, 418.
 Small feet of the Chinese women, 80.
 Small-pox, 67, 439, 516, 609.
 Snuff-bottle, the, 210.
 Soldiers, Chinese, 75, 117.
 Sourikoff, M., the painter, 590, 619.
 Sport; partridges, 165, 167; antelope, 220; wildfowl, 302, 314, 589,
   610.
 Squirrels, 586.
 Staal, M. de, 3.
 Stanley, reported murder of the explorer, 469.
 Sterlet, 575.
 Stone pillar near Ekaterinaberg, the, 618.
 Stove-bed, a Chinese, 122.
 “Substitute,” a, 49.
 Subterranean passages at Tobolsk, 609.
 Summer Palace at Pekin, the, 87.
 Sun, an eclipse of the, 422.
 Sunstroke, a, 225.

 Taku, 26; the forts, 27.
 “Tamerlan, the Target of,” 179.
 Taoutinsk, post-station, 560.
 Tarantass, a, 342, 561.
 Target practice by moonlight, 346.
 _Tasmania_, the wreck of the, 10.
 Tchuan-Ha-Ho, 139.
 Tea, 29, 45, 150, 211, 326, 493, 543, 575, 635.
 Telegrams, low tariff in Siberia for, 345.
 “Teliatina,” 593.
 Theatre, an open-air, 127.
 Thunderstorm on the Peiho river, a, 40.
 Tielminskaya, the waiting-room at, 478.
 Tientsin, 28; trade, 29; the hotel, 30.
 Timoffeef, Yermak, 601 to 604.
 Tiretskaya, post-station, 503.
 Tiumen, 611; the railway station, 612; the town, 613; a convict barge,
   614; a cheap place to live in, 617.
 Tobolsk, 599; the province, 600; monument to Yermak, 603; the city,
   604; precautions against fire, 605; the “Kamaoulie Koloko,” 606 to
   608; very unhealthy, 609; subterranean passages, 609.
 Tola, the river, 263, 278, 297.
 Tomsk, 570, 573; cheerless appearance, 574; the Hôtel d’Europe, 575;
   washing appliances, 576; carriages and horses, 577; smart gowns, 578;
   hotel bill, 579.
 Toogoorook, 214.
 Tornado in the Gobi, 229.
 Touloung, adventures at, 508 to 522.
 “Tow-ists,” the sect of the, 159.
 “Traktirs,” or eating-houses at the Great Fair, 634.
 Trapeznikoff, M., a millionaire of Irkoutsk, 397.
 Triangular duel in “Mr. Midshipman Easy,” 339.
 Troitzkosavsk, a suburb of Kiakhta, 325; see Kiakhta.
 Trout-fishing, 297.
 “Tsar Kolokol,” the King of Bells, 640.
 Tsiang-Shai-Poo, 141; the women, 142; Kentish scenery, 143.
 Tungchow, 42.
 _Tungchow_, the, 24.
 “Tungouses,” the, 441.
 “Tutinza,” the Cave Town, 178.

 Uda, the river, 527.
 Urga, 187; see Ourga.

 Valentine’s meat juice, 192.
 Vegetation of the Gobi, 204.
 Verne, Jules, 2, 463.
 Vultures, enormous, 246, 284.

 Wall of China, the Great, 110, 126, 144, 148, 169.
 Warsaw, 645.
 Washing appliances in Siberian hotels, 392, 576.
 Watches, the Emperor of China and his tutor’s, 90.
 Watchman, a Siberian, 402.
 Waterway, between Petersburg and Irkoutsk, 464.
 Wheat in Tiumen, price of, 617.
 “White Doves,” the sect of the, 419.
 Wiggins, Captain, arctic explorer, 558.
 Wild dogs of Kamchatka, 433.
 Wild flowers, 204, 320, 415, 530.
 Wild fowl, 302, 314, 589, 611.
 “Wire shirt,” the punishment of the, 50.
 Women; Chinese, 80; Mongolian, 195, 214, 283; Koriaks, 431; Kuriles,
   433; Siberian, 496; Kirghiz, 627.
 Wormoff, Professor, 334.

 Yakouts, the, 435 to 438.
 Yakoutsk, 436, 603.
 Yellow tiles, the Imperial, 62.
 Yemstchiks, 354 to 356, 416, 545, 548, 569.
 Yeneseisk, founded by the Cossacks in 1619, 603.
 Yenisei, the river, 552, 527.
 Yermak Timoffeef, 601 to 604.
 “Yourt,” a, 196, 206, 256.
 Yurakis, the, 442.

 Zalarinsk, post-station, 496.
 Ziminskaya, post-station, 507.

  GILBERT AND RIVINGTON, LIMITED, ST. JOHN’S HOUSE,
  CLERKENWELL ROAD, LONDON.

————————————————————————————————————————————————————————————————————————

  Transcriber’s notes

1. Silently corrected typographical and printer's errors; retained
   non-standard spelling. Improperly spelled words in languages other
   than English have been retained.

2. Adjusted two page number references in the List of Illustrations.

3. Italic text in the original is delimited by _underscores_, except
   those that are only decorative.

4. Bold text in the original is delimited by =equal signs=.

End of Project Gutenberg's From Pekin to Calais by Land, by Harry de Windt


"Well," said Brower, "the man you heard sing it at St. Asaph's was the
man I heard sing it at Sioux Falls."

"Vibert!"

"Vibert."

George dropped his eyes; he had no wish to pursue the theme further.
"What have you there?" he asked. He indicated the book that Brower had
left lying on top of the trunk.

"Oh, nothing special. It's just one of those cheap novels. I was merely
running it through to see if he really did marry the right one in the
end. Might have done it in the first place as well as not." He passed
the book to Ogden wrong side up. "I guess it's yours, by rights--one
you left behind when you moved out." Ogden turned the book over and
read the title. It was--"A False Start."

He started. He blushed. "Yes, perhaps it is," he stammered. He held it
awkwardly in his hand for a moment. Brower watched him curiously, yet
sympathetically. "Yes," Ogden repeated, in a bold, firm voice, "it
_is_ mine." He put it in his inside pocket and buttoned his coat.

"Oh, come," cried Brower, trying to throw a veil of jocularity over his
earnestness, "that isn't fair! I've got to finish it. I've got to know
whether he did or didn't. Anyway, let me see the end."

"There is no end," said Ogden, soberly. "Or if there is, it has come."

"Then I can only guess." Brower looked at him, with a studious anxiety
in his brown eyes. "He made a mistake, sure enough, but I think he sets
it right. Yes, I think he sets it right." Ogden's eyes sought the floor.

"Ho; he abides by it."

"He _can_ set it right," said Brower, gravely; "and if he can he
ought."'

"Not now; not after--everything. Let bad enough alone."

"Make bad enough better," cried Brower. "Is he the only one to be
considered? Upon my word," he went on, with a nervous attempt at
lightness, "we are getting these great truths down finer and finer. A
couple of years ago we agreed that marriage concerned but two people;
now we are finding that it concerns only one. The question simply
is--which one?"

"The one who would be most exposed to injury," said Ogden, with a
distant mournfulness in his face and voice.

"There are different kinds of injury; there is the injury of
commission, and there is the injury of omission. Sometimes the last is
harder--on a woman. Why not let the victim choose her own particular
woe? Why not be generous enough to give her an opportunity?"

"Not now," groaned Ogden. "You don't know. Not after all--that's
happened."

"Well, then," continued Brower, with kindly perseverance, "out goes
generosity. Now bring in selfishness and give _that_ a chance. What
is our hero going to do? Must there be more sorrow for him, more
suffering, more self-punishment, and everlasting dissatisfaction
generally? What is he made of? Can he stand it? If so, how long? And if
he does, why should he?"

"Brower, Brower!" Ogden cried; "not another word if you care for me--if
you care anything at all for me!" He crossed his arms on the table and
bowed his head upon them.

Brower passed his hand softly over this head and said no more. He was a
patient husbandman; he would sow the good seed and wait for the harvest.

Ogden took the book home with him. He fluttered its leaves a few times;
then he sat down on the edge of his bed and read the title-page for an
hour. The next night he read it some more and dreamed about it. The
next night he was reading it still, and he lay awake thinking of it
until daylight.

On the following evening he took the old, familiar way to the West Side.

He found Abbie Brainard at home alone. Mary and her husband had gone
out, and the baby had been put to bed.

Abbie was sitting in the half-gloom of one small lamp; the parlor was a
little room, and a rather cheap and ugly one. But the lamp, thanks to
its beflowered shade, was discreet and reticent in the disclosure of
unprepossessing detail; besides, twenty lamps would not have had power
to divert his thoughts from the channel through which they were now
coursing.

On his entrance she started up to light the gas. She looked pale and
worn, and older than he would have believed possible. But he looked
older, too, and felt much older than he looked. The light beat down
upon his silvered hair, and heightened the glance of pitying surprise
that shone from her eyes.

In this increased illumination he saw that fortune had left her, as
well as her youth and beauty, as well as the father whose life he had
felt to make their union impossible, and whose memory might still keep
it so. But she herself, in her own essence, was before him--the same
courage, the same resolution, the same tenderness and fidelity. And in
him she saw the only man she had ever seen, or had ever cared to see.

To her, he came as a messenger of pity to heal the wounds that knavery
and scandal and violence had hacked upon her quivering heart. A
messenger of pity, yes; but could he, by any possible chance, find her
worthy of the pity that was akin to love?

To him, she appeared as the victim of his own faint-heartedness and
faithlessness. After all that he had done to wring her heart, could he
venture upon the crowning indignity of offering her his tarnished name?

To her, he stood there as a tower of refuge--a tower from whose summit
the swathing fogs might be cleared away by the warm breath of trust
and confidence, and whose smirched walls--if smirched indeed they
were--might be purified by the tears of love and the fingers of
forgetfulness.

