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illustrations copyright by Vanity Fair. 
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H&G-1-19 




House & Garden 



CONDE NAST, Publisher 

RICHARDSON WRIGHT. Editor 




NEXT MONTH IS THE HOUSE FITTINGS NUMBER 



WALLS and ceilings constitute the back- 
ground of rooms, and they are the first 
fittings one must consider when a house 
is being fitted and decorated. In the Febru- 
ary number these subjects are described and 
pictured the wood paneled wall and the 
molded plaster ceiling. As a guide to those 
who want to know their panels we have in- 
cluded two pages of sketches showing the de- 
signs from the Gothic to the present. There 
is also a suggestion for treating walls with 
screens, which is one of the many uses screens 
can be put to. 

The fireplace is such an essential center of 
interest, and so cheering and practical a one 
during the cold months, that a special page is 
devoted to it. Tables for the end of the 
couch which so often comes into the fireplace 
furniture grouping are considered, too; and 
that the color scheme of the whole room may 
be pleasing, there is another article on the 
essential principles of color harmony. 

An atmosphere of romance clings to Gardner 
Teall's article on Palissy, that skilled keramic 




Ornamental plaster walls are consid- 
ered in February 



artist who made such sacrifices to his work. It 
is a story full of human interest and devotion 
to a great cause. More purely practical, but of 
intrinsic charm, are the sketches of Colonial in- 
teriors which Louis Ruyl has done for us, and 
the pages of Colonial doors and shutters. 

In these days when the time-honored servant 
problem so vexes the housewifely soul, espe- 
cial interest attaches to the utilitarian aspects 
of the home. And since we cannot have a 
home without food, and since for food cook- 
ing is necessary, the two February pages on 
tireless cookers are included. These, together 
with the lead article on a brand new plan for 
the expensive home on an economic basis, 
are especially important today. 

The gardener who knows accurately the pro- 
portions of seed sown to crops harvested is 
rare. But William McCollom knows, and he 
tells about it in this issue. 

These are but high-lights on the February 
contents. The general illumination balances 
and sets them off with a total of twenty-six 
separate features. 



Contents for January 1919. Volume XXXV, No. One 



COVER DESIGN BY HELEN DKYDEN 

THE THING THAT GOLDSMITH FORGOT 6 

John Russell Pope, Architect 
THE BEDROOM OF INDIVIDUALITY ' 

Nancy Ashton 

INSIDE THE HOME OF THEODORE ROOSEVELT 10 

CHAIRS AS MEMBERS or THE HOUSEHOLD 12 

THE ROAD " 12 

Arthur Guiterman 
THE FORECOURT OF AN ARTIST'S HOME 13 

OBJECTS OF ART MADE BY PRISONERS OF WAR 14 

Gardner Teall 
THE ROLE OF FURNITURE HARDWARE 16 

H. D. Ebcrlein and Abbot McClure 
"TAMARACKS," HOME OF FRANKLIN COLBY, ESQ., ANDOVER, N. J.. 20 

COTTAGE CHAIRS FOR COUNTRY HOMES 22 

A HOUSE FOR Two IN THE SOUTHERN STYLE 23 

Julius Gregory, Architect 
AN INDOOR ITALIAN GARDEN 24 

Ruby Ross Goodnow, Decorator 



COLOR TONES IN PAINTED FURNITURE 26 

Mary H. fforlhend 
THE RESIDENCE OF HUNTINGTON NORTON, ESQ., OYSTER BAY, L. I. 28 

Peabody, Wilson fr Brown, Architects 

A PAGE OF TIE-BACKS 30 

A LITTLE PORTFOLIO OF GOOD INTERIORS 31 

Mrs. Edgar De Wolfe, Decorator 
How TO HANDLE COLOR IN DECORATION 34 

Costen Fitz-Gibbon 
MR. ANDREW MORISON'S PLACE AT MONTCLAIR, N. J 35 

W. E. Moran, Architect 
THE WINTER PRUNING OF FRUIT TREES 36 

If. G. Kains 
"DORMY HOUSE," PINE VALLEY, N. J 38 

Frank Hayes, Architect. Agnes Foster Wright, Decorator 
THE FLOORS, WALLS AND CEILING OF A MODERN KITCHEN 40 

Eva Nagel Wolj 
A BUNGALOW IN THE JAPANESE STYLE 42 

A. D. Reed, Architect 

SEEN IN THE SHOPS 43 

THE GARDENER'S CALENDAR 44 



Copyright, 1918, by Condi Nast fr Co., Inc. 
Title HOUSE & GARDEN registered in U. S. Patent Office 

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House cr u ar a e n 




Gillies 



THE THING THAT GOLDSMITH FORGOT 



When Oliver Goldsmith wrote that he loved everything old old 
friends, old times, old manners, old books, old wine he unaccount- 
ably forgot to mention old houses. The dwellings and the aciual 
haunts of his old friends must have included among them some of 
those happy Tudor creations which still remain as beautiful wit- 



nesses to the vitality, freshness and pride of the village 
carpenter. It is in the naive spirit of that period that the Resi- 
dence of Allan S. Lehman, Esq., at Tarrytown, N Y has been 
built. This entrance motive is reminiscent of that time of fin 
craftsmen and noble residences. John Russell Pope, architect 



January, 1919 




THE BEDROOM OF INDIVIDUALITY 

Three Schemes, With Prices, for a Diversity of 
Tastes, Means and Sizes of Rooms 



NANCY ASHTON 

All the furniture and accessories mentioned arc available in tht 
shops and may be bought through HOUSE & GAKDEN Shopping Service. 



knew how to live in the 18th Cen- 
A tury. We, with our 20th Century civiliza- 
tion, seem to have forgotten in spite of the 
advantages of subway, electricity and so on. 
Their love of luxury and comfort was par- 
ticularly illustrated in the "petits apparte- 
ments" consisting of ante-room, salon and bed- 
room, which were a matter of course in the life 
of the great lady of that time. 

A modern translation of this ideal arrange- 
ment would be, it seems to me, a boudoir 
(which may be as frivolous or severe as the 
character of its owner indicates), a dressing 
room and bedroom, with, of course, our one 
really successful modern luxury a beautifully 
equipped bathroom. This plan spells ease in- 
deed, and in the harassing whirlwind of ex- 
istence today one needs nothing more keenly 
than just that: comfort- 
able, luxurious ease. 
One may dress in a 
warm, cozy room with a 
crackling fire going, if 
one be fortunate enough 
to have a fireplace, than 
which there j^ no greater 
delight. 

We must be sure not 
to underestimate the im- 
portance of an harmoni- 
ous setting. That hor- 
rible moment, the begin- 
ning of the day, may be 
faced with a certain 
amount of philosophy if 
there be delightful sur- 
roundings with sympa- 
thetic colors to sustain 
us. So it must be with 
no uncertainty that one 
selects the color scheme 
which may dominate 
one's very existence. 

A Bas Brass ! 

It seems ridiculous to 
have to mention the 
brass bed, which should 
have long since been rele- 
gated to the realms of 
oblivion, where the red 
plush sofa and the "tap- 
estry davenport" have 
been reposing this many 
a day. But despite other 
proofs of excellent taste, 



I still seem to see this particular atrocity ob- 
truding itself, whereas an iron bedstead, which 
may be painted a good color is in far better 
taste. Then, if it is a question of economy, 
there are equally inexpensive wooden beds of 



1 pair of taffeta overcurtains $65.00 

1 pair of georgette crepe draw curtains 18.50 

1 pair of net glass curtains 8.50 

1 chair 45.00 

1 table 55.00 

1 day bed and pillows, painted green 

with chintz covering 195.00 

1 floor lamp 29.50 

1 shade 49.50 

Pictures, each 40.00 

Sconce shades 3.75 




Suggestions for a boudoir showing a day bed covered in lattice glazed chintz, next to 
': have been placed a reading lamp with chiffon shade and a small compact table 



good design, so that there really isn't any ex- 
cuse for this particular lapse. 

Draping the Bed 

There are no end of ways of draping the 
bed. The French have a great number of de- 
lightful canopy designs and hangings with 
guirlandes, and then there are the simpler but 
effective English draperies, the Colonial ones 
being the simplest. Sometimes the lx.-d is 
placed at right angles to the wall and the 
drapery arranged at the head ; other times, it is 
placed close to the wall with the canopy in the 
center and the folds of the fabric falling at the 
ends. But without draperies of any sort there 
are many possibilities of lied covers in taffeta 
or chintz with a ruffle or shaped valance, or a 
simple ruffled muslin cover which is also very 
effectivt 1 . 

Paneled or painted 
walls art- in the long run 
more satisfactory than a 
wall paper with a design 
in it. It is all very well 
to use a paper of this 
kind in a room which is 
not in constant use, such 
as a guest room, but on 
the whole I think you 
will find a quiet back- 
ground more reposeful. 
For the same reason, I 
would advise not having 
too many pictures. This 
is an absurd warning, as 
no one will want to give 
up the one room in the 
house in which they feel 
justified in hanging all 
the family photographs. 
I could go on endlessly 
as to the overcrowding of 
rooms with furniture 
which is too large for it, 
but let me rather ex- 
patiate on a room which 
has been a success. 

A Successful Bedroom 

A delightful English 
glazed chintz with a 
flourr design of rose col- 
or, blue and mauve on a 
fawn colored lattice 
Uuksjround was the in- 
-pinition for its decora- 



House & Garden 



tion. With such fascinating col- 
or harmony as the starting point, 
the result when skilfully han- 
dled could not but be successful. 
All the tones of the chintz which 
is only used on one screen and a 
day-bed are repeated in cur- 



2 pairs of taffeta over- 
draperies @ $65 each.$130.00 
2 pairs of georgette 
crepe draw curtains 

@ $18.50 each 37.00 

2 pairs of net glass cur- 
tains @ $8.50 each. 17.00 
Twin beds, dull ma- 
hogany, $140 each. . 280.00 
1 pair of antique rose 
taffeta bed covers @ 

$85 each 170.00 

1 night table 60.00 

1 screen of glazed 

chintz 36.00 

1 writing desk 130.00 

1 stool covered in ap- 
ple green satin 37.50 

1 sewing table 68.50 

1 satin chair covered 
in apple green high- 
lustre satin 87.00 

1 commode 230.00 

1 lamp 17.00 

1 shade, violet chiffon 
over pink chiffon, 
trimmed picoted 

frills 18.00 

1 picture 37.50 

1 mirror over com- 
mode 100.00 

Carpet, violet, per 
square yard 16.50 

2 painted light sconce, 
lyre motif, cream and 
violet, @ $35 70.00 

Cylinder shades of 
pink taffeta edged 
with folds of violet 
georgette crepe @ 
$3.75 each 7.50 




tains, furniture, carpet and 
lamp shades. 

