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but discretely and with fine effect.
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The office and lobby of the Hotel Chatham, New York City, treated with typical English panelling and geometric ceiling but with marble tile flooring.
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an example ot the daringly modern camea out with considerable success. The colors are mainly black and very vivid green and the effect is interesting but possibly disturbing to some habitues and to the less appreciative of its waiters, who have to spend their lives there.
Reverting for a moment to the question of lobbies once again, I have found that the furniture most frequently employed is that of the Italian Renaissance, even where the architecture is eighteenth century, and this may become almost as monotonous as the constant use of Adam in the dining room. That there is no necessity for this, except the greater ease with which Italian Renaissance furniture can be bought in the shops frequented by hotel purchasing agents and their architects, is borne out by the extremely satisfactory result obtained by the use of Chippendale in the Essex and Sussex at Spring Lake, New Jersey, or the use of Art Nouveau at the Traymore at Atlantic City. This style, as here employed, is one of infrequent use, and is very much more restrained than the modern European types that have followed it. Two lobbies that to me represent the hodge-podge method of crowding large pieces of furniture of various styles without discrimination are those of Briarcliff Manor, at Briarcliflf, N. Y., and the Marlborough-Blenheim at Atlantic City. Of course there are many worse lobbies than these, but at this point we are not attempting to criticize the Victorian relics of thirty years ago. The Beekman Arms, at Rhinebeck, N. Y., is a good example of strict Colonial handling but, like all the hotels that I have seen that have been treated in this period, it is
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