To himself, he lay before her as a heap of crumbling and smoke-stained
ruin. Every stone cried out for the cleansing power of pity and for
the firm and friendly hand that was to rear them all again to their
pristine use and comeliness.

The clock had struck eight as he entered; it was striking eleven as he
rose to go.

"Not yet," she said, softly. She pressed him back into the depths of
his great easy-chair, and, leaning upon its rounded and padded arm,
she looked down upon him.

"You take me, then, as I am?" he asked her, soberly.

"How else do you take _me_?"

He raised his hand to his head. "There will be more of them," he said.
"They tell me I shall be white at forty."

"How many of them are mine?"

He pressed her hand.

"Not one, not one! Or, no," he continued, with a stronger pressure,
"they are all yours--do with them as you please."

He felt something warm drop on his head and trickle down his temples.

"Yes, that is the best thing to do," he said. "To think," he added,
with a tender seriousness, "that you might have saved me from
them--from every one!"

They were married within a month, and they began their married life in
the same house in which he had begun his Western life as a bachelor.
Mrs. Gore's kindliness still survived, after the hard rubs of three
years of city life, and she spread her sympathetic interest over her
new couple with an unstinted hand.

[Illustration: "She pressed him back into the depths of his great easy
chair."]

Their wedding involved no social celebration, unless we note their
participation in one of a series of great public functions that
sometimes mark the early winter. This took place in a vast hall that
was luminous in ivory and gold. They sat before a wide curved frame
brilliant with a myriad points of light, and listened to the united
endeavors of many voices and instruments to please the four thousand
people about them. Ogden and his wife had taken places in the balcony.
They had toned down existence to a quiet gray; they recognized the
middlingness of their lot. Cornelia and her husband, unknown to the
Ogdens, had seats on the floor beneath.

One box in the two long, parallel rows remained vacant during the
first and second acts. As the prelude to the third act began among the
violins the box was claimed. A party of four entered.

"There she is," said Cornelia to herself, in her place on the main
floor. "Just you wait. Burt's smart and I'm careful, and we shall catch
up to you yet!"

"Who are those people?" asked Abbie, turning towards her husband. "Who
is the gentleman with gray hair?" She was beginning to admire her
husband's own.

The two ladies of the party had seated themselves; the two gentlemen
were busy with their own and their companions' wraps in the back of the
box.

"That is Mr. Atwater, the architect. The lady in yellow is his wife.
The tall, brownish man, just handing the glass, is Mr. Ingles; he owns
the--the Clifton."

"And the other lady?" his wife continued. She indicated a radiant,
magnificent young creature, splendid, like all her mates, with the new
and eager splendor of a long-awaited opportunity. This new-comer had
nodded smilingly to many people on entering--to her neighbors on either
side, to a large dinner-party that filled three boxes across the house.
She seemed pleased to have so many persons to bow to so publicly; and
everybody whom she favored seemed equally glad of an opportunity to
return her attention.

Ogden looked at her and turned his eyes away.

"I--I have never seen her before," he said. "I don't know who she is,"
he appeared to imply.

But he knew perfectly well who she was. He knew that she was Cecilia
Ingles, and his heart was constricted by the sight of her. It is for
such a woman that one man builds a Clifton and that a hundred others
are martyred in it.

THE END

End of Project Gutenberg's The Cliff-Dwellers, by Henry Blake Fuller


MILLER, GLADYS. _Decoratively Speaking._ Doubleday, Doran & Co.,
    New York, N. Y. 1939.

  STOREY, WALTER. _Period Influences in Interior Decoration._ Harper
    & Bros., New York, N. Y. 1937.

FURNITURE STYLES

  ARONSON, JOSEPH. _Book of Furniture and Decoration._ Crown
    Publishers, New York, N. Y. 1937.

  ARONSON, JOSEPH. _Encyclopedia of Furniture._ Crown Publishers, New
    York, N. Y. 1939.

  HOLLOWAY, EDWARD. _Practical Book of American Furniture and
    Decoration._ J. B. Lippincott Co., Philadelphia, Pa. 1937.

  KIMERLY, W. L. _How To Know Period Styles in Furniture._ Grand
    Rapids Furniture Record Co. 1912.

  ORMSBEE, THOMAS. _Early American Furniture Makers._ Tudor
    Publishing Co., New York, N. Y. 1930.

  Metropolitan Museum of Art, _Handbook of the American Wing_. R. T.
    H. Halsey-Charles O. Cornelius. Metropolitan Museum of Art, New
    York, N. Y. 1928.

STRICTLY MODERN

  DRAPER, DOROTHY TUCKERMAN. _Decorating Is Fun._ Doubleday, Doran &
    Co., Inc., New York, N. Y. 1939.

  FRANKL, PAUL. _Space For Living._ Doubleday, Doran & Co., Inc., New
    York, N. Y. 1938.

  PATMORE, DEREK. _Color Schemes for the Modern Home._ Studio
    Publications, London. 1936.

  ----. _Decoration for the Small Home._ G. P. Putnam's Sons, New
    York, N. Y. 1938.

  _Yearbook of Decorative Art._ Studio Publications. 1938.

Appendix C.--A SUGGESTED TEACHING OUTLINE FOR A GROUP LEADER

Unit IV contains much more material than can be discussed at one
meeting. The group leader must be selective and decide which points are
to be developed at the group meeting. Two programs are suggested.

FOR THE FIRST GROUP MEETING

1. _Opening remarks by the group leader_ (5 minutes):

  _a._ No matter what kind of furniture we stock and sell, we first
    must have a working knowledge of the historic styles.

  _b._ This unit contains condensed information on period decoration.
    You will not need to learn all these details thoroughly--at least
    not at once. Take the unit home and read it carefully.

  _c._ After this reading, 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 detail.

2. _"High-lighting" a furniture sales talk_ (35 minutes):

  _a._ A series of talks made by various salesmen and limited to 5
    minutes each. Have five or six articles, furniture and rugs,
    grouped in front of the class and assign one piece to each man
    after he gets on his feet. Stress the style appeal of the piece
    under discussion.

  _b._ Permit a minute or two for criticism after each talk and
    criticize them solely as to their probable effect in influencing
    a buyer.

3. _A Colonial bedroom_ (15 minutes):

  Demonstration by Mr. Williams will cover all the elements of a good
    selling talk--fitness, room arrangement, color appeal, beauty of
    design, style (with emphasis upon sentimental appeal and present
    vogue) and price. The demonstration should be criticized on the
    basis of its smoothness and cumulative effect, or "build-up."

_Intermission_

4. _Is our merchandise properly styled for our own trade?_ (25 minutes):

  Designed to put the buyer on the defensive, 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 only.
    You are trying to build up a business-getting machine, with no
    friction, dissatisfaction, or mental alibis. The idea that a
    salesman can sell anything to anybody will have to be discarded.

5. _Promotion plans for this season's business_ (15 minutes):

  By some owner or by the chairman; a brief, candid statement of
    plans for buying display, advertising, and all forms of promotion
    and sales effort. Good to insure enthusiastic teamwork and to
    build up loyalty.

6. _Personal experiences_ (10 minutes):

  The chairman will draw upon the selling experiences of individual
    members of the group.

FOR A SECOND GROUP MEETING (IF DESIRED)

1. _Opening remarks by the group leader_ (5 minutes):

  _a._ We can make the best start, with least likelihood of
    resistance, by helping the customer to find articles that suit
    her needs, tastes, and means, and add to the comfort, harmony,
    and beauty of her home.

  _b._ Style in furniture doesn't stop with the historic styles,
    but it does start there, and if we are going to make profitable
    use of style as a selling factor we must first know how our own
    merchandise is styled.

2. _Styling our own stock_ (50 minutes):

  _a._ Early European styles. Mr. Stark (15 minutes).

  _b._ Eighteenth century European styles. Mr. Pearson (20 minutes).

  _c._ American styles. Mr. Hahn (15 minutes).

  Go in a body directly to the nearest piece to be shown, and move on
    the minute that this piece has been adequately discussed. See to
    it that the men give a brief, orderly statement on three points:
    (1) The style with which they identify the piece; (2) reasons for
    the classification; and (3) types of non-period pieces, rugs,
    etc., in your own stock that could be used harmoniously with
    it. Time should be allowed for criticism and comment, even if
    very few pieces can be examined. If the group fails to arrive at
    general agreement on any piece, request the men who are arguing
    most keenly about it to consult other authorities and report at
    the next meeting.

_Intermission_

3. _Selling furniture on style basis_ (30 minutes):

  Demonstration by Messrs. Black and Herrick. In this demonstration,
    let the men have 15 minutes free from interruption, with the time
    limit announced in advance; stop them promptly when their time
    has expired; and call for comment and criticism. These sales
    rehearsals are of the utmost value if properly conducted. They
    should never be permitted to lag or become involved in windy
    discussion.

4. _How can we make use of unit III in closing any sales now pending?
Open discussion_ (20 minutes):

  A sale of importance often has to be as carefully prepared and
    staged as a stage play. If the style appeal can be used to
    advantage in sales hanging fire or in sight, use the brains of
    the entire organization to find out how to do it.

As an alternative procedure to that suggested in 4 above, the following
may be preferred by some group leaders:

  Appoint three style leaders, or divide the entire force into three
    style committees, to deal respectively with _(a)_ the early
    European styles, from the Renaissance to William and Mary; _(b)_
    the eighteenth century European styles; and _(c)_ the American
    styles. These leaders or committees should be instructed to go
    through the stock, assign as many pieces as possible to the
    various historic periods, and be prepared to give the reasons for
    these assignments to the whole group. In a large stock, limit the
    assignment to living room furniture only.