The outer curtains are of the 
rose colored taffeta made with a 
valance with an old-fashioned 
ruffled finish and tie-backs of 
the taffeta. The glass curtains 



The antique rose taffeta curtains with their quaint frills and tie-backs 

make a delightful background for the dressing table, on which stand 

Wedgewood lamps with pink taffeta shades edged with silver tissue 



3 pairs of taffeta over- 
draperies, old pink, 
with ruching edge 
and tie - backs, @ 

$65 a pair $195.00 

3 pairs of georgette 
crepe draw curtains, 
violet, @ $18.50 a 

pair 55.50 

3 pairs of net curtains, 
cream, @ $8.50 a 

pair 25.50 

1 toilet table 210.00 

1 mirror 37.50 

1 stool 48.00 

1 chair painted deep 
cream, floral medal- 
lion in pastel colors. 50.00 

1 table, pie-crust edge, 

dull mahogany. 25.00 

2 candlesticks, jasper 
green, Wedgwood, 
$11.25 each 22.50 

2 shades, pink taffeta, 
edged with shell shir- 
ring of silver tissue, 
$13.50 27.00 

1 powder jar, Venetian 

glass 11.50 

2 pale green Venetian 
glass perfume bottles 
with flower stoppers, 

at $6.50 each 13.00 

1 Ruskin bowl, violet. 10.00 
1 cover for toilet table 
of apple green satin 
finished with an 
inch-wide box pleat- 
ing of violet taffeta. 13.25 




Behind dull mahogany furniture is a pale fawn wall, with antique rose taffeta at windows and for bed covers; a line of mauve in the undercurtains 
and in the carpel, a vivid spot of apple green on the small satin chair and all the colors brought together in the glazed chintz screen 



January, 1919 





The white ruffled curtains and bed cover are in keeping with the simplicity 
of this little room tarnished mainly with furniture painted a deep cream color 
with a wide band of pale mauve. The bed and little table are in walnut fin- 
ish and there is a gray chintz with a bold pattern design in mauves and blue 
with a touch of burnt orange used at the window and on the over-stuffed 
chair beside the table 



An alternate suggestion for chintz 
for this little room is an all-over 
flower design in gay tones of 
blue and rose on a white glazed 
background. 30", $1.35 a yard 



1 bed, single, in walnut finish $55.00 

spring 25.50 

mattress 40.50 

pillow 5.00 

painted dressing stand 55.00 

painted settle 21.00 

chest of drawers 110.00 

wall mirror 25.00 

small table in walnut finish 28.00 

side chair 19.00 

rocker 19.00 

upholstered chair (exclusive of covering material) 48.00 

yards of chintz to cover chair, at $2.40 a yard 12.00 

desk 55.00 

pair of ruffled curtains 12.50 

pair of chintz curtains, including material 48.00 

1 white ruffled muslin bedspread 40.00 




This chintz comes in a gray 
ground, a dull blue or a deep 
terra cotta; the design, delicate in 
mauves, blues and green, has a 
touch of burnt orange. 31", $2.40 



are of cream colored net and then, instead of 
the usual banal shades, there are delicate 
mauve crepe georgette curtains made to draw 
and shut out the light. The furniture is in 
dull finish mahogany of excellent design and 
there are one or two painted pieces used with 
one chair covered in a vivid apple green satin. 
The plain paneled walls are painted a deep 
fawn color and the carpet is a dark shade of 
mauve. Thoueh this room was planned for 
dressing room, boudoir and bedroom in one, 
the suggestions are equally applicable for three 
separate rooms. 

The dressing table placed in its well cur- 
tained niche is a study in line and symmetry 



in itself. It has been so placed that one may 
have plenty of light by day and there is also 
adequate evening light provided by the two 
small lamps. The treatment of the triple win- 
dow with a single shaped valance following 
the line of the architecture is worthy of par- 
ticular note, as it is the kind of problem which 
so frequently has to be solved. 

There is great dignity and charm in the ar- 
rangement of the furniture so that one is given 
a sense of space and comfort. A well stocked 
writing table has not been forgotten, nor the 
essential reading lamp next to the bed and even 
a screen to cut off annoying draughts, which 
is such a necessity, has not been overlooked. 



Another very much simpler room, but one 
which I think will meet the requirements of a 
great many people is carefully planned with 
a view to both comfort and beauty despite a 
limited purse. The furniture which may be 
had in any color desired is of good design and 
I saw it most effectively painted a very deep 
cream with quite a wide band of delicate 
mauve and a small floral design. With most 
of it done in this fashion, it would be wise to 
have one or two pieces in the natural walnut 
finish, such as the bed and the little table 
shown in the illustration. 

A very delightful chintz, with a gray ground 
(Continued on page 52) 



House & Garden 




The reception room has seen meetings be- 
tween the leading figures of the world. 
One cannot but feel thai here a man is 
surely a hero to his own chairs 



Water buffalo, eland, a big fireplace flanked 

by elephant tusks, a service flag with three 

blue stars and one of golda man's hall 

in every detail 



Naturally one expects to find trophies of 

countless days afield. Game heads on the 

walls, bear and zebra skins underfoot, these 

are characteristic 



The personality of the owner is everywhere 

apparent. Love of books, of out of doors, 

of action the record of a strenuous life 

along this wall of the library 



INSIDE the HOME of 
THEODORE ROOSEVELT 

OYSTER BAY, 
NEW YORK 

Photographs by Paul Thompson 



/,: f : 





January, 1919 



11 



Africa and America 
meet around the 
trophy room hearth. 
The bison heads 
flanking the mantel 
and the lion skin on 
the floor suggest two 
of Colonel Roosevelt's 
best known books 



A more general view 
of the trophy room 
discloses in marked 
degree the virility of 
the whole house. Here 
is nothing fragile, 
nothing which does 
not stimulate by its 
very character 




12 



House & Garden 



CHAIRS AS MEMBERS OF THE HOUSEHOLD 



FUNNY things, chairs ! 
Sticks of wood, turned and carved. A bit of upholstery. A panel 
of cane. 

You see them in the shops, row after row of them, the fat, the slim, 
the gaudy and the neat, waiting proud and aloof like expectant servants 
in an intelligence office. 

You go down the line inspecting them casually, while a salesman 
murmurs catchwords about their periods. Eventually you come to one 
that takes your fancy. Yes, that might look well in your room. The 
salesman extols the merits of its upholstery and swears on his immortal 
soul that it is pure mahogany as pure as ever came out of Brazil 
and not mahoganized birch. Forthwith you exchange cash of the realm 
for the bundle of wood and hank of tufted hair, and go on your way 
satisfied that you have made a good purchase. 

Sheer rubbish ! A chair isn't a thing, it's a personality. 

'"T^HERE are two ways of looking at a chair or a table or any piece 
J. of furniture: you may consider it a mere decorative objective, or 
something that plays an active role in your life a member of your 
household. 

By itself a chair may be simply so much wood upon which a crafts- 
man has spent his energies and artistry. But once you think of a chair 
in respect to men and women who sit in it, 
or a table in respect to those who gather 
about it, the inanimate becomes suddenly 
alive. It is clothed with personality. It is real 
and vital. It will mean very much in your 
home because it means very much in your 
life. 

A poet in The Spectator once put this 
thought into a verse 



I give a loving glance as I go 
To three brass pots on a shelf in a row, 
To my grandfather's grandfather's loving cup 
And a bandy-leg chair I once picked up. 
And I can't for the life of me make you see 
Just why these things are a part of me. 

It follows then, that-the-way to buy furni- 
ture is not to choose it merely for the beauty 
of the workmanship or the wood or the up- 
holstery all important things but first, for 
its adaptability to the sort of life you lead 
and the sort of person you are. 

Choosing a chair or any piece of furniture 
is not unlike choosing a friend. You require 
sincere craftsmanship, which connotes good 
materials; beauty of line and color, which 
will be a pleasure to the eye; and strength 
with which to stand the wear and tear of 
everyday use. Granted these three, you will 
soon become accustomed to it, and its pres- 
ence will have a great deal to do with your 
feeling about home. 

For a home is more than furniture and 
people; it is a place where people appreciate 
furniture and furniture, in turn, would seem 
to appreciate people. A place where there 
is a camaraderie between the animate and 
inanimate, where the things that surround 
you are a part of you. 

It isn't merely marital bliss and well-be- 
haved children that make a home of a house. 
Furniture plays a big part. The furniture 
in a house very seriously influences your de- 
sire to live there. Although many people are 
not aware of it, the fact is that bad furniture 
can get on one's nerves and make home an 
unpleasant place. It has as evil an effect as 
bad drains and drink, and is far more in- 
sidious. When our legislative fathers shall 
have finished with drink as a home-wrecker, 
they might well turn their attention to bad 
furniture. Possibly the average citizen will 
anticipate them by learning what good furni- 
ture is and can mean to him and by exercis- 
ing discrimination in its selection and ar- 
rangement. 



THE ROAD 



My way of life is a winding road, 
A road that wanders, yet turns not back, 

Where one should go with as light a load 
As well may be in a traveler's pack; 



A road that rambles through march and 
wood, 

Meadow and waste, to the cloudy end; 
But, smooth or rugged, I find it good, 

For something's always around the bend. 



ON this page we are not concerned with what constitutes a good 
piece of furniture; we are concerned with two prejudices: Grand 
Rapids and grandfather. 

In some minds the name Grand Rapids is anathema. Nothing good 
can come out of that town. If they want to say that a piece of furniture 
is bad, they call it after the name of the well-known Michigan city. 

Now Grand Rapids is more than a place; it is a principle, an ideal. 
Like everything else human, it makes mistakes, it falls far below its 
ideal and at times would seem to flout its principle. But taking it by 
and large, Grand Rapids lives up to some mighty high ideals. It 
makes good furniture. It makes livable furniture. It makes a great deal 
of the furniture that dealers say is their own. Years of study, the skill 
of able craftsmen, the dreams of patient designers have been combined to 
produce lines of furniture of which the American people can be proud. 
Personally, I would rather sit in a comfortable Grand Rapids antique 
reproduction than in its uncertain original. And as the years pass it 
will come to mean just as much to me as would any antique with a 
pedigree. Not that I distrust antiques. They are around me by the 
dozen only I will not permit myself to take the blind reactionary view 
that age necessarily makes a piece of furniture good or that the im- 
ported piece is always to be held in esteem. 

What has been said of Grand Rapids can also be said of Boston and 
Jamestown, N. Y. Our American manu- 
facturers are awake to the necessity of mak- 
ing well-designed, well-built furniture. They 
employ workmen of the highest skill. Their 
designers come from many lands. They pro- 
duce in abundance because the market is 
large. The American buying public and it 
buys considerably over $200,000,000 worth of 
furniture a year reciprocates in its apprecia- 
tion of these patient labors. For the line of 
good taste is going up steadily and each year 
sees more people learning the lesson that good 
furniture helps to make a good home. 



There may be storms in the bleak denies, 
But oh, the calm of the valley's breast! 

There may be toil on the upward miles, 
But oh, the joy of the mountain-crest ! 

And here's a thistle and there's a rose 
And next whatever the road may send; 

For onward ribbons the way I chose, 
With something always around the bend. 

Then come and travel my road with me 
Through windy passes or waves of 
flowers. 

Though long and weary the march may be, 
The rover's blessing shall still be ours: 

"A noonday halt at a crystal well, 

A word and smile with a passing friend, 

A song to sing and a tale to tell, 
And something coming around the bend !" 

ARTHUR GUITERMAN. 




THE other prejudice is grandfather and 
the things that belonged to him. 

Among the criticisms leveled at the current 
interest in decorating is the fact that it is no 
respecter of sentiment. It would seem to be 
given to fads, to change its entire viewpoint 
every few years. What was howled at in ex- 
hibitions of bad taste a few years back has 
been revived and now enjoys popularity. 

There is just one flaw in this criticism. It 
is true that styles in furniture change just 
as they change in clothes. It is true that 
modern decoration has little regard for senti- 
ment because it knows that most sentiment 
is mere sentimentality. It is also true that it 
has revived objects and usages that a few 
years back were laughed at, but here is the 
flaw it does not revive everything. It re- 
vives what was good in the past. 

Modern decoration is pragmatic. It takes 
the good from the past and embodies it in the 
present. It lifts the tie-backs from the Vic- 
torian curtain and puts them on curtains in 
modern homes. But it does not revive the 
Rogers group! 

This is where grandfather enters the con- 
troversy. Because a thing belonged to an 
ancient and honorable member of the family, 
because it was beloved by him, does not neces- 
sarily make it livable or the sort of furniture 
with which to surround a rising generation. 
If it is good, then preserve it. If it is bad, 
irrepressibly bad, then have done with it. 
You do not insist on wearing your grand- 
mother's dress simply because it was your 
grandmother's. Why then insist on keeping 
grandfather's furniture around simply be- 
cause it was his? What you do with the 
dress is to save the old lace. What you 
should do with the furniture is to save what 
is good. 



