LIGHTING SCHEMES.

Press, Volume LXVI, Issue 20108, 11 December 1930, Page 4

LIGHTING SCHEMES.

PART PLAYED BY SHADOWS. The thrco historic forms of artificial lighting are candles, gas, and electricity. And the first of theso is generally assumed to have been most poetical. The candle flame had life and soul; movement and a Benso of freedom. But, after all, was tho eighteenth century candlelight so romantic* Mbdern candles have been Improved in every respect, both practical and esthetic, but the candles of a century ago needed constant attention. They were always liable to flare and gutter and smoke; they were affected by the slightest draught, they often cast the most unpleasant shadows round eyes and mouth, and there was alwayß tho possibility of an outbreak of fire. Gas, the illumination par excellence of the Victorian era, unquestionably represented an aisthetio decline. Here, again, modern gas illumination, and tho fittings for its diffusion, have been enormously improved. But in Victorian times gas was associated with a horrible sort of chandelier, dreadful in design, with tho knack of collecting noisome water in certain of ita tubes, and mado to "descend," so that the lowest and remotest reaches of that Avcrnus, the Victorian drawing-room, could be lighted. The nineteenth century gas light was monotonous, yellow, trying to the eyes, and intensely depressing. The Victorians habitually mistrusted their eyesight after nightfall, refusing to believe the evidence of their senses concerning colours and to«e qualities until tho morning. Nor can it be said that there was any sort of immediate improvement with tho introduction of electricity. The earliest vacuum lamps were of clear glass, and it was not until some time later that tho improved gas-filled, opaque and "pearl" lamps were introduced. Electric fittings have for long been adapted from eighteenth century types of chandelior, candlestick, and sconce; and on chandeliers the "simulation candle" lamps havo sometimes been used without shades or other protection fot tho eyes. The Romantic Note. The return of genuine poetry to artificial lighting has been effected by the Modernist in design and decoration. Indeed, so subtlo and so varied .are the effects now achieved that the romantic qualities of eighteenth century lighting have been far excelled. Thv Modernist understands reflection and refraction; ho has learned tho scientific control of light and shadow; and the effects which ho obtains are never accidental, always the result of deliberate calculation. Nover nowadays is the electric filament visible. Frequently the sources of illumination are concealed entirely, the light being reflected from behind cornices or from within tho curves of mouldings. A few years ago designers of modern fittings were devoting all their efforts to the complete elimination of shadows. They succeeded in doing this, and at the »amo time they conquered "glare," which is really tho harsh and wasteful concentration of too much light in One spot; and it is to thi3 fact that the wonderfully soft effects of good lighting are due. At present a further advance is being made. Shadows and glare havihg both been overcome, there is now a tendency for the shadows to be permitted to remain. Instead of being illuminated, tliey are controlled. The shadows are mado to fall in just the right places, mostly on the walla, so that they play a considered part in the decorative effect. Examples of this treatment are seen in tho "Cornet" Wall bracket from which light and shadow radiate starwise, and in tho wall light composed of strips of silvered metal which throws a shadow on either side. EXPERIENCE BEST TEACHER. Au old lady of 93. keeps by her always a tin of Pulmonae. She has for years round them invaluable in checking her cough and dispelling her tendency to bronchitis Attacks. Pul inonas, sucked slowly in the mouth, ease 6ore throats, coughs, colds, 'fluPulmonis from chemists and stools, 1® 6d and 2s 6d. —4