5. _Assignment of practice work_ (5 minutes):

  Typed forms prepared about as follows should be distributed at this
    time:

  Historic style_____________ Name of salesman________________________

  Approximate dates of beginning and end______________________________

  Reigning monarch____________________________________________________

  Principal characteristics of the style______________________________
  ____________________________________________________________________

  Details of construction, ornament, and decorative practice__________
  ____________________________________________________________________
  ____________________________________________________________________

  Other styles more or less closely related to this one_______________
  ____________________________________________________________________

  Pieces in our own stock which can be assigned to this style. Give number,
  article, and finish_________________________________________________
  ____________________________________________________________________

  Criticism and comment by Mr. (Name of second salesman to be filled
  in later)___________________________________________________________
  ____________________________________________________________________

  Fill in one of these sheets with a different style for each salesman.
    Choose only the styles important for your own business. Hand these
    forms out with the request that they be filled in after careful study.

Appendix D.--THE LEADING FURNITURE WOODS

  _Acacia._--Africa, Australia, and generally throughout the warmer
    regions of the globe. The 550 species of acacia include several
    valuable timber woods, among them the Australian blackwood and
    acacia koa (see Koa) of the Sandwich Islands. Acacia was used as
    a furniture wood in the Byzantine and Romanesque styles more than
    1,200 years ago.

  _Amaranth._--Chiefly from British Guiana, South America. Also
    known as purpleheart tree and violet wood. It is of fair size;
    wood heavy, hard, and of a deep purple color not fast to light;
    used in marquetry embellishment of Louis XV furniture, and still
    popular in fine furniture.

  _Amboyna._--East Indies, Malay Archipelago. (Also spelled
    Amboina, from the island of that name, Dutch East Indies.) This
    beautifully figured and mottled wood has much the color of
    satinwood. Amboyna burl, so-called, comes from the padouk tree.
    (See Padouk.) It is a rich golden yellow, shot with brilliant
    red, and is one of the most costly woods in the world.

  _Apple._--The fruit wood, used in Elizabethan England and since, as
    an inlay.

  _Ash._--Europe, Asia, and North America. A large, widely
    distributed group related to the olive family. There are 20
    species in North America, ranging from desert shrubs to the
    magnificent white ash of the lower Ohio valley. The wood is
    markedly ring-porous, and when skillfully finished is very
    handsome, either plain or quarter-sawed. Varieties commonly used
    for veneer are figured trees of American white ash, English,
    Australian, and Japanese ash, the latter known as "tamo." Color
    ranges from grayish white to nut brown in tamo; a small fiddle or
    peanut figure is characteristic.

  _Aspen._--Chiefly from Maryland and the Appalachian Mountains.
    (Also known as silver poplar.) Large trees, yielding some figured
    logs having a characteristic small block mottle figure. The wood
    is of light-straw color with some light-brown streaks, and takes
    a beautiful finish.

  _Avodire._--West coast of Africa, near the equator. A creamy
    colored wood, yielding a handsome figure in crotch or
    quarter-sliced veneers.

  _Ayous._--West coast of Africa. Cream-colored wood of a slight
    greenish tinge; resembles prima vera in appearance, and because
    of its low cost is sometimes used as a substitute for blond woods.

  _Basswood._--North America. (Also known as linden and whitewood.)
    This tree, which belongs to the lime family, has a wood of
    cream-white color, almost free from visible markings due to
    pores, annual rings, or rays. In furniture manufacture it is used
    for plywood cores and kitchen table tops to be left unfinished.

  _Beech._--Europe, Asia Minor, and eastern North America. Of
    the same genus as the oak and the chestnut, this tree yields
    furniture wood of light reddish-brown color. It has about the
    same weight and hardness as sugar maple.

  _Birch._--North America, Europe, Asia Minor, and northern Siberia.
    A hardy, beautiful tree, yielding a hard and handsome wood,
    whether in plain or quarter-sawed surfaces, or in the form of
    veneers. The wood is of close texture; often has a wavy grain,
    producing what is known as curly birch, noted for wavy figure of
    changing high lights and shadows.

  _Bosse._--Africa, French Ivory Coast. This large tree, closely
    resembling the cedar, has a wood light red or pink in color,
    which takes an excellent finish. It is used in America only as a
    veneer.

  _Boxwood._--Europe, North America, and the West Indies. An
    extremely heavy, tough, close-grained wood, white or pale
    yellow in color, used in making musical instruments and also in
    furniture inlay.

  _Bubinga._--West coast of Africa. Closely related to the rosewood,
    and its equal in weight, hardness, and capacity to take a high
    polish. The wood is slightly darker than mahogany. The veneer is
    usually striped, but sometimes figured, with a gorgeous black
    mottle. (See Kewazingo.)

  _Butternut._--North Central United States. (Also known as white
    walnut.) This relatively small tree has a short trunk which makes
    it difficult to get veneer logs of good length and free from
    knots.

  _Cedar._--Asia, Africa, and North America. The cedar of Lebanon has
    been a favorite with poets and painters for thousands of years.
    Other famous members of this family are the deodar or "god tree"
    of the Himalayas, and the thuya. Among the American varieties are
    the incense or white cedar, the Port Oxford or Oregon cedar, and
    the red or American cedar. Cedar was used as a furniture wood in
    ancient Egypt, Mesopotamia, and Persia almost 4,000 years ago.

  _Cherry._--Europe and North America. 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 texture,
    its freedom from warping, and its capacity to take a high polish.

  _Chestnut._--Europe and North America. The wood is closely allied
    to that of the oak, which it resembles in general appearance,
    though it is softer and the medullary rays are finer and less
    pronounced. Ideal for lumber cores of hardwood plywood. Decay
    resistant; easily glued and easy to work. The blight in no way
    subtracts from the quality of the wood, but it has decreased the
    amount now available.

  _Cypress._--Europe, Asia, and North America. The common cypress
    is straight, tapering, and stately, but dark and forbidding in
    appearance. The wood is hard, close-grained, of a rich reddish
    hue and durable. A veneer of cypress stumps, with a highly
    intricate grain, is used in furniture making under the name of
    _faux satine_, or false satin.

  _Deal._--Scotland. The Scotch fir, used to some extent in
    Elizabethan England and later as a furniture wood.

  _Ebony._--India, East Indies, and Ceylon. Accurately, the black,
    heavy heartwood of a genus of tropical trees. According to legend
    the wood was used by the ancient kings of India not only for
    scepters and images, but also as drinking cups. Macassar ebony,
    so named from Macassar, seaport of the island of Celebes, Dutch
    East Indies, is notable for its close grain, intense hardness and
    rich hazel brown color, striped or mottled with black. It is much
    used in this country, where it is often known as "marblewood."

  _Elm._--Europe, Asia, and North America. A noble and beautiful
    tree, widely distributed in the north temperate zone. In this
    country white elm is chiefly important for furniture, with some
    use of rock elm and slippery elm. The wood is hard, ranging in
    color from reddish brown at the heart to white sap wood, and
    has a fine wavelike grain when plain sawed. The richly figured
    leather-brown burl veneers made from trunk burls of elms from the
    Carpathian mountains, in central Europe, are among the costliest
    of cabinet woods.

  _Goncalo alves._--Brazil. A hard and beautiful wood, closely
    related to rosewood. It has a rosy straw color, streaked with
    dark brown and black; is both sawed and sliced on the quarter,
    and is used for the same purposes as Macassar ebony.

  _Greywood or Silver Greywood._--See Harewood.

  _Gum._--United States. The term gum tree is applied to several
    unrelated gum-bearing trees in the United States, of which the
    wood of the red gum is chiefly used for furniture. It has a
    close grain, uniform texture, white sapwood, and reddish brown
    heartwood, the latter sometimes containing dark streaks, and
    known in the trade as figured gum. Tupelo gum and black gum have
    almost the same texture as red gum, but are white or warm gray in
    color. Gumwood was formerly called satin walnut in this country
    and still bears that name in England. 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 veneers. The sap wood is commonly called
    "sap gum."

  _Harewood_ (artificial).--England and the Continent. Harewood,
    a West Indies wood now practically extinct, was much used by
    eighteenth century cabinet makers. Artificial harewood, also
    known as silver grey-wood, is made from carefully chosen English
    curly maple, known there as sycamore. The logs are first cut into
    planks and air-dried for three months; then cut into veneer and
    dyed with iron salts in huge tanks under pressure, which produces
    a beautiful silver grey wood with a slightly metallic sheen. It
    is one of the most costly veneers.

  _Holly._--England. English white holly has been used since the
    time of Elizabeth for inlays. The thin veneers, having an
    exceptionally close texture, can be dyed to various colors. It is
    similar in appearance and use to boxwood, but less expensive.

  _Iroko._--Africa. Though not of the teak family, this wood is
    called African teak. It is hard, firm, of the color of a ripe
    cucumber, and in veneers has a waxy figure.

  _Kewazingo._--Africa. A veneer made in France from a species of
    bubinga, and cut in a peculiar way to a wavy figure. It is used
    as a decorative as well as a base wood in tables and case goods.

  _Khaya._--Africa. (African mahogany.) See Mahogany.

  _Koa._--Hawaiian Islands. Belonging to the acacia family, the koa
    is the most valuable Hawaiian tree. Its beautiful wood is of
    golden color, sometimes streaked with black or brown. Most logs
    have some figure and many have a pronounced ripple grain in
    veneers.

  _Kingwood._--British Guiana, South America. A heavy wood, related
    to the rosewood, and sometimes called violet wood because of its
    color. It is chiefly used in the form of veneers sawed from small
    logs, about the size of fence posts.

  _Koko._--Andaman Islands, East Indies. The East India walnut; has
    a hard, smooth texture similar to koa; not much figure, but a
    narrow prominent stripe when quartered; nut brown color.

  _Lacewood._--Australia. (Also known as silky or Australian oak
    or selano.) This wood of a light, rosy color has pronounced
    medullary rays, and when quartered yields a beautiful effect of
    grain strikingly similar to that of coarse lace.