January, 1919 



13 




Oilliel. 



THE FORECOURT OF AN ARTIST'S HOME 



A remarkable example of spontaneous architecture can be 
found in "Tamaracks", home of Franklin Colby, the artist, at 
Ando-cer, .V. ]. The owner was his own designer, and the en- 
semble is pleasingly successful. Quite the most charming detail 
is found in the forecourt fountain, an Italian basin built up 



around antique pieces brought from Italy intertwined Cupids 
supporting a top basin which is surmounted by another winged 
Cupid in bronte. Brick walks surround the fountain and grass 
plots and borders of flowers. Water grass growing in the basin 
gives the fountain a note of unusual interest in formal n-ork 



14 




House & Garden 



Straw marqueterie tea caddy 
after the Chinese manner, 
probably made by a French 
prisoner of war during the 
late Napoleonic period 



OBJECTS of ART MADE by PRISONERS of WAR 

A New Collecting By-path That Peace May Now Open Up 
to the Rider of Unusual Hobbies 



GARDNER TEALL 



IN traveling to the Adriatic coast some years 
ago I stopped for several days in a little 
Italian town not far from Ancona. I sup- 
pose few visitors ever alighted there, at least 
that is the impression I got from the profuse 
welcome accorded me at the primitive albergo 
where I put up. Just why even the slow creep- 
ing trains of the Marche ever bothered to stop 
here at all I have yet to determine. With my- 
self I seem to have established a precedent. No 
errand other than that of the spirit took me 
there. It all happened because, when journey- 
ing eastward, I had asked a fellow-traveler 
what there was of interest in this town, and 
then, why the train made so short a stop. 

''No one ever gets out here," he explained, 
'there is nothing to see." 

From that moment my curiosity was aroused, 
for experience has taught me that the most in- 
teresting places are those which most people 
find uninteresting. 

A Medieval Hostelry 

One of the things I found in this little town 
will, perhaps, dear reader, interest you, and so 
I will make mention of it as introduction to my 
subject. The room to which I was assigned 
by my host of the inn was, I 
have reason to believe, the cham- 
bre de luxe of the countryside. 
The high beamed ceiling was 
painted much after the manner 
of the great ceiling of the Floren- 
tine church of San Miniato al 
Monte, although 1 saw nothing 
of it all by the flickering candle 
which lighted my arrival in the 
midst of this medieval hostelry. 
In the morning a burst of golden 
sunlight awakened me and in 
through the windows was wafted 
the fragrance of the grape-flow- 
ers in blossom outside. My 
sleepy eyes followed the walls 
around and then opened wide on 
beholding a quaintly framed 
canvas of beautiful freshness, 
the picture of a group of saints. 
Jumping out of bed and going 
over to inspect the painting I ob- 
served on an old marqueterie 
secretaire which stood just below 
it an array of curious, golden- 
hued objects. On closer exami- 
nation I found some to be boxes, 
some jewel-caskets, others yarn 
containers, while needle-cases, 
frames, book-covers and the like 
completed this odd assemblage 




m J 



'>-' O-j .); 



Portrait of Napoleon, the work oj a French 

prisoner, done a Figure d' Epingle paper 

pricked with various sized needles 




A Japanese cabinet of straw work. Such pieces found 
Europe and inspired the work of French and Italian 



of curious antiques. Tlh-n I discovered that 
these things were all examples of straw mar- 
queterie, but finer, any one of them, than pieces 
of the sort that ever before had happened to 
come to my attention. 

The Landlord Who Collected 

I suppose being a collector makes one a dis- 
coverer. At any rate a discovery it was, and I 
asked myself how on earth these things hap- 
pened to be here. That morning my host ex- 
plained. 

"All these things," said he, " I have been col- 
lecting as a hobby for years, things made by 
prisoners of war, interesting and worth pre- 
serving. The inlaid straw things are but part 
of what I have, ivories, carved cocoanuts, 
jewelry, paper models, embroideries, and so on, 
all made by prisoners of war, mostly in Italy, I 
presume, as I have picked them up here in my 
own country in traveling around. I would not 
part with them for the world!" 

This declaration dashed my hopes to the 
ground, but one can forgive much in a landlord 
who collects things more spiritual than rent, 
and a landlord in Italy who "travels around" 
also commands one's respect for his ability to 
be so independent. That is why 
I listened instead of bargained, 
and in that morning I learned 
many interesting things about 
my host's unusual collection. 
Perhaps there were few kindred 
collecting souls in the neighbor- 
hood who deigned to listen as 
sympathetically as I did or who 
made no effort to conceal an en- 
thusiasm which these thm" 
awakened within me. At any 
rate the amiable inn-keeper who 
would not part with his thing* 
for the world proved finally 
willing to part with a few of 
them for considerably less than 
a hemisphere, which gave me a 
chance to weave tales of my own 
in the years that were to follow. 

One of Hodgkin's Hobbies 
I remember telling the late 
John Eliot Hodgkin, F. S. A., 
that renowned antiquarian whom 
I met in London, of my adven- 
ture. "Ah," said he, "do you 
know that happens to be one of 
my chief hobbies, and that I am 
collecting those very same sorts of 

their way to straw marqueterie things? I am 

prisoners planning to write a monograph 



January, 1919 

about it." Unfortunately the good gen- 
tleman did not live to carry out his inten- 
tion Later I conceived the notion of 
writing an article about straw marque- 
terie and I thought it would lend interest 
to it to include illustrations of pieces in 
the Hodgkin collection. However, my 
intention was, for the time, blighted on 
receiving a reply to my request which ex- 
pressed a hope that I would leave the nel< 
completely clear for his projected mono- 
graph, appending the suggestion that he 
would I* much troubled if I did not. To 
l>e amiable is not always a collector's 
privilege, but in this instance I embraced 
mine and hastened to assure the dean of 
antiquarians that I withdrew from com- 
petition with his inexhaustible plans for 
writing about everything on the face of the 

earth. 

Now that he is no more, what is said of straw 
marqueterie and objects of art made by prison- 
ers of war cannot challenge hostility in a spirit 
whose eagerness was often misjudged, whereas 
it ought to have been measured, as I measured 
it, by its extraordinary capacity as a genius 
among collectors who ought to have been given 
the first chance to tell all he knew before others 
took a hand at telling it. His interesting vol- 
umes under the title of Rariora are, unfortu- 
nately, out of print. In one of these he did re- 
produce some of the specimens of straw mar- 
queterie in his own extensive collection, and as 
I am not privileged to reproduce these here, 1 
will refer the reader who wishes further to in- 
terest himself in the subject, to the pages of 
those erudite tomes which he may be fortunate 
enough to find on the shelves of some of the 
more important art libraries in America. 

The Variety of Prison Wares 
From times immemorial, I suppose, war pris- 
oners who have not been enslaved by their cap- 
tors but have been treated without barbarity 
have sought to enlighten their tedi- 
um by various sorts of handicraft, 
exerting to the utmost their inge- 
nuity in the matter of tools and ma- 
terials. To-day the subject is one 
of immediate interelt to us. Al- 
ready have art objects made by 
prisoners of war interned in Hol- 
land and in Switzerland reached us. 
In time they will come to be as 
treasured as the antiques made by 




Koth the above trays are 19tA Century Japanese 
stfaw marqueterie. Vari-colored straws are glued in 
a design on a wooden base 





Cut paper has always been a 
favorite diversion oj war pris- 
oners 



18th Century straw marque- 
terie ball made by Italian 
prisoners 

Straw marqueterie basket made 

by a French prisoner of war 

long ago 




15 



the prisoners of war of the Napoleonic' 
period and of earlier times. To cata- 
logue the variety of such things would re- 
quire page after page. Naturally nearly 
all such objects are "handy" in size and 
one does not look for particularly large 
specimens of war prisoners' art work. 
One begins to realize, after visiting the 
convalescents' ward of a military hospital, 
what a blessing to the soldier some knowl- 
edge of an art handicraft may be. I have 
seen several marvelous things whittled out 
of wood by prisoners of war, bone carv- 
ings, beadwork, jewelry that indicate the 
godsend the work must be to the soldier 
prisoner detained in the enemy's camp. 
But of all these objects I know of none 
that are more beautiful than those of 
straw marqueterie. 

I do not know where the art originated. Mr. 
Hodgkin confessed to a like hiatus in his 
knowledge of the subject. However, I have no 
doubt but that artistic straw inlaying was prac- 
ticed in the Orient at a very early date. Thence 
it may have been brought into Europe. I feel 
sure that it was known and practiced during 
the period of the Renaissance in Italy, and I 
consider the old Italian examples of this craft 
to be the earliest European ones. 

Straw Marqueterie 

This early Italian straw marqueterie is dis- 
tinguished by its rich golden and golden 
browns of various shades, suggesting the rich- 
ness of Venetian pictures. The objects to be 
covered by the artist in straw were of various 
materials, such as wood, paper, papier-mache, 
cloth and occasionally glass, metal or bone. 
The design, pattern or picture was worked out 
by pasting filaments and little sections of straw 
(stained to various colors) on the surfaces of 
he objects to be covered, and then varnished. 
The minuteness of some of this straw work is 
extraordinary. It would seem to have necessi- 
tated the use of a glass of high 
magnifying power as well as to 
have required almost superhuman 
patience and ingenuity to put it to- 
gether. Moreover, these early pieces 
in straw marqueterie were so faith- 
fully fabricated that they have come 
down to us in excellent condition. 
I imagine the French learned the 
art of straw marqueterie from their 
(Continued on page 46) 




A straw marqueterie box made by an l&tk Century French prisoner 
of war. The details of color and line in the flowers must have re- 
quired infinite patience 



4n elaborate miniature eager in straw marqueterie done in the early 

19th Century by a French prisoner of war. The design is worked 

out in soft colors 



16 



House & Garden 



A pierced and en- 
graved mount jrom 
a Spanish chest 




THE ROLE OF FURNITURE HARDWARE 

By These Mounts Progress Can Be Traced Through the Decorative 
Periods in France, England, Italy and Spain 




A Spanish 
chest lock 



FURNITURE mounts 
play a double role; they 
are both utilitarian and deco- 
rative. They are the indis- 
pensable hardware of furni- 
ture. At the same time, they 
are what might fitly be called 
its jewelry. 

Whether they be considered 
in their utilitarian or in their 
purely decorative capacity, a 
knowledge of mounts is essen- 
tial to a thorough understand- 
ing of furniture. The subject 
constitutes one of the smaller refinements of 
mobiliary art, it is true; nevertheless the mounts 
produce a very material part of furni- 
ture's charm which is quite out of pro- 
portion to the amount of space they 
occupy. 

Mounts and Their Materials 

The general term mounts includes 
hinges, locks and bolts, key-hole plates 
or escutcheons, knobs, handles or pulls, 
backplates, straps or bands, corner or 
angle - pieces, re - enforcings, gallery 
rails or frets, pilaster capitals and 
neckings, bases and metal feet, nail- 
heads, studding, finials, ornamental 
plates, Empire appliques, and any 
other metal embellishments (except 
metal inlay) that designers and cabi- 
net makers may have resorted to from 
time to time. 

The materials of which mounts have 
commonly been made are iron, brass, 
bronze, ormolu (an alloy of copper and 
zinc, with sometimes an addition of 
tin, much used by 18th Century French 
ebenistes), bone or ivory, wood, and, 
in the early 19th Century, glass. 

