Chapter VIII: , pp. 103-123 (3)

_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.

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