  _Lauaan._--Philippine Islands. (Pronounced la-wan', with both a's
    as in "arm".) A tall tree native to the Philippines, the wood of
    which bears a marked resemblance to mahogany. Formerly marketed
    as "Philippine mahogany," and now as red lauaan.

  _Laurelwood._--Andaman Islands, East Indies. Related to koko, and
    one of the finest timbers of the East. Laurelwood is a highly
    figured wood, gray with black stripes, and with a wavy grain.

  _Lime._--Europe. (Also known as linden, the North American variety
    is basswood.) A soft, white wood, extraordinarily well adapted
    for carving in high relief or in the round.

  _Macassar._--See Ebony. (Often, and properly, spelled Makassar.)
    Makassar oil, originally produced from the sandalwood of
    Makassar, was so much used as a hair dressing in Victorian
    England that it gave rise to the use of antimacassars or
    "tidies," as a protection to upholstered chair backs.

  _Magnolia._--Southeast United States. Also species are found in
    Japan, China, the Himalayas. The wood is fine-grained, fairly
    hard, white at the sap and of a pale yellowish or greenish tinge
    at the heart.

  _Mahogany._--A fine cabinet wood, is noted for variety and beauty
    of figure or pattern of the grain of the wood. Widely used for
    veneers and lumber of extreme dimensions and freedom from defect.
    Used for traditional furniture styles such as Chippendale,
    Hepplewhite, Sheraton, and Duncan Phyfe, and desirable for modern
    styles either in traditional or the lighter finishes.[32]

  Three general types of mahogany are recognized: West Indian,
  conceded to be the hardest and strongest. Most of this type now
  comes from Cuba, but less than 5 percent of the American imports of
  mahogany are from the West Indies. The mainland Tropical American,
  which grows from southern Mexico to Colombia and Venezuela and
  appears again on the Upper Amazon and its tributaries in western
  Brazil and eastern Peru. Somewhat milder textured than the West
  Indian. A third type comes from the West Coast of Africa. This
  mahogany is not quite as firm textured as the American mahogany,
  but the trees are large and many are highly figured. Accordingly,
  the most of the mahogany veneers used in this country are _African_.

  Mahogany wood is strong and tough, uniform in structure and close
  or moderately open grained, depending upon the locality where it is
  grown. Mahogany possesses a combination of physical and woodworking
  characteristics that have brought it into high renown as a cabinet
  wood. It is receptive to the finest of finishes. Freshly cut
  mahogany ranges from a light pink to yellow, but on exposure to
  light and air, quickly turns to a reddish brown or sherry color.

  Mahogany has an interlocking grain which, on the quarter, usually
  reveals a straight stripe or ribbon figure. To a more limited
  degree some trees show broken stripe, rope, ripple, mottle,
  fiddleback, and blister figures and various combinations of these
  figures. Outstanding are the crotch and swirl figures obtained from
  sections of the trunk immediately beneath a fork or crotch in the
  tree. Mahogany does not produce clearly defined annual growth rings
  common to trees of the temperate zone. Consequently, the shell or
  leaf pattern in flat cut mahogany is due to the interlocking grain
  rather than to annual growth rings.

  _Maidou._--Burma and Indo-China. This tree is closely related to
    the amboyna, but has a coarser figure and a darker brown color.
    Maidou burls are hard, sound, and valuable.

  _Makore._--Africa, West Coast. (Also known as African cherry.) A
    large tree, yielding a furniture wood similar in texture and
    coloring to our cherry, but frequently revealing a strong black
    mottle.

  _Madrone._--California and Oregon. (Also called Madrona.) Chiefly
    used in in the form of burl veneer, which has a tough hard
    surface, intricately veined figure, and rose-pink color.

  _Maple._--North temperate zone. There are about 150 species in the
    maple family, of which 13 are native to North America. The sugar
    maple (also known as hard maple and rock maple) is a magnificent
    tree which sometimes attains a height of 120 feet. The wood is
    heavy, hard and of fine grain, as is that of the black maple.
    In veneers the maples yield many beautiful effects, including
    curly maple, bird's-eye maple, and the remarkable maple burls
    from Oregon trees. With the "natural" finish it is principally
    used for bedroom, porch, and kitchen furniture. 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 essential.

  _Marblewood_ or _Marble-heart_.--See Ebony.

  _Movingue._--Africa, west coast. A straw-colored wood resembling
    Java teak, but more yellow in color. In veneers it produces
    mottled wood and fine feather crotches.

  _Myrtle._--Northern California and Oregon. A greenish-yellow wood,
    which when used in veneers has the peculiarity of showing the
    characteristic figuration of plain, butt, and burl woods in a
    single small area. Chiefly used in burls.

  _Narra._--Dutch East Indies and the Philippines. Red narra varies
    in color from deep red shadings to attractive rose tint. Yellow
    narra ranges through the brilliant browns to golden yellow.
    When cut on the quarter the appearance is not unlike quartered
    unfigured satinwood.

  _New Guinea Wood._--A recent popular importation. Brown to light
    gray with definite black lines. Large trees produce wide, long
    veneers. A highly figured wood with straight narrow stripe.
    Resembles oriental wood, but slightly lighter. Usually cut on the
    quarter.

  _Oak._--North temperate zone. Of the hundreds of species of oak,
    84 are found in the United States. Some of the splendid forest
    oaks reach a height of 150 feet. In the trade, oak lumber is
    classified as _white oak_ (cut chiefly from the white, chestnut,
    post, burr, over-cup, and swamp chestnut oaks), and _red oak_
    (cut chiefly from the red, Shumard red, scarlet, black, and
    yellow oaks).

  English brown oak is taken from certain English white oak trees,
  the wood of which has become brown from an infection of microscopic
  fungus which feeds on the tannin in the wood, leaving a brown
  residue which gives the wood the appearance of fine tortoise shell.
  Many of these trees were sturdy specimens hundreds of years before
  the Norman conquest in the year 1066.

  Pollard oak is the term applied by English cabinet makers to oak
  burls. The veneers are choice and costly. Its uses are legion, but
  in fine furniture it has great strength, durability and attractive
  appearance.

  _Oriental wood._--Queensland, Australia. (Also known as Queensland
    or Australian "walnut.") These huge trees resemble the Australian
    silky oak and the American blue beech. The wood, which is
    comparatively new on the American market, resembles walnut
    in appearance, and the veneers, quarter cut, yield stripe,
    fiddleback, and mottled effects.

  _Padouk._--Burma and the Andaman Islands. (Also known as Vermilion
    wood.) A beautiful wood of reddish golden color with prominent
    ribbon stripe. (See Yomawood.)

  _Pearwood._--Europe and North America. The fruit wood, much used by
    seventeenth century furniture makers.

  _Peroba._--Brazil. The largest family of fine Brazilian woods.
    Peroba Rosa has a pink color, somewhat resembling that of
    tulipwood, while Peroba Blanca resembles satinwood. The veneers
    have a fine grain and take a remarkable polish.

  _Poplar._--United States. The cabinet wood known as yellow poplar,
    whitewood, and poplar in this country, and as canary whitewood in
    England, comes from a tall North American tree known as the tulip
    tree. The wood is of fine grain, uniform texture, and of a color
    ranging from the yellowish white in the sap to yellowish green,
    purplish brown, or iridescent blue in the heart. It closely
    resembles magnolia, but is somewhat softer. Must not be confused
    with the rarer Brazilian tulipwood.

  _Prima Vera._--Central America. While not a mahogany, prima vera
    is generally known as white mahogany. The wood is of cream color
    with a greenish cast, and resembles stripe mahogany in texture.

  _Purpleheart._--See Amaranth.

  _Redwood._--Northern California. (Also known as Sequoia.) Chiefly
    used in furniture in the form of veneers cut from the huge trunk
    burls, which yield sheets 5 × 6 feet without defects. The wood
    has a strikingly veined figure and a light brick-red color.

  _Rosewood._--Brazil, eastern India, and Madagascar. Brazilian
    rosewood, also known as Rio rosewood, was formerly extensively
    used in making piano cases and musical instruments, and is still
    sometimes known as piano-wood. Color varies from brownish yellow
    to deep red, with black growth lines. The veneer is generally
    cut rotary, but also sliced on the quarter or across the heart.
    East Indian rosewood, sometimes known in veneer form as malabor
    or Bombay rosewood, is one of the finest cabinet woods. It varies
    in color from clear yellow through the reds to purple, with dark
    stripes. Madagascar rosewood, also known as _faux rose_, is a
    heavy hardwood ranging from pale pink to dull red in color, and
    revealing a fine pin-stripe in veneer.

  _Sapele._--West African coast. 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 satinwood.

  _Satinwood._--Puerto Rico, and Island of Ceylon. This finest of
    cabinet woods was obtained by the eighteenth century masters
    from the West Indies, but little is now to be had outside
    Ceylon. Whether straight-grained or figured, satinwood has an
    incomparable beauty and fire.

  _Snakewood._--Brazil. This term is applied to several woods, of
    which the most striking is the handsomely mottled wood of the
    South American leopard tree. It is used only in veneer.

  _Sycamore._--United States. This name is applied to the native
    American plane tree, although the term still is applied to
    the ancient Egyptian and Asia Minor mulberry. Sycamore wood,
    generally known in Europe as maple, is reddish-brown in color and
    when quartered is handsomely figured. It has interlocked grain
    and is therefore difficult to split.

  _Tamo._--Japan. (Native name for the Japanese ash.) Veneers cut
    from figured logs reveal an extraordinary wavy-like figure, and
    are beautiful and costly.

  _Tanguile._--Philippine Islands. A Philippine hardwood similar to
    red lauaan (see Lauaan) and like the latter at one time marketed
    as "Philippine mahogany."