With this latitude of possible appli- 
cations and this range of materials, all 
susceptible of a wide diversity of ma- 
nipulation in process and design, it in 
easy to understand how the course of 
evolution followed not only the trend 
of the great successive styles Renais- 
sance, Baroque, Rococo, and Neo-Clas- 
sic but also produced many subsidi- 
ary phases peculiar to certain localities. 

During the period of Renaissance 
design in English furniture, that is, up 
to about the middle of the 17th Cen- 
tury, the mounts were a comparatively 
inconspicuous feature and were utilita- 
rian in function. Turned wooden knobs 



H. D. EBERLEIN and ABBOT McCLURE 

of the plainest design often answered as drawer 
and door pulls. Chests, cupboards and cabinets 
in general had plain iron drop or loop handles, 
comparatively small in size and usually with 
little or no ornamentation. Hinges were either 
concealed or were apt to be plain iron straps. 
Escutcheons and keyhole plates were small and 
of simple pattern or were altogether lacking. 
Most of the furniture was so profusely carved 
that the effect of ornate mounts would have 
proved redundant and been lost. 

In France, up to the latter part of the 16th 
Century, much the same general condition pre- 
vailed. A great deal of the furniture was richly 
carved, for one thing, and, besides that, artisans 
were so occupied with the exuberance of deco- 




The fretted back and keyhole plates play a distinctive 
decorative role in Ike ensemble of this mahogany block- 
front bureau bookcase. Canfield collection 



rative craftsmanship in so many other direc- 
tions that relatively little effort was expended 
on the elaboration of mounts. In Renaissance 
Italy, also, the mounts were, for the most part, 
of quite secondary importance. Outside of a 
few simple brass knobs on cupboards and cabi- 
nets, and the brass studding occasionally used 
to embellish credenze or the underframing of 
tables, the only metal mounts were the plain- 
est of iron drops or loops. Other than these, 
knobs and pulls were of turned wood. 

In Spain and Portugal 

Spain we may include Portugal with Spain 
was the only country where mounts played a 
really conspicuous part in the Renaissance pe- 
riod. Iron locks, lockplates, corner or 
angle-pieces and bandings, hinges, 
handles and pulls, were beautifully 
engraved, chased, fretted, and punched 
and, in addition, were often gilded. 
These elaborate iron mounts were 
chiefly used on the exteriors of the 
vargueno cabinets or kindred pieces of 
furniture and to some extent also on 
chests. The plain exteriors of the wal- 
nut vargueno cabinets, for the most 
part devoid of carving or moldings, 
made an excellent foil for the intricate 
metal work, ensuring a striking con- 
trast in color, material and design. 
The contrast was often still further 
enhanced by underlying the large fret- 
ted mounts with velvet, usually of a 
rich red. 

Moulded brass finials were often 
used to surmount the backposts of 
chairs and brass-headed nails or chat- 
tones of many different kinds, some 
of them punched, hammered, engraved 
or fretted, were used to fasten on the 
leather or velvet back and seat cover- 
ings and, at the same time, to perform 
an important decorative function. 
Brass studdings and fretted band 
pieces were also occasionally used on 
cabinet work. The vargueno cabinet, 
and the closely allied papelera with its 
many little drawers, may be considered 
the crowning achievements of Spanish 
cabinetwork. The drawer fronts of 
these pieces were frequently enriched 
with bone inlay which was still fur- 
ther enhanced by the addition of color, 
gilding and engraving, the incised de- 
sign being filled in with black or ver- 
milion pigment. The pulls or knobs 
of these drawers were often of the same 



January, 1919 



17 



engraved and colored bone. Otherwise 
they were of iron, or of iron gilt, in the 
form of cockle-shells, mulberries, drops 
or the like. 

The Baroque Period 

With the advent of Baroque influence 
in furniture design (1600-1735) there 
came an appreciable change in the 
character of mounts. 

In England from the time of the 
Restoration onward, the prevailing sur- 
face treatment of cabinetwork was flat, 
no matter how much that flat surface 
might be enriched and diversified in 
color and pattern by marqueterie, inlay 
or veneer, which were without relief, or 
by lacquer, where the relief was neg- 
ligible. Consequently, both the need 
and the propriety became apparent of 
mounts more conspicuous and more in- 
tricate than had hitherto been in use 
with highly carved surfaces. At the 
same time, the nature of the materials 
used in cabinetwork and the method of 
their treatment called for more bril- 
liancy in the mounts and a nicer de- 
gree of finish in their execution. 

Brass, therefore, quite naturally be- 
came the favorite material and was fret- 
ted, chased, and engraved, as well as 
punched, cast and molded. Bone and 
ivory were often used for keyhole fac- 
ings and bone, ivory and wood frequent- 
ly served as pulls. Not seldom did it 




happen that iron mounts on old pieces 
of furniture wen- replaced by the new 
and more fashionable bra>s mounts. 
The brass of this |R-ri<xl differed from 
the metal used later in tin- l.Stli Cen- 
tury, in chemical comjxwition; it was 
of a lighter yellow color and more ductile 
so that it lent itself more readily to 
<!iasing, engraving and other pro-' 

BackplatcK and Pulls 

In the earlier part of the Baroque 
period of influence drop pulls were gen- 
erally either flat or hollow in the back, 
and were plain, molded, emlxjssed, or 
engraved, as were also the rosettes or 
small circular plates from which they 
depended. The engraved and modeled 
or embossed mounts, es[x.-cially e-< ut 
cheons or keyhole plates and the plates 
for drop pulls, exhibited compact de- 
signs of scrolls, fruit, flower-, foliage, 
cherubs' heads and the like. Late in the 
17th Century bail pulls, with or with- 
out backplates, began to take the place 
of drop pulls and fairly early in the 18th 
Century drop pulls went quite out of 
fashion. The early backplates were 
often engraved or chased with minute 
designs of flowers, fruit, foliage and 
scrolls; so also, sometimes, were the 
contemporary keyhole plates. More fre- 
quently, however, backplates and escut- 
cheons were decoratively shaped in sil- 
(Continued on page 46) 




Baroque influence is seen in the en- 
graved brass keyhole plate and 
brass drop pulls of this Queen 
Anne secretaire 



Shaped keyhole plates are a distinguishing feature 

of this mahogany block-front chest of drawers. 

The style is Baroque in effect 






Keo-Classic influence is shown in the oval back 

plates of the drawer pulls on this serpentine front 

chest of drawers 



An Empire jardiniere, showing 
the decorative brass mounts 



Jacobean mounts were not conspicuous, but the designs, 
as shown by this group, have individuality. Keyhole 
escutcheons of either iron or brass were either modest or 
lacking. In later Jacobean times we find the brass es- 
cutcheons more gracefully shaped and chased and fretted. 
nicer handles were simple knobs at first, drop loops 
being introduced later. Hinges were neither conspicuous 
nor elaborate 





Characteristic metal mounts of the William 
and Mary Period, showing the drop han- 
dles, keyplates, and an elaborate hinge 




Sheraton mounts were much like 
those used on Hepplewhite furni- 
ture. This is a Sheraton group 



Characteristic delicacy and classicism of design are 
found hi the Adam metal mounts, as seen in this key- 
plate and two decorative draper pulls 



18 



House & Garden 



PREPAREDNESS AND THIS YEAR'S KITCHEN GARDEN 

Plans and Preliminary Work for the Home Garden of 100% Utility Necessary Space for Specified 
Yields Early Seed Shopping, Keeping Records, and Other Essential Details 



WILLIAM C. McCOLLOM 



IN some ways gardening is but little different 
from other lines of endeavor; it pyramids 
rapidly upon its own successes, but fails even 
more quickly when adversity or poor accom- 
plishment turns the balance the other way. 

That is one reason why we should plan our 
gardens with care. Mrs. Jones' garden may be 
ideal for Mrs. Jones' requirements, but you and 
I must plan for our own individual needs. We 
may beg, borrow or steal considerable knowl- 
edge from the experiences of others, but the 
first and most important work for us is to get 
something that fits our requirements. A gar- 
den too large never succeeds, while a garden 
too small is very disappointing. It must be 
admitted, however, that a small garden well 
managed is much to be preferred to a large one 
where carelessness and indifference prevail. 

Advance Planning 

Plan ahead, order ahead, work and harvest 
ahead. No really good gardens are the result 
of an overnight inspiration, even though many 
magazine articles on the subject would have 
you believe otherwise. Who for one moment 
thought when those gray-clad hordes swept 
through Belgium and northern France in the 
late summer of 1914 that the preparation for 
the drive dated back only to the killing of the 
Crown Prince of Austria on June 28th? Its 
failure can be attributed only to attempting the 
impossible; and the same is true of gardening. 

How large a garden must you have? 

As a basis for our figures we will take a 
family of five, a good average American house- 
hold. What would be a reasonable allowance 
for a family of this size 
based on yearly consump- 
tion ? A garden is not only 
a summer visitor; if prop- 
erly planned and managed 
there is not a day in the 
entire year when good, 
wholesome vegetables are 
not available for your 
table. 

Potatoes are a staple 
crop. The average pro- 
duction of the United 
States prior to the war 
was about 300,000,000 
bushels. This would mean 
approximately three bush- 
els for every person in the 
country, or fifteen bushels 
for our family of five. 
How much ground does it 
take to produce fifteen 
bushels of potatoes? The 
average production is in 
the neighborhood of 100 
bushels per acre, though in 
home gardens close plant- 
ing and intensive cultiva- 
tion should give us a yield 
of 200 busheis, or about 
one pound of potatoes to 
every foot of drill. This 
would mean 900' of drill, 
or a space about 45'x50'. 
This figure is very elastic, 




Small carrots keep best in jars; the 
larger ones require more cooking 

as favorable growing conditions will reduce 
the area required to grow the necessary fifteen 
bushels, and poor conditions mean reduced yield 
and more space to produce a given amount. 




The pantry shelf route to midwinter 

vegetables calls for enough planting 

to yield abundantly 



Mental attitude and garden success 

are closely related. The work should 

be pleasure, not drudgery 



Other garden crops can be figured on a simi- 
lar basis. One row of bush beans SO' long 
should produce about 5,000 pods. This is 
based on average yields rather than bumper 
crops. About fifty beans will fill a pint meas- 
ure; therefore a row of 50' will supply us with 
one hundred meals of one pint, or half that 
number of quarts. Beans must be used while 
fresh, or canned for future use. It is evident, 
then, that when planning our garden we must 
take into consideration the productive value of 
the various crops. In the February number 
this matter will be taken up more in detail. 

If properly managed a garden 50' square 
should produce all the vegetables that our 
standard family could consume. That means 
one or more vegetables for every day of the 
year, in summer fresh from the ground and in 
winter via the pantry shelf route. This is by 
no means a theory, but a simple problem in 
mathematics. Your garden is usually over in 
late September; it will be seven long months 
before it will again be producing. Consequent- 
ly, we should have stored on the pantry shelves 
when snow flies not less than 225 cans of our 
summer product. 

Potatoes, of course, were not included in our 
50' garden. Additional space will be required 
for them, and as most small gardens are lack- 
ing in area these vegetables are usually pur- 
chased for the winter. All other forms of root 
crops, however, were included in our garden, 
and while it is always a good practice to can 
the surplus of these crops it is also advisable 
to make a special sowing of some of them in 
late summer for the express purpose of storing 
them for the winter. 



