Fannie Hurst

Just Around the Corner Fannie Hurst

IN the Knockerbeck Hotel there are various parlors; Pompeian rooms lined in marble and pillared in chaste fluted columns; Louis Quinze corners, gold-leafed and pink-brocaded, principally furnished with a spindly-legged Vernis-Martin cabinet and a large French clock in the form of a celestial sphere surmounted by a gold cupid. There are high-ceilinged rendezvous rooms, with six arm and two straight chairs chased after the manner of Gouthière, and a series of small inlaid writing-desks, generously equipped for an avidious public to whom the crest-embossed stationery of a four-dollar-a-day-up hotel suggests long-forgotten friends back home. Just off the lobby is the Oriental room, thick with arabesque hangings and incense and distinguished by the famous pair of Chinese famille rose mandarin jars, fifty-three inches high and enameled with Hoho birds and flowers. In careful contrast the adjoining room, a Colonial parlor paneled in black walnut and designed by a notorious architect, is ten degrees lower in temperature and lighted by large rectangular windows, through whose leaded panes a checkered patch of sunshine filters across the floor for half an hour each forenoon.