  _Teakwood._--Region of the Gulf of Bengal. A hardwood of extreme
    durability, with white sapwood and a beautiful golden-yellow
    heartwood which on seasoning becomes dark brown, mottled with
    still browner streaks. The teak tree is native to India, Burma,
    and Thailand, and the wood is known to have been used in India
    for more than 2,000 years. It is one of the most enduring woods,
    and instances are recorded of teak beams which lasted more than
    1,000 years.

  _Thuya._--Algeria, Africa. (Formerly and properly spelled "thuja.")
    This is the botanical name for the arbor vitae, or tree of life,
    of the cedar family. In Europe the thuya burl is considered
    to share with amboyna the distinction of being the finest
    of all woods. The veneer is of reddish brown color, with a
    characteristic figure remotely suggestive of the feather crotch,
    and speckled with small round "eyes." It is used in Europe
    chiefly for fine cigarette and jewel cases.

  _Tigerwood._--Africa, west coast. (Also known as African or Benin
    walnut.) An inexpensive but handsome veneer wood, ranging from
    golden-yellow to dull brown in color, with a wide and pronounced
    ribbon stripe. The crotches are large and good.

  _Tulipwood._--Brazil. An extremely hard wood of pinkish-red color,
    much used since the seventeenth century for marquetry.

  _Vermilion wood._--See Padouk.

  _Violet wood._--See Amaranth and Kingwood.

  _Walnut._--North temperate zone of America and Europe. American
    walnut is produced commercially from Wisconsin and Southern
    Ontario to Kansas, Tennessee, and the Carolinas. It is widely
    used for lumber and veneers.[33]

  Its use as a cabinetwood for furniture began in the late fifteenth
  century and has continued from that time until the present. The
  wood's natural color, within its outer band of creamy sapwood,
  ranges through a gamut of soft grayish browns whose deepest note is
  pale chocolate sometimes lightly tinged with violet.

  Dean S. J. Record, Yale University says: "Walnut is one of the
  finest cabinet woods in the world. It has stood the test of time.
  Trace its use back through the centuries, and it will be found a
  medium of expression for what successive periods have considered
  most beautiful and worthy in furniture design. As one lover of
  the wood phrases it, 'from the massiveness of the Flemish, the
  elegance of the Italian and French, and the balanced beauty of
  the eighteenth century English walnut, by its inherent qualities,
  has been the one cabinet wood that fulfilled all demands.'" This
  record resulted from walnut's unusual combination of physical and
  mechanical properties.

  It is widely used not only for the most costly furniture, but
  for the medium priced as well, because of another important
  feature--its great variety of figure types. These vary from the
  severely plain straight-quartered walnut, commonly seen on modern
  furniture and architectural woodwork, through sliced wood, rotary,
  many types of stumpwood, to the swirls, burls, and highly figured
  crotches.

  In addition to the American species, imported varieties such
  as French, English, Italian, and Circassian, are still used
  occasionally. However, more than 99 percent of all America's needs
  are supplied by our own American walnut, which ranks somewhat
  higher in strength properties than the European variety.

  _Yomawood._--Burma and the Andaman Islands. (Also known as Burmese
    Padouk.) This is one of the most beautiful woods, varying in
    color from deep crimson through cherry red, pink and red-brown to
    brown. The figure is commonly of the straight ribbon type, but
    some veneers show a cross figure, a little like that of figured
    satinwood.

  _Zebrawood._--Africa, west coast. (Also known as Zebrana.) This
    highly decorative wood has been used since the early eighteenth
    century. The trees are large, and the veneer logs are imported
    in squares 4 to 5 feet square and 20 feet or more in length. The
    wood is light in color, and when cut on the quarter the veneers
    reveal dark stripes of extraordinary straightness, which makes
    the wood a favorite for matched diamond veneers. The name is
    derived from the resemblance of this wood to the skin of the
    zebra.

Appendix E.--COMMON RUG TERMS[34]

  _Burling._--An inspection treatment after weaving, to straighten
    up sunken tufts, to clip off long tufts, and otherwise add to
    finished appearance of fabric.

  _Chenille._--A soft tufted or fluffy cord of cotton, wool, silk,
    or worsted, made by weaving four warp threads about soft filling
    threads, afterward cut.

  _Filling._--Threads thrown across the warp to fill up space between
    knots.

  _Ground color._--The prevailing color against which other colors
    create the motif or design.

  _Jaspe._--Broad irregular stripes of two shades, usually a lighter
    and darker shade of the same color, used either as an effect in
    plain goods or as a ground frame (sometimes in top colors as
    well) of figured goods. It is produced by dipping a skein of yarn
    twice in the dye, first the entire skein in the lighter shade and
    then a portion of it in the darker shade. Various types of fine
    or broad jaspes are obtained by the twist given the yarn. From
    the French word meaning marbled. Linoleum: A two-toned pattern
    resembling marble.

  _Jute._--Fiber from inner bark of jute plant, used as base for
    cheaper rugs.

  _Pick._--The weft thread shuttled through the fabric crosswise of
    the loom between the warp threads. The weft serves to tie in
    the yarn that forms the surface tufts or loops. The number of
    picks per inch is indicative of the closeness of the weave; for
    example, a high class Wilton has about 13½ picks per inch. In the
    Axminster weaves, the word "row" means the same as "pick." (See
    Wires.)

  _Pile._--Projecting fibers or tufts on surface of rug; the _nap_.

  _Pile weaving._--In which there are two warps one with the weft
    forming the base and the other, formed into loops over wires,
    making the pile. In Brussels, the wire is pulled out leaving the
    loop intact. In Wiltons, there is a knife at the end of each wire
    which cuts the yarn as the wire is drawn out, making each loop a
    tuft. The pile is closer on Wiltons than on Brussels, as 13 wires
    are used to the inch, 8 being customary on Brussels.

  _Pitch._--Indicative of closeness of weave, considered in
    connection with "pick" or "rows." Pitch means the number of warp
    threads per inch measured crosswise of the loom. The warp threads
    run lengthwise of the fabric and interlock to bind in the weft,
    thus fastening the surface yarn. The closer together the warp
    threads the finer the weave; for example, good Wilton rugs are
    256 pitch, meaning that there are 256 warp threads to each 27
    inches of width of carpet, or 1,024 in a 9 by 12 rug.

  _Quarter._--Unit of loom width, 9 inches, or ¼ of a yard. The
    standard carpet width is ¾, or 3 times 9 equals 27 inches.
    Yard-wide carpet is known as ⁴/₄; 9 feet wide as ¹²/₄; 15 feet
    wide as ²⁰/₄, etc.

  _Shot._--The number of weft threads (see "pick") considered in
    reference to the tufts or loops of surface yarn. Two-shot means
    that there is one weft thread between each row of pile tufts.
    Three-shot means three weft threads to each row of tufts, one
    on the back and one on each side. Three-shot, requiring more
    material and more loom motion, adds to the cost, but increases
    durability.

  _Staple._--The general fibers of wool or cotton, considered as an
    index of quality; for example, a single fiber judged by itself as
    to length, thickness, and resiliency denotes the quality of the
    batch.

  _Stuffers._--Coarse yarn (usually jute) running lengthwise of the
    fabric that is caught by the weft and warp and bound into the
    fabric to form a thick, stiff, protective backing.

  _Top colors._--Colors forming the design, as distinguished from the
    ground color.

  _Tuft._--A bunch of flexible fibers like hairs, united at the base.
    Fine Wiltons contain 18,000 tufts to the square foot.

  _Warp._--Threads running the long way of rug, between which the
    weft, or woof (cross threads) are woven.

  _Weft._--Threads running the short way of the rug.

  _Wires._--Metal rods inserted between warp at same time weft is
    inserted, crosswise of loom. When withdrawn, resulting loops
    compose the pile. Number of wires is also used as index of
    quality.

  _Woof._--Same as weft.

  _Worsted._--Selected wool yarn made from long fibers, combed
    parallel and twisted hard. Three pounds of raw wool provide one
    of worsted.

Appendix F.--AN ADVERTISING CHECK LIST

This advertising check list was worked out by the Chicago Tribune for
appraising the effectiveness of retail advertising. Copy which gets 70
points or better has proved to be satisfactory. Sample checking of your
advertisements against this table occasionally is suggested.

                                                                _Rating_

  1. Does the headline contain news value?                            15

  2. Is there a promise to the reader's self-interest?                15

  3. Is there an appeal for direct action?                            10

  4. Is the advertisement of proper size for the importance of the
  offer and for its most favorable presentation?                      10

  5. Is the advertiser's signature clearly displayed?                  5

  6. Is the merchandise or service mentioned in the headline?          3

  7. Does the headline include the name of the firm?                   2

  8. Does the illustration show the merchandise or service in use?     5

  9. Does the illustration invite the reader to project himself into it
  pleasantly, profitably, or favorably?                                3

  10. Does the lay-out locate elements logically and eye-invitingly?   5

  11. Is the lay-out exciting or attention compelling?                 3

  12. Does the copy tell what is new, different, or better about the
  merchandise or service, especially from the style angle?             3

  13. Does the copy inspire enthusiasm for the merchandise or
  service?                                                             3

  14. Does the copy have a definite ring of truth and sincerity?       5

  15. Does the copy tell the merchandise or service is priced to save
  money?                                                               2

  16. Does the copy tell that the product is guaranteed, lasting, and
  gives good service?                                                  3

  17. Does the copy develop and appeal to price?                       2

  18. Does the copy or illustration imply the merchandise increases sex
  appeal?                                                              3

  19. Does the copy tell why the merchandise is so priced?             1

  20. Does the copy tell of the seasonal appeal of the merchandise?    1

  21. Does the copy describe the merchandise or service with reasonable
  completeness?                                                        2

  22. Does the copy indicate a personal loss for not buying or using
  the product?                                                         1

  23. Are all negative thoughts connected with the product eliminated
  from the copy?                                                       2

  24. Does the copy indicate enthusiasm of users, such as
  testimonials?                                                        2

  25. Does the copy bring out superiorities of the merchandise or service
  over competitive products?                                           1

  26. Is the urge to action repeated three times--in the heading,
  in first paragraph, and in closing?                                  5

  27. Is the price displayed so it will command sufficient attention?  3

  28. Is there a free deal, free offer, free trial, or something free
  included?                                                            3

  29. Have all details to facilitate action been included? (Phone
  number, order blank, store hours, mention of air conditioning,
  parking, etc.)                                                       2

Appendix G.--FIVEFOLD SELLING PLAN FOR FLOOR COVERINGS[35]

One furniture store has enjoyed a record of sales increases every month
but one for the last 2 years in the floor coverings department. This is
attributed to a fivefold merchandising approach based upon "style" and
"value."