An Orderly Plan Essential 

Start in gardening with 
a cool determination to 
have a good garden. Run 
it on a budget system the 
same as enterprising busi- 
ness men adopt. Make a 
small sketch plan of your 
garden and see if you can- 
not arrange the crops ad- 
vantageously; see that the 
tall crops do not shade the 
smaller ones; have the 
rows run north and south 
if possible; make the 
space more attractive by 
the addition, of flowers, 
fruits and other means of 
ornamentation. You will 
be surprised how much 
more productive your gar- 
den will prove simply be- 
cause it does arrest your 
interest. The much fre- 
quented garden is the pro- 
ducer; the hidden garden 
behind the neglected 
hedge, which is more of 
an incident than a definite 
purpose, is always a fail- 
ure. Ten dollars spent in 
the improvement of the 
surroundings will give 



January, 1919 



19 





A space measuring forty-five by fifty 
feet ought to yield fifteen bushels of 
potatoes. Gardening costume by Best 



Plan your garden liber- 
ally. Make it a garden 
of plenty canning will 
take care of any surplus 



The kitchen garden is 
a business proposition. 
Records should be 
kept of cost, yield, etc. 




you twenty dollars in in- 
creased yield, because of 
the personal pride that un- 
consciously leads us up to 
higher standards. So make 
your garden a gladsome 
spot where you can take 
your friends with some de- 
gree of pride. 

The old English estates 
which are today so beauti- 
ful with plant life reflect 
the interest in economic 
gardening. Their vegetable 
gardens were always fea- 
tured; brick walls with 
their covering of choice 
fruits, hedges that were the acme of perfection, 
flower borders that were noticeable because of 
their completeness, plantings of all kinds that 
were selected bu reason of their suitability. 
That is the proper method whereby to accom- 
plish any project; start out with a definite pur- 
pose and see it through. 

Selecting the Site 

Far too little consideration is given the se- 
lection of site for the family garden. The 
usual procedure is to choose a place for the 
roses, then for a few fruit trees, then for the 
chickens and various other heirlooms of the 
suburbanite. What is left, if any, is "our 
garden". Soil conditions and drainage are 
not given even a passing thought. Shade, too, 
is often overlooked; why, we never gave those 
large trees a thought, because they had no 
leaves when we laid out our garden ! Or, after 
the garden was well established too close to our 
south boundary line, that grouchy neighbor 
erected his garage so that it shades our rows. 

Conditions of all kinds which have a direct 
bearing on the utility of the garden should be 
studied carefully when selecting a site. Keep 
far enough from your south line so that you 
can be unconcerned with the developments of 
your neighbor. If you have the necessary lati- 
tude take a spade and go over your premises 
carefully testing the soil. Dig down to deter- 
mine where is the greatest depth of top soil. 




On the left, soil too light; at the 

right, too heavy. See text of this 

article for details 



The texture of this soil is good. It 

is sufficiently cohesive, yet crumbles 

under pressure 




A fifty-foot row of beans will pro- 
duce 100 pints if the soil is right and 
conditions favorable. With bush 
beans this means 5,000 pods 



Best is a spot where the sub- 
soil is open and porous. 
Avoid sites where the un- 
derneath strata is a heavy, 
impregnable hardpan. If 
there are grades to consider 
do not locate your garden 
at the lowest point, for, 
while water is very neces- 
sary to the health of plants, 
an excess of it is an evil 
that cannot be overcome 
without considerable ex- 
pense. Ground that slopes 
gently to the south is ideal. 
After you have selected 
the ground, make the gar- 
den one of the features of your place. Plan 
your grounds with the garden as the pivot. 

Soil Tests 

Plants do not exist upon the soil itself, but 
upon the soluble elements that are retained in 
it. These elements must be properly balanced 
for the garden to be productive; an excess or 
deficit of certain chemical parts is undesirable. 
It is for this reason that we feed the soil, plac- 
ing therein elements that are particularly lack- 
ing. In every case these must be soluble to be 
of any value in the creation of growth. All 
soils contain a certain amount of natural fer- 
tility that can be made available for the plants 
by deep and constant working which admits 
the air to the lower strata. 

The texture of the soil has an important 
bearing on its productiveness; soils that are 
very heavy and will not produce satisfactorily 
contain an excess of water but do not admit 
enough air to neutralize the chemicals. The 
reason for this is that the soil particles are 
exceedingly small and lie so compactly as to 
exclude air. Light, sandy soils contain abun- 
dance of air but do not retain water, by virtue 
of the soil particles being larger. 

A simple test can be made to determine the 

soil texture by taking a small quantity and 

squeezing it in the hand. It should, if prop 

erly balanced, remain a perfect mold of the 

(Continued on page 50) 



House & Garden 




A view of the right ^d gable 
with the garden wall in the 
foreground. The interesting 
feature of this detad is the fen- 
estratlon, the beautijul effect 
gotten by the restrained use of 
windows in the broad, rough 
wall surface 



(Right) A porch detail of the 
arches and the simple casement 
windows. Beyond, in the porch 
wall, has been set an elaborately 
carved jountain with a semi- 
circular pool at its foot around 
which are grouped potted 
flowers 



An unusual group of supporting columns 
and beams has been used in the hallway 
Of the three columns, the end ones support 
the floor immediately above which the third 
continues on as a support to the roof. 1 he 
stairs and interior finish are cement 





From the general view it will be noticed 
that while the house is symmetrical, sym- 
metry has not been imposed upon it. There 
is the saving grace of interesting details. 
Mr. Colby, who is a well-known artist, is 
responsible for the designing of the house 




>*- v * v 



M 






^ 



i9* r . 



v-^> 



January, 1919 



21 



"THE TAMARACKS," 

HOME OF FRANKLIN 

COLBY, Esq. 

A N D V E R , 
NEW JERSEY 



Directly in front of the house is a little 
garden enclosed by a low hedge. Its 
focal point is an octagonal fountain, 
from which rises a basin crowned with 
a flying Cupid. From this, steps lead 
down on to a bricked path that ter- 
minates in a pool. It appears like a 
great distance, and yet so near is the 
pool to the house that it can mirror 
the arched portico and deep overhang- 
ing eaves 





The new house was built 
around an old structure that 
had been standing on the site 
over a hundred years. The 
one remaining feature of it is 
the dining room fireplace with 
the old bake oven still in ser- 
vice. An open beam ceiling 
and rough-cast walls furnish a 
dignified background for the 
Lancashire chairs and Jacob- 
ean hutches with which the 
room is furnished 



House & Garden 



22 



A group suitable for a simple 
country house dining room is 
shown in the sketch. The chairs 
are modern adaptations of peas- 
ant designs, with rush seats, 
and can be painted any color de- 
sired. The arm-chair comes at 
$30, the side chair at $25, the 
little table with drop-leaf sides 
at $33, and the stool in dull oak 
finish at $25 





COTTAGE CHAIRS FOR COUNTRY HOMES 

They can be purchased through the House & Garden 
Shopping Service, 19 West 44th Street, N. Y. C. 




A familiar type nf old American 
cottage chair is painted green 
with touches of color in the deco- 
rations. Several of these are avail- 
able at $5 each 




(Below) First, a ladder- 
back, rush-seat chair with 
twin stretchers, $18. 
Then, a Windsor yoke- 
back of l&th Century 
make, $65. The third is 
a Dutch chair of 1720, 
with a fiddle back and 
rush seat, $35 




Another quaint chair, made en- 
tirely of natural-toned wood, is 
known as the English spider-back. 
It is an old one; $7. A chair pad 
will add comfort 



From Spain comes a wal- 
nut monastery chair, a 
type also used in cottage 
furnishing. It has very 
interesting chip carving. 
$48. The arm chair, to 
match, comes at $55. 
Both would be more com- 
fortable with chair pads 



An interesting reproduction 
of a comb back chair with 
pierced splat comes in dull 
mahogany or dull finished 
oak. It sells for $26 





Another reproduction of a 
Windsor straight back chair 
has a rush seat and is 
painted black with decora- 
tions in dull green, $17 



January, 1919 



23 



A HOUSE FOR TWO in the SOUTHERN STYLE 

Being the Residence of F. C. Malcolm, Esq., at Pelham, N. Y. 
of Which the Architect Was Julius Gregory 



IT is a distinct problem to create a livable 
small house. 

By a small house we mean one that has suf- 
ficient accommodations for two and a servant, 
or two and a child and a servant. 

By livable we mean a house that you can 
live in and still maintain your self-respect. 

There are hosts of small houses scattered over 
the country, but it cannot be said of all of them 
that they are livable according to this canon. 
Yet the more people appreciate the relation be- 
tween good architecture, good decoration and 
good living, the quicker will they demand that 
small houses be designed and furnished with 
the same care and professional skill that is lav- 
ished on large houses. 




A case in point is the small house shown on 
this page. The aim of the architect was to give 
to it the character and dignity found in some 
of the old Southern Colonial types of architec- 
ture. This has been accomplished by simple 
materials used in a natural way. 

The scheme of a two-story porch follows the 
Southern Colonial precedent. Further Col- 
onial details are the broad chimney furnishing 
fireplaces on two floors, the quarter-circle win- 
dows on each side the chimney, the small paned 
windows throughout, with pierced shutters, 
and the distinctly Colonial type of entrance 
door with side and fan lights. The materials 
used were wide clapboard on the side and 
matched boarding on the front. The chimney 
is brick whitewashed, the surface being broken 
half way up with a wrought iron device and 
the cap pronounced with 1 a triple row of un- 
painted brick. 

The Plan 

Inside, the plan is simple. There is the 
usual house-depth central hallway with living 
room on one side and dining room on the other, 
both letting out on the front terrace, which has 
a brick floor, through French doors. The sun 
porch is so located that it is connected with 



Southern Colonial in character, the exterior is a com- 
bination of simple materials used in a natural way. 
Clapboard walls are painted white, chimney white- 
washed and blinds painted green 



the pantry, through the kitchen, and can be 
used for a dining por< li. 

Stairs leading to the second floor have a sim- 
ple iron rail and open on a narrow hall that 
gives access to the four bedrooms. These four 
bedrooms are served by two baths. There is a 
plenitude of closet space. On the third floor 
are sufficient accommodations for a maid a 
bedroom and bath and large storage spaces. 

While there is nothing unusual about this 
plan, it is livable, compact and provides a 
maximum of comfort and accommodations. 
Rooms are well lighted and well ventilated. 
They furnish a background against which the 
occupants by the exercise of discriminating taste 
can create rooms of interest and distinction. 




The first 
floor plan is 
simple and 
compact, 
with livable 
space assign- 
ed to each 
room 




On the sec- 
ond floor are 
four bed- 
rooms, two 
baths and a 
plenitude of 
well placed 
closets 



24 



House & Carder. 




Halting 



AN INDOOR ITALIAN GARDEN 



The problem of this indoor garden was to make a background 
where old Chinese figures, lead vases jrom England, stone and 
terra cotta jrom Italy, might be used in friendly association 
The Italian spirit is predominant in the garden. The walk 
which runs around the four sides, is oj red tiles. The ceiling 



ts of sky-blue in tempera. The niches, which are designed to 
hold figures, are painted brilliant sapphire blue tempera. An 
unusual effect has been obtained by the use of mirrors set in 
the corners of Ike garden. The trellis is painted in many tones of 
green and blue. Photographs by courtesy of John Wanamaker 



January, 1919 



25 





Through the arched openings in the plastered walls one glimpses an Italian 
room beyond. An old Siennese coat-of-arms is hung against the plastered wall. 
From the red walk one steps down into the pebbled garden. Pots of all sites 
are grouped on the pebbles, in the fashion oj a real Italian garden 



Sapphire blue niches, which have 
rose-marbled posts flanking them, 
hold Chinese figures of yellow 
marble. The window framing of 
trellis and the perspective trellis 
inserts add to the unusual charac- 
ter of the garden, each contribut- 
ing its share to the color ensem- 
ble. Ruby Ross Goodnow was 
the decorator 



The shaft in the center of the 
garden, which was an architect- 
ural difficulty, has been made 
background tor a pool. The bal- 
ustrade, which runs around the 
tiled walk, is background for a 
stiff and formal ivy hedge, trained 
on a wire frame. The illustration 
gives an excellent idea of the use 
of a perspective treillage 




26 



House & Garden 

COLOR TONES IN PAINTED FURNITURE 

One Painted Piece Will Lighten a Heavy Room and a Number 
of Them Affords Excellent Color Schemes 



MARY H. NORTHEND 



T IKE a page gleaned 

1 -< from n, ';ld-time 
romance re; ; story 

of decoratec ' liture. 
Royalty, espc'.V.ly in 
the middle ages, rev- 
eled in its bright colors, 
and placed in their pal- 
aces cabinets and chests 
showing rich scarlet and 
bright hues, worked out 
in heraldic designs. 

