Perth Amboy evening news., 1922-08-30

vious that here was an object for
which there was a demand. Mean
while, however, the original orcer
had used up the entire piece OF pic
ture frame; and to carve another
pair from wood was out of the ques-
ton because Of the expense.
The young artist knew of the eXls-
tence of a casting material called
carton pierre, which Is a sort OF pa
pier mache initiating stone or
bronze and out of which statues are
sometimes made. He used this ma
terial, took the original book-ends
for a model. and cast several pairs
Of them. These the store sold al
NEST as fast as the embryo factory
could finish them.
About this time Niepold went to
New York where he visited the Met
ropolitan Museum OF Art, a favorite
haunt of his in the metropolis. There
he saw the magnificent Italian art
collection of the late Mr.. j. p. Nor
gan. That view gave him the definite
idea of reproducing Italian rena.s-
sance decoration in articles design
ed for modern use. The Italian art
lists of the sixteenth century did not
make cigarette boxes, for instance;
but they did make small ornamental
boxes, the designs of which could
be adapted to boxes shaped to hold
cigarettes.
His first step was to design an
Other pair of book-ends. this time
an original design in the renais-
sapce He followed this
with other book-ends. They all sold
well, first in the Niepolds' W
store. then in various gift. novelty
and china stores in Washington.
Convinced that this might be the
nucleus OF a prosperous industry.
tho Niepolds tried the experiment of
sending a salesman out with the
slim line of products; and, although
he solicited only in the eastern cities.
he took orders so rapidly that the
manufacturers gave up their pic
ture-frame store and moved into
quarters where there was space for
pouring rooms, baking, storage and
finishing rooms and the like. Since
then they have attended to this
manufacture exclusively.
Frank Niepold began sleeping
himself in the art of the Italian
hibitions, studied books and cata-
logues, and acquired rare pictures.
Eventually he visited Italy and there
not only saw the great museums and
private collections, but acquired for
himself numerous genuine pieces.
AND as his knowledge broadened, he
increased the number of designs in
manufacture in his plant. until now
they number several hundred, the
objects including fruit bowls, wall
scenes, and brackets. lamps, mirror
frames, book-ends, decorative panels
and altar pieces, candle sticks, Jewel
boxes, plaques and medieval busts.
The first book-end designed con-
tinues to be a steady favorite.
Even az the Niepolds increased
their range of pieces. they improved
tho composition in which the OBJ
jects are cast. This question of ma
terial was a problem from the out-
set. The old Italian artists used
wood. which was carved and then
covered with a plaster before FIN
lshed. But even with the marvels
which modern wood-turning ma
chinery is able to accomplish, wood
itself was out of the question for
this work. 1t is impossible nova
days to obtain in commercial guam
titles wood so long seasoned that
it will lot warp or shrink. But any
Wrapping or shrinking under the plas-
ter coat would be fatal to the dura-
bility of the ornament.
Plaster Not Suitable
Plaster, too, could be ruled out,
partly because of its fragility and
partly because many persons bear
a superstitious prejudice against
having it in their houses.
Accordingly the Niepolds took a
hint from the product called carton
pierre and began working toward
a casting composition that should
serve their purposes. Others were
working along the same line; and as
a result there has evolved a new
commercial substance. the use OF
which has rapidly spread in indus
try. In the unfinished state of which
it resembles stone. and in this state
it is used for making mantlepieces
in houses. Half the fine electric
lighting fixtures produced today are
made of this substance, substituting
for the brass of which practically
all fixtures were made a few years
ago. When the liquid composition
has set. it is so hard and tough tnar
objects made of it can be dropped
to the floor with an even chance
that they will not break.
The Borghese reproductions ow,
their appeal probably less to theil
shapes or to their designs than II
their rich colorings and finish. TIL