During the entire year, other than at special "sales periods" this
company promotes oriental reproductions, finer broadloom (tone on
tone) carpeting, washed carpet, inlaid linoleum (yard goods), always
accenting "Style" and the necessity of fine floor coverings in relation
to fine home furnishings.

During the so-called "sale periods" of the year, the store features
"Room-wide floor coverings," "Bound broadloom remnant rugs," low-priced
9 by 12 Axminsters, and, in February and August, oriental reproductions
at reduced prices. The store theme is, "Value in every advertisement."
Customers are always sold the advertised merchandise, and full stocks
make it unnecessary to say--"Madam, we are sold out." These two things
build customer confidence in the store's publicity and in the store
itself.

Here are the fundamentals of the "Fivefold Plan":

  1. _Advertising._--Based on 5 percent of the departmental volume,
    the floor covering department is represented in the newspaper 52
    weeks of the year. _Constant promotion insures results._

  2. _Window display._--A window is assigned to the department every
    week wherein may be found the advertised merchandise, or new and
    highly styled floor covering innovations. _A Window Every Week._

  3. _Inner-store displays._--The theme is "Fine floor coverings are
    a necessity in the home of today." Every one of the model rooms
    features as an integral part of the furnishings a fine rug. The
    same holds true in the "Smaller home groupings." These rugs are
    not placed on the floor and forgotten. The furniture salesmen
    call attention to them daily. The carpet salesmen from time to
    time make use of these groupings as selling aids.

  4. _Trained salespersons._--New merchandise is sold _first_ to
    the salespersons. They are taught also that "truth" is the most
    powerful selling argument.

  5. _Service._--The customer is not sold to be forgotten. This
    company keeps in constant touch with the customer after the sale
    is made, both to foster business and to keep her satisfied.

Appendix H.--COLOR AND STYLE IN MODERN ADVERTISING COPY?

For months we have been interested in checking home-furnishings
advertising copy in daily papers. This easily may become more than an
absorbing pastime.

As this is written, there is before us copy of a double-page spread
by a well-known company which sells home furnishings. The copy fairly
shouts color, tapestries, and period styles. Even brief study of
the copy will show how many and varied are the offerings to meet
ever-increasing competitive demands for something new.

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 customers.

Look at this parade of 19 different colors, both plain and pebbly
twist, in carpets in 9-, 12-, and 15-foot widths.

  _Plain colors_

  Reseda green.
  Beaver taupe.
  Royal blue.
  Heather-mist.
  Cherry red.
  Normandie rose.
  Horizon blue.
  French peach.
  Burgundy.
  Maple tan.
  Henna wine.
  Roseglow.
  Dubonnet.
  French grey.

  _Pebbly textured colors_

  Burgundy.
  Reseda.
  Maple tan.
  Roseglow.
  Royal blue.
  Tango rust.
  Jade green.
  French peach.
  Platinum beige.
  Burnt copper.
  Deer-tone.
  Dubonnet.

Oriental rugs in exquisite blending of colors and native originality
in design are offered in India, Teheran, Garevan, Kirman, Bidjar, and
Ardebil weaves. (See footnote 5, p. 160, unit VIII.)

For the _dining room_ there are _Sheraton-Hepplewhite groups_ of
"genuine mahogany construction rubbed and then waxed to its deep rich
red color." Choice is offered of pedestal dining table, or one of
the leg type; also "choice of the famous Hepplewhite shield back or
Sheraton model chairs." Other offerings include an _Adam_ group in
"genuine Honduras mahogany with beautifully figured swirl mahogany
veneers, delicately carved"; an _English Chippendale_ group; an _Early
American_ group of solid rock maple construction. 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 satinwood.

  _Duncan Phyfe side chair_ of lyre back design.

  _Colonial corner cabinet_--genuine Honduras mahogany.

  _Sheraton drop-leaf table_ of the pedestal type.

For the _living room_ are offered "upholstered pieces--sofas, wing
chairs, easy chairs, open armchairs, 'tailored' in effective coverings;
but which may be purchased in muslin and tailored in fabrics of your
own selection." Look at these noteworthy dependable furniture friends:

  _Chippendale wing chair_ with handsomely carved cabriole legs; ball
    and claw feet. Tapestry tailoring.

  _Fireside wing chair._--Colonial Chippendale design; ball and claw
    feet of solid mahogany. Tailored in tapestry.

  _English easy chair._--Exposed frame solid mahogany covered in a
    combination of tapestry and velvet.

  _English club chair._--Seat cushions filled with genuine down.
    Tailored in damask.

  _English Chippendale sofa._--Tailored in damask.

  _Eighteenth century easy chair._--Tailored in frieze.

  _Barrel-back chair_ of English design.--Tailored in brocatelle.

      The occasional pieces include: Secretary Desk in three
        designs--American Hepplewhite, Colonial Sheraton, and Early
        Colonial.

_Cocktail table._--Hepplewhite design--hand-tooled leather top.

_Cocktail table._--Chippendale period--swirl figured veneer top.

_Tier table_ after the colonial period--each of the tops is square in
shape making an ideal lamp table for the chair side.

_Knee-hole desk._--Eighteenth century English.

_Kidney desk._--Finished in the old colonial red tone.

_Nest of tables._--Sheraton in design--master table has hand-tooled
leather top.

_Book shelf._--Early colonial in design, genuine Honduras mahogany.

For the bedroom are many new interpretations of old periods in
interesting color finishes and a variety of woods, including an
offering of--

  _American Hepplewhite_ finished in the new silver green known as
    silver-mint.

  _American Sheraton._--Honduras mahogany inlaid with satinwood.

  _English Sheraton._--Inlays of marquetry.

  _Chippendale group_ following the Chinese influence.

  _Modern figured oak._--Blond color--trimmed with silver
    hardware--hanging mirrors of crystal type.

  _Chinese Chippendale group._--Genuine Amazon mahogany with crotch
    mahogany panels.

  _Early American._--Solid maple finished in the traditional tone.

  _French Provincial._--Solid maple, finished in lovely pine color,
    each piece effectively proportioned--twin beds of the footless
    type with upholstered headboards, covered in chintz.

Appendix I.--CHECK LIST FOR PLANNING A STORE-WIDE PROMOTION

 =(Courtesy the National Retail Furniture Association, Chicago, Ill.)=

1. Opening date; closing date.

  (NOTE.--The most successful store-wide promotions run 10 days. Two
  weeks should be the limit. Make your plan at least a month ahead.
  Be all set at least a week in advance.)

2. Name.

  (This should include at least a hint of the reason why you are
  holding this sale.)

3. Merchandise to be featured.

  (See that a good percentage of this is new merchandise, items that
  you have never run before. Store-wide events based entirely on old
  merchandise are never as successful as they should be.)

4. Total advertising expenditure for event:

  _a._ Newspapers.

  _b._ Direct-mail.

  _c._ Radio.

  _d._ Window and store displays.

5. Advertising expenditure by days.

  (Start your sale off with a bang and end it with a grand finale.
  The middle will take care of itself.)

6. "Presale" or old-customer courtesy days:

  _a._ The dates.

  _b._ Form of announcing them to customers (letter, folder, phone
    calls, etc.).

  _c._ Special terms, premiums or other inducements to old customers
    who purchase on these dates.

  (NOTE.--Sale or no sale, most of your business comes from old
    customers. See that they get special attention in any store-wide
    event.)

7. Window displays:

  _a._ Merchandise to be featured.

  _b._ Window streamers.

  _c._ Price and description signs.

8. Interior and other displays:

  _a._ Aisle banners, post hangers, elevator signs, cashier and
    credit department signs.

  _b._ General floor arrangement and special merchandise displays.

  _c._ Buttons or other special identification insignia for salesmen.

  _d._ Truck banners.

9. Price tags.

  For any store-wide event, your merchandise should carry special
  price tags--not the ones you ordinarily use.

10. Quotas:

  _a._ By departments.

  _b._ By salesmen.

11. Meetings:

  _a._ Special meeting for all employees.

  _b._ Meeting for sales employees only.

  _c._ Meeting for credit employees only.

12. Special employee remuneration:

  _a._ Store-wide sales contest, selling and non-selling help.

  _b._ Contest for salesmen only.

  _c._ Special "spiffs" on particular pieces of merchandise which you
    wish to push.

  (NOTE.--It is not recommended that every store-wide promotion
    embrace every one of these points, although this is possible. You
    should, however, consider all these possibilities in planning
    your store-wide sale.)