During the regime of 
William and Mary deco- 
rated furniture was used 
extensively, continuing 
in favor when Queen 
Anne took the throne. 
This queen, fond of 
bright colors, was re- 
sponsible for the broad 
scope of brilliant deco- 
rations which were in 
keeping with the extrav- 
agance of the age. The 
master craftsman, at- 
tracted by the artistic in- 
fluence of color, conveyed 
this thought into new 
designs. 

The Color Revival 

Then the fashion 
passed, and gorgeous old 
pieces were tucked away 
under the eaves, considered valueless. The 
Victorian era came in and massive furniture 
replaced the more delicate designs. But to- 
day the modern decorator sees the desirability 
of using harmonious colors, and where could 
they better be found than in painted furniture? 

The revival in color naturally brought a re- 
vival in the use of peasant furniture and to- 




On the landing between two floors painted furniture can be used to create a writing room. 

The furniture is white with bright color decorations and white and black velour pads. 

Chamberlain Dodds, decorator 

day novelties are continually being designed 
which lend unusual charm to a room, by cre- 
ating a cheerful atmosphere. Original designs 
by the Italian, Dutch, and Bavarian peasants 
are being copied. These pieces have a distinct 
charm, as they differ in character from the or- 
dinary painted furniture and are easily identi- 
fied by their original coloring solid back- 



grounds of yellows, 
bright blue, and some- 
times black are applied, 
brightening the line and 
floral decorations in con- 
trasting tones. Their ap- 
propriateness for rooms 
where light, dainty fur- 
niture is applicable has 
caused a demand for 
them and householders 
are searching the attics 
to discover old ancestral 
bits that can be scraped 
and redecorated. 

Adaptable Pieces 

Early American fur- 
niture lends itself to this 
type more readily than 
any other, both in repro- 
ductions and antiques; 
for here solid colors are 
generally applied with 
contrasting decorations 
of conventional flowers, 
in garland spots, and 
borders. Countless and 
bewildering are the many 
designs that are being 
constantly reproduced by 
modern artists, and these 
in their finish represent 
the work of the ancients 
much more brilliantly, 
as scientists are bringing out not only more 
permanent, but a better variety of colors than 
those formerly used. Often single pieces may 
be obtained, so odd in construction that they 
mingle consistently with the furnishing of even 
a conservative room. 

Black and gold is an Oriental combination 
that is particularly effective, although many 




For a girl's rooni white enamel beds decorated with flower sprays are 
suitable. The corner desk and curtains bear the same motif 



Black and white can be used successfully in a bedroom when some 
other color is introduced to lighten the severity of the contrast 






January, 1919 



27 




I'a.nted furniture fits 
perfectly into the break- 
fast room. The pieces 
here are white with 
green striping and rose 
decorations 



types are finished with a black background 
and bright colors introduced in embellishment. 
Striking contrasts, very effective in character, 
are shown where harmonious lines of color are 
employed without any modifications. 

Color in Bedrooms 

Matched pieces are suitable either in the 
breakfast or bedroom furnishings. For the 
latter, whole sets are effective; but these, while 
similar in treatment, should show different dec- 
orations to avoid a sameness which is disas- 
trous in producing proper results in interior 
decorating. The background of each piece 
should harmonize with the wall treatment and 
draperies. Black and white is always in good 
taste, if not over-ornamented, as there is a 
charm surrounding a room of this nature, more 
especially if the floor covering has squares of 
black and white, thus transforming what would 
otherwise have been a commonplace apartment 
into one of quaint vitalizing interest. Choose 
for draperies imported cottons of the same tone, 
with picture insets, which can be cut out as 
covers for ornamental pillows. 

Daintiness must be the theme in a young 
girl's room where dark furniture would be en- 
tirely out of place. Why not use white enamel 
pieces with flower touches? There is a fresh- 
ness connected with childhood days that would 
make this room consistent, and all the more so, 
if white muslin curtains with borders of flow- 
ers are chosen. If this order of furniture is 
advisable, remember it can be painted to match 
the walls and draperies in the various rooms; 
but have the finish just a tone darker than the 
wall surface, for the color prominent in the 
hangings will bring out individuality. Dark 
brown with flower medallions is adaptable for 

The colors of the painted furniture in this 
bedroom are gray and blue. Linen spreads 



The chest of drawers 
below is brown with 
colored medallion in- 
serts. Peasant chairs 
match. Chamberlain 
Dodds, decorator 




a room with one-toned wall, which should be 
just a little lighter than the framing of the bed. 
I 'he dniperies of flowered chintz must fit into 
the composition, thus giving a snap to the fin- 
i-lted whole. 

Unique is the bedroom fitting in a Boston 
residence where green and brown is the color 
scheme chosen, and like many other pieces of 
Italian or Dutch furniture, instead of geomet- 
rical motifs, such as the tulip or Oriental fig- 
ures characteristic of the countries, mytholog- 
ical scenes have been inserted which show 
great spirit in design. 

Nursery Schemes 

Keep away from white in the baby's nursery, 
for here delicate tints are most appropriate, 
with whimsical figures as illustrations that de- 
light the little one's heart. The wise use of 
light furniture is important, as nothing dark 
or somber should intrude on their small world 
of gladness. Add a screen with framework 
matching the tiny bed, paint along the sides bits 
from Mother Goose; but limit yourself in the 
use of animals, which sometimes create fear in 
a child. In no part of the house are we so un- 
limited as here, for diminutive furni- 
ture comes in so many different 
styles, ranging from beds, dressing 
tables, and chairs, to play-boxes, 
chests, and blackboards, each one 
suitable for illustration. Through 
their use, this part of the house has 
become a veritable paradise. 

Love of the open tempts us to 
leave indoors to spend our days on 
the porch or sunroom, which should 
be fitted up with bright, attractive 
settings; painted pieces, combined 
with flower effects, give a gay atmos- 
phere that is irresistible. The early 
American chair, rush bottom, is ad- 
missible, while willow and raffia 
furniture have been included in the 
list, as they are found to-day most 
attractive in their coloring. The in- 
evitable tea cart is now shown in 
vivid colors, much more picturesque 
than the raffia or mahogany ones 
which are also obtainable. 







28 



House & Garden 




Tebbs 



The style is Colonial, all architectural 
features being omitted to obtain a {arm 
cottage type of building. Wide clap- 
board walls are painted white, shutters 
green and the hardware black 



The distinction between living and ser- 
vice quarters on the first floor plan is 
marked. The rooms are large but the 
individuality oj each has been preserved 
and the plan is simple and livable 



From the master suite to the other end 
oj the second floor runs a narrow hall 
with bedrooms and baths conveniently 
arranged along it. The rooms communi- 
cate easily and are well ventilated 



DINING LOO 

18 o K2I-0 




TCH.ILACC 



HALL 



L c S |_, 

I | fc-*-o |VElll6ULt 

loj , I 

1 ' ' i g 

m*u 

) UlLC. 



LIVING R.OOM. 

20-0 . JT-0 



LIVING 
Potcn 



, y 




THE RESIDENCE OF 

HUNTINGTON 

NORTON, Esq. 

OYSTER BAY, L. I. 

PEABODY, WILSON & BROWN, 

Architects 






January, 1919 



29 





1 he living room is an example of what can be 
done with simple, well-chosen pieces arranged 
for a maximum of comfort. At one end is a fine 
Colonial mantel with a padded fender before it. 
A deep couch stands to one side and a wing chair 
at the other. A writing group has been created 
between the windows and the music corner is in 
the foreground. The curtains are simple sun- 
fast made with plain valances. Cay-colored linen 
covers give tone variety to the furniture 



Off the living room entrance is given 
to a paved terrace through a. French 
door. From this is commanded a 
view across the hills and woods. The 
old moon cut shutters and black 
hardware are in keeping with farm- 
house architecture 



A sense of freedom and openness, so 
essential to a country house, is felt 
in this view looking from the living 
room across the hall into the dining 
room. The difference in levels gives 
a noticeable added attraction to the 
larger room 



The main entrance follows the Colo- 
nial classic proportions, with post and 
lattice work in place of the usual 
stock columns. The door has an old 
Colonial fan light at top and two 
leaded lights on the side. Bricks form 
the floor 



30 



House & Garden 




Frequently tie-backs are made of the 
chintz or taffeta of the curtains them- 
selves, but if one is lucky she chances 
on really old examples of French gilt 
or crystal. Living room curtains may 
be caught back by a quaint pair of 
French gilt tie-backs made of queer 
shaped leaves and flowers. A set of 
four, 1 l /2" long, comes at $8 the set. 
Below is shown a feather-shaped tie- 
back, of French gilt. This would take 
heavy hangings, measuring 9", $6 a 
pair. Next to it is a shield shaped gilt 
holder with a little knob of glass be- 
low which is pink tinsel. 3" high. A 
set of eight are available for $25 



A PAGE OF TIE-BACKS 

In Victorian Days the Tie-Back Was a 

Popular Institution. The Use of It 

Is now Becoming More and 

More the Accepted 

Thing 






You might call tie-backs the jewelry 
oj curtains; they give a decorative fin- 
ish that is very entertaining although 
they must be chosen with a regard for 
the material and design of the curtain. 
In the circle above, is a band of gilt 
with a white porcelain flower center. 
It measures 4" ; $8. The little rosettes 
shown below are used to loop the cur- 
tain cord on when cord is used for 
lying-back. The two placed together 
are oj gilt. They measure 4" in diam- 
eter and are $6 the pair. Next to them 
is a small, opalescent glass rosette, 2" 
in diameter that would go beautifully 
with sheer curtains; $3 a pair 




The dignified curtaining of a window re- 
quires several elements the sheer glass cur- 
tain that filters the light and makes it an 
even glow, the over-curtain that frames 
the window and gives color to the window 
space, the valances that finish the top and 
lend the variety of a decorative edge, and 
finally, our Victorian revival, the tie-back 
and its rosette. Here are two types. At 
the left is one of those delightful opalescent 
glass rosettes, which are so effective. V/*' 
in diameter, S6 the pair. At the right, se- 
verely simple bands of French gilt with 
design in green, 7" long, $1.50 the pair 



This Victorian revival does not mean that deco- 
rators are reproducing Victorian rooms in en- 
tirety. Heaven and Grand Rapids forbid! 
But there were many decorative and entertain- 
ing details used in Victorian days that are quite 
worth reviving. The draping of this over-cur- 
tain to the floor is a case in point. It is a re- 
action from the severely short-skirted curtains 
of the last few years. The tie-back is another 
detail that justifies revival. Done in the best 
Victorian manner there comes a pair of rather 
ornate tie-backs in a design of morning glories 
made of French gilt with the flower in white 
porcelain. S 1 /,", $15 the pair 



Tie-backs are capable of such infinite varia- 
tions that the jew shown on this page repre- 
sent but a handful of the hundreds avail- 
able in antique and decorating shops and 
in attics waiting to be rediscovered. Here 
are two designs. A striking pair of rosettes 
come in French gilt with touches of black 
in the design. They measure 4" in diameter 
and sell for $1.50 a pair. At the right is a 
shield shaped affair of French gilt that is 
used as a rosette. The curtains are tied back 
with an embroidered band ending in heavy 
tassels looped over the rosette. It is 8" 
high and is priced at $4 for the pair 



January, 1919 



31 







A LITTLE PORTFOLIO OF GOOD INTERIORS 



The breakfast room in the residence of Mrs. Christian de Guigne, San 

'sco, is an example of a small room in which the Louis Seize spirit 

cen pleasingly reproduced. The walls are pale gray green, with 

'tiled panels let in as over-doors and above the console. The curtains 

outler colored taffeta. Special interest is found in the black marble- 



topped console with its Venetian glass vases, the marqueterie-top 
table and the wrought-iron fixtures delicately reproducing the floral 
sprays and ribbons of the period. A plain carpeting rug affords con- 
trast to the delicate colors and contours of the furniture and walls. 
The architect and decorator was Mrs. Edgar de Wolfe 



32 



House & Garden 




^Sm 



One end of the bedroom in the De Guigne residence has a simple fire- 
place group of couch and writing table. Walls are paneled in pale 
gray and draperies and furniture are old rose 



The other view of the bedroom shows the Louis XV bed with the 

characteristic wall decorations and draped curtains of the period. Mrs. 

Edgar de Wolfe was architect and decorator 




January, 1919 




Dignity is given the drawing-room of the De Guigne residence by the 

paneled walls and carved woodwork. Walls are Adam green, draperies 

in green and rose, and furniture, old needlework 



The small drawing-room in the residence of Mrs. George A. Pope. San 

Francisco, of which Mrs. Edgar de Wolfe was decorator, is chiefly m 

yellow and blue, with a fine Savonnerrie rug 




34 



House & Garden 

HOW TO HANDLE COLOR IN DECORATION 

An Intricate Problem Reduced to Its Simplest Terms 



COSTEN FITZ-GIBBON 



COLOR is either one or the other of two 
things in the composition of a room. It 
is either a most valuable ally and servant, or 
else it is a destructive tyrant and enemy. 
Which it shall be depends altogether upon 
ourselves and how we manage it. If we grasp 
it firmly, as we are told we should grasp 
nettles, and treat it with assured and intelli- 
gent mastery, it will serve us; if we are timid 
and uncertain, it will make us rue our inde- 
cision for many a day. 

We cannot ignore nor evade color, even if 
we would, any more than we can avoid breath- 
ing, so long as we are alive. It is all about us 
at all times and presents an issue that must be 
met. We ought not, therefore, to leave our 
dealings with such an important subject to 
chance, as so many of us do, when there are 
definite principles upon which we may act with 
a reasonable assurance of satisfactory results. 
The following suggestions and epitome of 
facts are intended for the use and guidance of 
the average householder who necessarily has 
numerous color decisions to make from time 
to time. When a skillful decorator is re- 
tained to take charge of furnishing a room or 
a house, one does not need to worry about 
color adjustment, but when a decorator is not 
engaged the whole responsibility must be 
borne by the householder. And even when 
the services of a decorator are retained, some 
knowledge of color properties and color com- 
bination, adjustment, and balancing of pro- 
portions will be of inestimable value in facili- 
tating co-operation with the decorator, in 
assuring appreciation of what is done, and in 
avoiding subsequent ill-judged additions. 

Primary Colors and Their Combinations 

The basis of all colors, and of all combina- 
tions of color, is to be found in the solar 
spectrum, which is made up of the three pri- 
mary colors, red, yellow and blue. From these 
three foundations, standard or primary colors, 
by varied combinations and properly gradu- 
ated proportions, all other colors are derived. 
A color formed by combining two primary 
colors in equal proportion, is called a sec- 
ondary color. The secondary colors are also 
three in number green, orange, and violet. 
Green is formed from the primaries, blue and 
yellow; orange is made from the primaries, 
yellow and red; violet is composed of the 
primaries, red and blue. 

The combination of two secondary colors 
forms a tertiary color. The three tertiary col- 
ors are slate, composed of violet and green; 
citrine, composed of green and orange; and 
russet, composed of orange and violet. 

A further progression gives us quarternary 
colors, each composed of two tertiary colors. 
These, likewise, are three in number, the 
tertiaries citrine and slate producing sage; 
citrine and russet combining to make buff; 
and russet and slate uniting to form plum. 

Color Actions 

By another classification, which dovetails 
in with the foregoing, colors are 

(1) Advancing and warm. 

(2) Receding and cool. 

(3) Neutral. 




The contrasting colors can be found by fol- 
lowing any line across the circle. Jkus, 
red-green, buff-blue 

Of the primary colors, red and yellow are 
warm or advancing, while blue is cool and 
receding. An advancing color is one that con- 
tains red or yellow elements in ascendency. 
It is called advancing because it is assertive, 
outstanding and strong in character and 
creates the visual impression of coming for- 
ward towards the eye. 

The perception of color is "an internal sen- 
sation" transmitted to the brain by the optic 
nerve. And the agency that sets the optic 
nerve to working is the wave action known as 
light. It has been scientifically demonstrated 
that advancing colors are stimulating to the 
nerves in varying degrees, even to the extent 
of being disturbing or actively exciting. Red, 
for example, excites and stimulates the nerves, 
in some cases to the extent of causing rest- 
lessness. And because, by their vibrations, 
the advancing colors stimulate nerve restless- 
ness and the rapid action of excitement, they 
are appropriately termed warm colors. The 
warm colors differ in the degree of their power 
to excite. 

A receding color is one that contains the 
blue element in ascendency. It is called re- 
ceding because it is not assertive nor insistent 




On this chart are shown the three primary 
colors and the way they combine to form 
the secondary, tertiary and quarternary 
colors. Charts by courtesy of C. R. Clifford 



in character, but rather creates the optical im- 
pression of sinking into the background and 
receding from the observer. It has also been 
scientifically demonstrated to complete satis- 
faction that receding colors have a quieting, 
restful effect upon the nerves. And because 
of this soothing tendency in allaying excite- 
ment, they are called cool colors. They also 
differ in the degree of their sedative quality. 

What a Neutral Color Is 
A neutral color, as the name indicates, is 
neither advancing nor receding; it is a com- 
posite color in which the advancing and re- 
ceding elements evenly balance each other. 
Thus, a pure green, one-half yellow and one- 
half blue, is neutral and so, also, is violet, in 
theory, one-half red and one-half blue. As a 
matte'r of fact, in the latter instance, the blue 
tone usually predominates and imparts a re- 
ceding quality. Of the tertiary colors, slate 
is theoretically neutral because the advancing 
and receding elements in its violet component 
(one-half red and one-half blue) are evenly- 
balanced or neutralized and so, likewise, are 
the advancing and receding properties in its 
green component (one-half yellow and one- 
half blue). 

Neutral colors are often of a dull character 
(not invariably, however), such as some of 
the drabs or grays, and might be derived by 
lightening slate or other neutral colors with 
white or darkening them by the addition of 
black. One of the most valuable properties 
of neutral colors is that other colors may be 
put in immediate juxtaposition to them with- 
out clashing. This property is shared by 
black and white and by the grays resulting 
from their combination. Such grays, strictly 
speaking, should be called negative and not 
neutral for there is no advancing element in 
them to be neutralized by a balancing receding 
element. 

Coral, Gold and Blue 

Certain colors that cannot be classed as 
either neutral or negative have this neutral 
property of agreement. Coral red is one in- 
stance, and this neutral property of certain 
colors that are not neutral explains in par 
some of the peculiarity and charm of a good 
deal of Oriental coloring that, upon 
analysis, strikes us as daring. Gold, also, 
has this neutral property, as the illuminate 
and painters of the Middle Ages and of the 
early Renaissance knew full well, 
tain conditions, a cerulean blue, or a gray 
cerulean blue, likewise has a neutral property 
making it possible to use it satisfactorily as a 
background and foil for other colors. 

From the foregoing explanation of 
properties and composition of colors, it be- 
comes clear that the qualities of color exert 
very concrete effects upon the successful choice 
of paint, paper, upholstery, hangings, or ever 
upon personal apparel. 

Take the walls of a room. The effect of ad- 
vancing color upon the walls will diminish 
the apparent size of a room by seeming to bring 
all the walls forward to you and thereby con- 
tracting the dimensions. On the other hand, 
(Continued on page 48) 



January, 1919 



35 




Because of Ike steepness of 
the ground, the site is cut into 
several levels. The house is 
placed on a broad terrace 
pared with flags and with 
blue flowering plants in spaces 
hrre and there. The style is 
taken from the simplest New 
England prototypes. A rail- 
ing crowns the cornice 



The doorway, one of the fea- 
tures of the front, is flanked 
with an arch hearing a lamp 
made from a pair of antique 
iron newels taken from an old 
house in New York. The ex- 
terior clapboard walls and 
brick chimneys is painted 
.chile, and the iron porch and 
entrance archway bottle green 



MR. ANDREW MORISON'S 
PLACE at MONTCLAIR, N. J. 



WILLIAM EDGAR MORAN, 

Architect 




QOta 

From the south porch brick and 
flagging steps lead to the sunk- 
en garden, which has been laid 
out with a circular grass path 
centering in a brick-edged pool. 
An interesting arched open 
porch beneath the sleeping gal- 
lery is continued as a pergola 
to connect with the garage and 
kennels 



The garden is enclosed by a 
wall of rough stone with a brick 
coping that forms an excellent 
background for the plantings. 
From the south end steps lead 
to a grass terrace and a light 
tea house screened in at the 
back with an unusual lattice 
and raised on a flagged brick 




36 



House & Garden 



THE WINTER PRUNING OF FRUIT TREES 

Spot-lights on a Subject That Is too Little Understood Methods Whereby the Crop Can Be 
Increased and Brought to a Higher Standard of Quality 



M. G. KAINS 



FOR convenience in discussing the 
problems of pruning, let us divide 
fruit trees into four general groups: 
those newly planted; those that have 
been planted from one to three or four 
years; those comparatively young trees 
that are bearing; and old trees that 
have been more or less mismanaged or 
neglected and are therefore in need of 
renovation. 

When trees are planted in the fall it 
is a wise policy to postpone pruning 
the branches until spring. Of course, 
if branches have been broken in transit 
from the nursery or in handling they 
should be trimmed immediately below 
the break, but preferably no farther. 
The fewer and smaller the wounds, the 
more remote from the trunk in young 
trees at this time of year, and the less 
the wood below the bark is exposed 
during winter the surer is the tree to 
survive. So, even though it may ulti- 
mately be necessary to remove 
half or two-thirds of the top 
to make a well shaped tree, 
postpone the cutting until 
spring when the tree will be in 
most active growth and can 
easily heal its wounds. 

So far as pruning is con- 
cerned, March will be season- 
able for autumn set trees. At 
this time cut out superfluous 
branches so as to leave four to 
seven if possible with at least 
a hand-breadth between them. 
If twice this distance can be 
secured so much the better. 
The advantage of having six 
or seven branches is that in 
case of accident or poor devel- 
opment of some there will be still enough left 
to make a good top; for it is far easier to re- 
move a branch than to develop one. 

The object of having considerable distance 
between branches is that strength is gained 
thereby. Branches placed nearly opposite each 
other on the trunk pull against each other when 
loaded with fruit or ice, with the result that 
they break down sooner or later. Because of 
the importance of this point, to say nothing of 
others equally important, it is therefore advis- 
able to start an orchard with one-year-old 
rather than older trees ; the branches are much 
easier to secure where they are desired and the 
trees can more easily be trained in the way 
they should grow. When trees are planted in 
the spring they should be pruned immediately 
afterward. 

Subsequent Work on Young Trees 

The March or early spring pruning of newly 
set trees should be supplemented by a little at- 
tention during the early summer of the first 
year when any twigs that start to develop lower 
on the trunk than the lowest desired branch 
should be cut off, but every other twig and 
every leaf ought to be allowed to grow. These 
are necessary to help develop the tree. Re- 
member that trees know their business better 
than any pruner; they need only direction. 