Appendix J.--READY REFERENCE INDEX

  Accessories, 136, 145, 191, 198, 215, 227, 232

  Adam furniture and decoration, 58, 66, 67, 72

  Adjoining rooms, relationships among, 171

  Advertising, 3, 7, 196, 265, 266, 267

  All-over carpeting, 171, 181

  Aluminum, 73

  American styles, 70, 165

  Analogous color harmonies, 131, 134

  Animal fibers, 153

  Antique:
    Furniture, 60, 73, 161
    Rugs, 160, 161

  Apartment living room, 267

  Architectural factors in selling furniture, 131, 133

  Argument, folly of, 78

  Armures, 157, 168

  Axminster carpetings, 71, 157, 160, 164, 231

  Balance in room arrangement, 142, 147

  Basket weave, 167, 168

  Beauty:
    Nature of, 131
    Relation to price, 132

  Bedding, 107, 108, 205

  Bedroom:
    Children's bedrooms, 208
    Decorative processes, 61, 206, 237
    Draperies, 207
    Floor coverings, 172, 207
    Relaxation room, 205
    Sales of merchandise for, 76, 205, 208, 210
    Wall treatments, 206

  Bedsprings, 119, 208

  Blond woods, 100

  Body Brussels carpetings, 154, 164

  Book rack, use of hanging, 58, 221

  Brackets, 66

  Breakfast nook, 217, 221

  Breakfast room, 100, 217, 218

  Broadloom carpetings, 165, 168, 266

  Brocades and brocatelles, 54, 60, 156, 157

  Buffets, 54, 196, 235

  Bureaus, 51, 94

  Burls, 91, 255

  Buying habits, 3, 24, 35, 36, 38, 42, 83, 84, 196, 210

  Cabinets, 50, 56, 63, 69, 189, 190, 193, 196

  Cabriole leg, 41, 69

  Calcimine colors, 180, 187

  Call trade, 5, 8

  Carolean style, 70

  Carpetings, 153, 155, 160, 162, 170, 174

  Case goods, 51, 94, 210

  Cedar chest, 187

  Cellulose plastics, 239

  Center of interest, 141, 184

  Chairs, 51, 55, 64, 92, 94, 192, 194, 231, 237

  Chaise lounge, 55, 58, 205

  Charles I, II furniture, 61

  Check-up, the daily, 10

  Chenille carpetings, 154, 160, 162, 263

  Chests, 51, 52, 54, 189, 190, 208, 209, 239

  Chiffonier, 58

  China shelves, 66, 196

  Chinese, influence in decoration, 63, 66, 232, 235

  Chintzes, 64, 157, 158

  Chippendale furniture, 16, 64, 65, 66, 72, 76, 267, 268

  Chromatic circle, 139

  Chromium, 73, 97, 219, 236

  Clocks, 56, 63, 190, 235, 236

  Cocktail tables, 157

  Coils, 112, 113, 114, 115

  Coir, 153, 155

  Colonial furniture, 70, 72, 193, 237, 267

  Color:
    Chart of color combinations, 135, 146
    Definitions, 134, 136, 227
    Emotional effects of, 133, 134, 136, 145, 218
    Management, 135, 136, 139, 140, 235
    Means for larger sales, 267
    Names and families, 134, 135
    Sales talk based on, 133, 136

  Color schemes:
    General, 133, 136, 139, 171
    Bedroom, 171, 206
    Breakfast room, 100, 218
    Connecting rooms, 195
    Dining room, 190, 191
    Hall, 171, 186
    Kitchen, 219
    Living room, 171, 180, 185, 231
    Sunroom, 100, 171

  Commodes, 36, 235

  Competition:
    Factor in selling, 36, 197
    Forms of, 196

  Complementary colors, 134, 135, 136, 176

  Confidence:
    Destroyed by unproved assertions, 33
    Winning the buyer's, 34, 40, 197, 222

  Console tables, 54, 67, 143, 189, 237

  Construction:
    Hidden values, 30, 93, 96
    Methods in floor coverings, 162-166
    Methods in furniture, 95, 214
    Order of in sales presentation, 31, 84, 214
    Women's attitude toward, 49, 84, 197, 240

  Consumer education:
    Wide spread, c, 5, 10, 37, 74, 107
    Problems increasing, 5, 197
    Service to, 5, 93, 123, 198, 218, 234

  Contrast:
    As an element of beauty, 139
    As a method in showing furniture, 210, 211, 213

  Cotton fibers, 116, 153, 154

  Couch, studio, 63

  Craftsmanship, 78, 92

  Credenzas, 54

  Cretonnes, 155, 158, 215

  Crewel embroidery, 159, 190, 247

  Crotch figure, 82, 91

  Cupboards, 247

  Customer:
    Attention to, 20, 22, 84, 108, 199, 209
    Buying habits, 35, 84, 209, 222
    Influencing the, 6, 40, 108, 123, 198
    Meeting the, 24, 199, 241
    Psychology of, 23, 42, 85, 198, 200, 209, 241
    Types of exceptional, 32, 78

  Daily check-up, 10, 36, 241

  Damasks, 54, 60, 118, 154, 157

  David style, 60

  Dining room:
    Combined with living room, 193, 195
    Decoration of, 190, 237
    Dinettes, 194, 195, 237
    Floor coverings, 191, 267
    Junior dining rooms, 193, 194, 196
    Lighting, 190, 192, 227
    Relation to connecting rooms, 193
    Window treatments, 192

  Directoire furniture, 48, 60

  Dominant element:
    Method of, 137, 189
    Necessity for, 189

  Draperies:
    Choice of, 69, 136, 207
    Fabrics, 136, 155, 207
    Function of, 138, 207, 215
    Length of, 183
    Patterns, 136, 183, 192
    Women's interest in, 216

  Drum printing of carpetings, 158, 160, 165

  Dutch cabinet, 63

  Early American, 71, 193, 213, 230, 236

  Easy chair, sales procedure, 17

  Elizabethan style, 61, 62

  Embroideries, 66, 159, 198

  Emotional harmony, test for, 143, 144, 145

  Emotional values:
    Color, 135, 138
    Light, 133, 138
    Line, 137, 138
    Proportion, 137, 138

  Empire style, 59, 60, 72

  Enameling, 100

  English styles, 61, 268

  Ensembles:
    Advantages, 172, 199, 208
    Building units for use in, 172, 194, 211
    Sales techniques, 172, 174, 196, 199, 200, 211

  Fabrics, 42, 153, 172, 220, 228

  Feathers, 124

  Federal period, 60

  Felt-base carpetings, 160

  Fibers, textile, 153, 154, 156, 166, 192

  Figures in woods, 34, 85, 96, 225

  Finish as an element of value, 49, 97, 98, 209

  Finishing methods, 73, 97, 98

  Fireplace group, 184, 235

  Flake figure, 87

  Flax, 153, 155

  Floor coverings:
    Choice of--See discussion of various rooms, 181, 207, 216
    Care of, 166, 169
    Color management in, 159, 207
    Common terms, 263
    Construction in, 33, 159
    Plain vs. figured, 172, 207, 216
    Sales talk based on, 171, 216, 266
    Used to unite adjoining rooms, 171

  Floor plans, nature and use, 20, 21, 200

  Fluorescent lighting, 226, 228, 238

  Follow-up Methods, 190, 200

  Foot:
    Various types of, 69, 248
    Defined-glossary, 248

  Formal balance, 143

  Francis I, 55

  French Provincial, 59, 60, 194, 237, 268

  French Renaissance, 55, 230

  Friezes, frisés, 156, 268

  Furniture:
    Arrangement, 141, 144, 183, 194
    Coverings, 144, 155
    Effects, women interested in, 85, 132
    Hidden values, 33, 42, 93, 94, 96
    Selection and use, 195
    Upholstery, 96

  Furniture woods:
    Appeal of, 85, 88
    Finishes, 97, 98, 99, 255
    Hardwood and softwood, 87
    List of principal, 255
    Structure and eye appeal, 86

  Gate-leg table, 62, 63, 64, 195

  Georgian styles, 64, 72, 237

  Girandoles, 66, 67, 248

  Glass:
    Furniture material, 73
    Curtains, 182, 207, 216

  Glossary, 247

  Grass rugs, 166, 168

  Grouping, importance of, 132, 141, 144, 147, 184, 185, 231, 237

  Growth-ring figures, 86

  Guest room, 208

  Hall:
    Color scheme for, 186
    Decorative principles for, 186, 188
    Draperies, 188
    Floor coverings, 188
    Minimum equipment, 189, 190

  Harmony:
    Nature of, 131, 144, 146, 208
    Tests for, 145

  Hepplewhite furniture, 67, 68, 267

  "High-lighting" merchandise, 41, 76, 77, 211, 252

  "High-pressure" methods, 18, 37, 197

  Hooked rugs, 160, 173

  Horsehair, 153

  Hues, definition of term, 134, 220

  Imagination in sales, 8, 198, 217, 218

  Inlay, historic use of, 42, 54, 69, 94, 247

  Intensity in color, 183

  Interior Decoration:
    Definition of, 3, 131, 133
    Basic principles, 138, 141, 198, 241

  Inventory your home, 133, 211

  Italian Renaissance, 52, 77

  Jacquard weave, 118, 156, 163, 167

  Jacobean style, 61, 62

  Jute, 153, 155, 263

  Kapok, 117, 125, 153, 155

  Key piece method of selling, 33

  Kitchen:
    Accessories for, 218, 220, 235
    Breakfast nook, 217, 221
    Color in the, 219, 220
    Curtains for the, 220
    Decoration of, 220, 236
    Floors, 220
    Walls, 220

  Knee-hole desk, 58, 268

  Knickknack shelves, 236

  Kroehler survey, 39

  Lacquer, 56, 63, 64, 97, 99, 248

  Ladder-back chair, 66

  Lamps, 173, 199, 215, 227, 230, 235

  Latex, 117

  Leather, 54

  Legs, table and chair--styles of, 248

  Library, 171

  Light:
    Emotional effect of, 133, 232
    Relation to color, 133, 207

  Lighting:
    Fluorescent, 227
    Methods for rooms, 144, 230, 231

  Line and form, emotional values, 137, 139, 208

  Linens, 155

  Linoleum:
    Materials and construction, 73, 160, 165
    Used in various rooms, 181, 188, 220

  Living room:
    Color schemes for, 171, 180, 185, 231
    Decorative principles, 179, 188
    Groupings, 141, 267
    Individual pieces, 193, 267
    Related merchandise for, 179
    Room picture method, 197
    Setting up complete room, 197, 199, 200
    Wall treatments, 180

  Louis XIV furniture and decoration, 55, 57, 88

  Louis XV furniture and decoration, 56, 57, 60

  Louis XVI furniture and decoration, 58, 60, 69, 76

  Love seat, 69, 143

  Luminosity in color, 227

  Machine-made furniture, 77, 78, 92

  Mahogany, 58, 60, 64, 67, 73, 100, 232, 258

  Maple, 92, 100, 193, 213, 232, 259

  Marquetry, 42, 56, 58, 249

  Materials as element of value, 31, 49, 84, 110

  Mattresses, 106, 108, 112, 116, 208

  Men as buyers, 38, 119

  Mirrors, decorative use of, 56, 66, 137, 187, 189, 191, 232, 233

  Mohair, 153, 154, 156

  Moisture content in woods, 94

  Moss, 153, 155

  Motifs in decoration, 141, 181, 206, 235

  Murals, 236

  Names, importance in selling, 23, 25

  Needlepoint, 54, 64, 159

  Neutral colors, 136, 137

  Night tables, 205

  Nursery, 171

  Oak, 56, 61, 99, 259

  Objections:
    How to anticipate, 212
    How to answer, 9, 199

  Occult balance, 142

  Odd pieces, selling, 194, 208

  Order taking vs. selling, 18, 140, 206

  Oriental rugs, 61, 75, 160, 266

  Ornament, 67, 73

  Outfit sales, technique for, 199, 200

  Palm fiber, 97, 153, 155

  Paneling, proper employment of, 71, 180, 237

  Pedestals, 56

  Period furniture and decoration, 49, 235

  Personality, elements of, 6, 12, 241

  Phyfe, Duncan, 72, 193, 267

  Physical harmony, tests for, 141, 145

  Pictures in decoration, 137, 138, 191, 232, 233

  Pillows, 106, 109, 112, 123, 124, 125

  Planned selling, methods of, 190, 199, 201, 208, 210, 223

  Plastics enter field of competition, 100, 237, 238

  Plushes, 156

  Plywood:
    Construction, 89, 90
    Characteristics, 96, 240
    Value, 90

  Porch furnishings, 100, 217

  Powder table, 58

  Prices:
    Element of value, 8, 78, 83, 206, 222
    Changing attitude toward, 78, 111, 131, 196
    Judging customer's level, 132, 206
    Meeting competition of, 111, 197
    When to quote, 24, 200

  Primary colors, 134, 135

  Printed linens, 158

  Progress program chart, 4

  Proportion, emotional value of, 137

  Protein plastics, 239

  Pure colors, effect of, 134

  Quality, often a concealed value in furniture in relation to price, 93

  Queen Anne style, 63, 65

  Questions as an aid in selling, 19, 22, 38

  Ramie, 153, 155

  Rattan, 97

  Rayon, 118, 153, 155

  Reed furniture:
    Materials and construction, 93, 96
    In the sunroom, 215

  Related merchandise:
    Importance of selling, 7
    Sale of, 7, 190

  Renaissance, the, 51

  Repetition:
    Artistic method of, 34
    Basic importance in selling, 34

  Resistance--due to unproved assertions, 9, 210

  Retail-store services, 174, 266, 269

  Rococo ornament, 66, 69, 249

  Roller shades, 182

  Room arrangement, 21, 133, 147, 207

  Room picture method, 136, 198, 200, 211, 214

  Rugs:
    Arrangement of small, 181, 188, 192, 207
    Choice of, 181, 188, 192
    Common terms, 263
    Hand-tufted weaves, 160
    Proper margins for, 181
    Sales procedure for, 43, 74, 164, 171, 172

  Sale:
    Closing the, 17, 23, 212, 214, 222
    Starting the, 17, 18, 132, 211

  Salesman:
    As business builder, 3, 85, 107, 122, 140, 222
    As interpreter of appreciations, 78, 85, 138, 140
    Daily check-up, 10, 12, 16
    Equipment of, 10, 85, 140
    Objectives of, 5, 17, 222
    Techniques used by, 6, 8, 83, 172, 206

  Sales volume:
    Sources of increasing, 5, 7, 84, 107, 111, 198
    Ways to larger, 5, 208, 210, 211, 222

  Sateen, satin, 118, 126, 156, 209

  Savery, William, 72

  Scatter rugs, 181, 207

  Screens, 56

  Secretaries, 141, 268

  Selling:
    According to plan, 20, 173, 210, 211
    Fundamentals in, 8, 10, 29, 37, 221
    Hidden factors in, 42, 85, 205, 212, 241

  Shade as a color term, 133, 134

  Shades:
    See window shades, 170, 182, 192
    Lamp, 229

  "Shading" in pile carpets, 216

  Shadow prints, 158

  "Sheen"-type rugs, 33

  Shelves, wall, 235, 236

  Sheraton furniture and decoration, 16, 68, 69, 267

  Sideboards, 67, 69

  Silk, 153

  Sisal rugs, 168, 169

  Small rugs, 181

  Sofa bed, 60, 107, 126, 143, 232

  Solarium, 214

  Solid furniture, 73, 87, 90

  Spaciousness, securing effect of, 137, 141

  Spanish furniture and decoration, 54

  Springs, 107, 112, 115

  Stains, 98, 99

  Stair carpets, 172, 188

  Steel as furniture material, 73, 100

  Store services, 174, 266, 269

  Stretchers, 53, 63, 64, 92

  Studio couch, 106, 126

  Style:
    Appeal of color in, 267
    Appeals based on period decoration, 74, 76, 78
    As a selling factor, 8, 49, 75, 180, 212
    See period furniture discussion, 49

  Sunroom:
    Decorative principles, 100, 171, 214, 215
    Furniture suitable for, 214
    Typical treatments for, 215, 216

  Superlatives, avoid use of, 9, 24, 211

  Synthetics, 73, 240

  Tables:
    Bedside, 237
    Breakfast, 60
    Construction of, 52, 94
    Dining room, 60
    Gate-leg, 62
    Importance of small, 50, 56, 58
    Kitchen, 2, 219
    Occasional, 7, 52, 189, 237
    Tea, 60, 231

  Tabouret, 55, 56

  Tact, 8, 241

  Taffetas, 144, 157

  Tallboys, 64

  Tapestries, 56, 106, 136, 141, 155, 156, 189, 236

  Tapestry Brussels carpetings, 165

  Textile fibers, 216

  Thermoplastic, 239

  Thermosetting, 239

  Ticking, 118

  Tint, as a color term, 134

  Tone, color, 134, 139, 161

  Touch, sense of, 42, 43, 44

  Training levels, 4, 5

  Truth in selling, 9, 33, 34, 75, 77, 108, 199, 266

  Tuft, 119, 164, 170, 263, 264

  Twill weave, 118, 156, 167, 168

  Unit, shifting from to entire room, 198, 199

  Unity as element of beauty, 181

  Unmatched furniture, sale of, 189, 191, 193, 208

  Upholstered fabrics:
    Choice of, 118, 154, 159, 185, 194
    See discussion of various rooms, 159, 209
    Historic practices, 56, 154

  Upholstered furniture:
    Construction of, 93
    Hidden values, 93, 96

  Utility:
    As a buying motive, 8, 50, 133, 147
    Values, 8, 133, 144

  Value:
    Defined as color term, 133
    How to demonstrate, 29, 84, 94
    Real nature of, 83
    Studies of emotional, 133, 134
    When to demonstrate, 31, 109

  Vargueno, 41, 53

  Vegetable fibers, 154

  Velvet carpetings, 165

  Velvets; velours, 60, 76, 156

  Veneer:
    Beauty and historic use, 55, 87, 88, 91, 228
    Preparation of, 86, 88, 89
    Sales talk based on, 73, 91
    When to sell merits of, 90, 91

  Venetian blinds, 182, 207, 216

  Vernis Martin, 41

  Vocabulary building:
    Aids to, 41, 76
    Importance of, 35, 40, 75, 77
    List of descriptive terms, 41
    Suggestions for, 41

  Voyeuse, 60

  Wall decorations, 147, 189, 191, 235, 236

  Wall panels, 190, 215

  Wallpapers, 136, 139, 147, 188, 191, 206, 215, 237

  Wall treatments:
    Color in, 170, 220
    Connecting rooms, 186
    Description of methods, 41, 147, 215
    Painted, 180, 187, 206, 218, 220
    Papered, 64, 137, 180, 206, 218
    Proper relationships among, 147, 180, 188, 191, 215

  Walnut, 55, 58, 63, 73, 91, 100, 232, 261

  Warm colors, 135, 218

  Warp prints, 155, 157, 158, 263

  "Washed" rugs, 161, 266

  Wavy figures in woods, 256

  Weft, 156, 157, 263, 264

  White used in decoration, 204, 206, 219, 228

  William and Mary furniture and decoration, 63, 65

  Wilton carpetings, 154, 160, 163, 165, 263

  Window display, 40, 266

  Window shades, character and use, 170, 182, 192

  Window treatments, 40, 141, 182, 192

  Wood: see furniture woods, 85, 93

  Woodwork in the decorative process, 98, 99

  Wool fibers, 153, 168

  Woolen and worsted yarns, 153, 154

  Women as buyers, 35, 37, 84, 196, 199, 211, 216

  "Word painting," importance in selling, 35, 208, 212

FOOTNOTES:

[32] Statement prepared by the Mahogany Association, Chicago, Ill.

[33] Statement prepared by American Walnut Manufacturers Association,
Chicago, Ill.

[34] The Seng Handbook, The Seng Co., Chicago, Ill. (1939), pp. 54-55.

[35] Reproduced by permission of Robert B. Palmer, advertising manager,
Duff & Repp, Kansas City, Mo., and the National Furniture Review.

                                   ○

  TRANSCRIBER'S NOTES

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