A frequent result of allowing branches to develop too close 

together is a disastrous splitting which ruins that part of 

the tree 



This three- 
branched tree 
may appear 
strong, but it is 
really weak be- 
cause of the Y 
crotches 



When branches 
are removed, the 
cuts should be 
made cleanly 
and close to the 
trunk with a 
sharp saw 






Winter pruning and spraying may be done at 

the same time. A tree clipper is best for the 

upper small branches 



During the second winter any time 
between November and March the 
pruning should consist of removing 
first only those small branches that are 
certain to become a menace to the de- 
sired ones, and second, of shortening 
only those branches that have devel- 
oped out of all proportion to the others. 
In brief, the more pruning of young 
trees that can be avoided during the 
dormant season the better. 

Here is where many people make 
their mistake; they prune not wisely 
but too well every year, and cut off too 
many twigs the very ones that the tree 
intended to develop into fruit-bearing 
branches. When over-pruned during 
the dormant season trees figuratively 
grit their teeth, dig their heels harder 
in the ground and develop more 
branches, so their work becomes branch 
production rather than fruit bearing. 
Can you blame them? 

Trees Approaching Bearing Age 

If one wants fruit, the saf- 
est place for the pruning tools 
is beside the "unloaded" gun, 
under lock and key in the at- 
tic! When this "hands off" 
policy is followed and where 
rational fertilizing is prac- 
tised, especially the sparing 
use of nitrogenous materials 
such as nitrate of soda, the 
trees will begin to develop 
blunt ended little twigs along 
the branches. The age when 
these start to develop varies 
with the kind of fruit and the 
variety. Cherries and plums 
often start the second year 
after being planted and bear fruit the third; 
some varieties of apples and pears start as 
soon, but many wait until five or even ten 
years old. Gyves upon the hands that hold 
the pruning tools will shorten these maxi- 
mums! 

Peach trees bear fruit upon a different prin- 
ciple. Their fruit buds are not borne upon 
perennial spurs but upon exterior branches and 
slender interior twigs, mostly biennial, devel- 
oped the previous summer. These buds are 
easy to recognize during winter because of 
their position and form. They are rounded 
more or less and are borne mostly near the 
bases of the last season's growths. Generally 
they are in pairs with a usually smaller pointed 
"wood" bud between. As the tendency for the 
peach is to develop most growth from the ter- 
minal and near terminal buds and thus both 
extend the spread of the tree and increase the 
leverage and consequent risk of breakage, it is 
the practice of successful growers to cut off 
one-half to two-thirds of each twig and also 
reduce the number of twigs. This plan not 
only keeps the tree within bounds and helps 
to strengthen it, but it reduces the number of 
fruits and consequently improves their size 
and quality. While the pruning of apples, 
pears, plums and cherries may be done at any 
time during the winter it is best to wait until 



January, 1919 



37 




Prune autumn set trees in March, cutting 

out superfluous branches so as to leave 

from four to seven 

blossom buds have begun to swell before prun- 
ing the peach, the nectarine and the apricot, 
because the buds of these fruits are often in- 
jured during winter. If pruning is delayed 
one can be sure of how many blossoms he is 
leaving at pruning time. 

If the policy of pruning as little 
as possible has been followed, not 
only will the trees have begun to 
bear sooner than if over-pruned, 
but they will have almost surely 
developed a larger number of 
branches, especially of interior 
ones, than will give best results 
later on. To be sure, the number 
of these interior branches may be 
kept small by regular, attention 
during June. This attention con- 
sists of cutting off with a pocket- 
knife, or even with only the fin- 
gers and thumb, such twigs while 
still succulent. The plant food 
and energy that they would con- 
sume in their development may 
thus be directedtinto more desired 
channels. The process is as sim- 
ple as I have described it, so needs 
no further elaboration here. 



Young Trees That Are Bearing 

But when, as is usually the 
case, these twigs have been al- 
lowed to develop into woody 
branches, some of them perhaps 
as thick as a man's wrist, the 
problem is very different. The 
tree may be considered in a state 
of balance, its 100% of roots and 
its 100% of branches working in 
harmonious co-operation. Now 
suppose that the owner suddenly 
decides to cut off the equivalent 
of 20% of the total branch de- 
velopment. He will have an 
80% top but still a 100% root. 
The result may be so serious an 
unbalance that the tree will im- 
mediately slacken or perhaps en- 
tirely suspend fruit production 
and direct this 20% root power 



to the making of new twigs, and these twigs 
will probably spring from all sorts of unex- 
pected places on the branches, the trunk and 
even from the ground. 

All such wasteful development can be pre- 
vented by the removal of fewer of the branches 
at one time, but extending the work over two, 
three or more years. The fruit bearing habits 
of the trees are thus not upset and the reduc- 
tion of branches is not sufficient to cause the 
development of undesirable woody growths. 

Making (he Cut 

While it is important to remove branches in 
small amounts during any one year, it is even 
more important to make each cut at the proper 
place. There is only one proper place; name- 
ly, as close to the trunk as possible, even 
though the wound so made is twice as large as 
if made an inch farther away. The reason is 
that the former wound will heal more surely 
and in less time than the latter. In other 
words, the longer the shoulder or stub the 
slower will be the healing and the greater the 
danger of injury to the tree through the en- 
trance of decay. For unless a wound heals 
quickly the germs of decay may gain entrance 
to the heart wood of the stub and thence 
to the interior of the trunk. The inevitable re- 
sult will be the decay of the heart wood, per- 
haps ultimately to such an extent that nothing 
but a shell of living wood will be left. Sooner 
or later such a shell will give way under the 
stress of a heavy crop or a storm. 

When branches are carelessly removed they 
may split and tear the trunk or remaining part, 
due to leverage. In order to prevent this it is 





Before pruning, this neglected apple tree was a maize of unproductive 
shoots and small branches. The lower picture shows it properly renovated 



The weak interior branches of pear and 
other fruit trees should be cut out. Win- 
ter is the time to do this 

a good plan to make a saw cut from the under 
side upward a foot or more from the trunk 
until the saw sticks, then to pull the saw out 
and cut from the upper side downward until 
the branch drops off, and finally to cut off the 
remaining stub at the proper place, close to 
the trunk or part that is to re- 
main. 



Dressings for Tree Wounds 

Since decay of the trunks is 
due to fungi and bacteria, the 
question naturally arises, what 
can be done to prevent the en- 
trance of these enemies? Many 
substances have been recommend- 
ed. Of these, white lead paint in 
good linseed oil has been the fa- 
vorite. A little coloring matter, 
such as raw Sienna, is often add- 
ed to make the paint less conspic- 
uous. But even the best of paint 
is unsatisfactory; it too often 
checks and leaves cracks through 
which the decay germs gain en- 
trance to the wood. 

Where trees have been prop- 
erly managed from the start there 
will rarely be any wounds large 
enough to need antiseptic treat- 
ment or painting. And upon trees 
of vigorous growth wounds less 
than about 2" in diameter will 
heal so rapidly in a year or two 
that no application need be 
made. But when wounds are 
larger than 2", and where the 
trees are old or not vigorous, they 
should be treated. A far better 
dressing than paint, but one that 
must be used with far greater 
caution, is creosote. This is act- 
ively antiseptic, but it will kill 
living tissue. Therefore it must 
be very sparingly applied, and 
then only to the cross-section of 
heart wood. The brush must be 
pressed against the paint pail so 
that no drop will "run" or spread 
(Continued on page 52) 



38 



House & Garden 




Wallace 



Orange and light green were the colors chosen for the enclosed 
porch. Cushions and valances are of a rich green, orange and 
gray linen edged with a worsted block fringe oj these colors. 
At the windows are hung linen gauze curtains edged with the 
same fringe. The long green and orange table holds an orange 
bowl on a wrought iron base 



Among the furnishings of this enclosed porch is a card table 
painted green and orange and made to fold down into a small 
space. The wrought iron bridge lamp is polychrome with dull 
green to match the ceiling light and mantel candelabra. The 
jurniture is Swiss reed enameled a clear, light green. A fibre 
mat covers the red tiled floor 




The hall has all the 
furniture requisite 
for a small country 
house. The wicker 
seat is cushioned '.n 
a stripe oj blue, rose 
and yellow. The fix- 
ture is English an- 
tique hammered 
brass with bulbous 
sides 



DORMY HOUSE 

PINE VALLEY, N. J. 

FRANK HAYES, Architect 
AGNES FOSTER WRIGHT, Decorator 



The guest room is in brilliant 
green and mulberry. The spaces 
oj the walls are painted in large 
panels using a wide mulberry and 
green stripe, the walls being deep 
ivory. The chintz for daybed 
cover, curtains and upholstery is 
a crisp, old-fashioned English 
Pattern in green and mulberry 
with bright green fringe. Furni- 
ture is stippled in ivory and 
decorated with the chintz design 



January, 1919 



39 





"Dormy House," which gets its name from golf parlance, stands on 
the edge of the Pine Valley course. It follows Dutch Colonial lines 
and was built as a week-end house by a bachelor for his golf friends. 
It is painted white and has a red roof and red brick walks about the 
house. The garden is laid out in terraces behind -it 



(Below) On the stairs landing 
curtains of soft cream striped 
net act as background to the ivy 
and geraniums. Over-curtains 
are of Italian striped sunfast in 
rose and blue and yellow 



Around the old carved mantel 
in the living room are grouped 
two couches upholstered in a 
large pheasant design of blue and 
warm brown, and a long table 
with lamps of Italian pottery 








The living room has paneled 
stippled walls in putty color, a 
rich background for the deep 
blues and browns in the room. 
Cushions are of brilliant blue 






House & Garden 



40 



The FLOORS, WALLS and CEILING of a MODERN KITCHEN 

For Sanitary Results Tile, Cement and Linoleum Are Advisable 
With Enameled Wood as an Alternative 



EVA NAGEL WOLF 



SINCE cooking has 
become a science, 
the kitchen has been 
transformed into a 
laboratory. Certainly 
no surgeon could find 
fault with the sanitary 
conditions of the mod- 
ern kichen. Not a 
crack nor cranny is left 
for dust or dirt to col- 
lect in and the corner 
is taboo. The joining 
of walls and floor is no 
longer an angle for they 
now merge with a 
sweeping curve when- 
ever the materials ad- 
mit of such treatment. 
Best of all there is not 
an inch of space but 
can be washed. Even 
old kitchens can be re- 
modelled so that those 
who are not building a 
new home can take 
heart; the most ap- 
proved kitchen can be 
theirs if they will but 
re-cover floor and walls 
along the lines sug- 
gested on these pages. 
First let us consider 

the treatment of the walls. Time was when 
they were papered as were the other rooms of 
the house; the patterns differed perhaps, but 
still paper covered the walls, absorbing the 
greasy smoke and quickly becoming unsanitary. 
Then appeared glazed waterproof paper de- 
signed specially for bathrooms, a step certainly 
in the right direction. But this wall covering 
was not sanitary, despite the fact that it could 
be readily cleaned, for the heat and the steam 




Hewitt 

In this modern kitchen three treatments are shown. A cove tiling used 
the walls and linoleum laid on the floors. The tiling continues on to 

painted plaster 



quickly caused it to loosen from the walls. 
Something more durable was necessary and the 
painted plaster walls seemed to be the only 
solution. This treatment presented a smooth 
surface that admitted of washing but not as 
satisfactory as a glazed surface such as tiling 
afforded. It was more difficult to keep in prop- 
er condition than the tile, although an improve- 
ment over the earlier materials. 

The most approved material of all for the 



kitchen walls is the 
glazed tile. The tiles 
are cemented in place, 
becoming a part of the 
wall instead of a wall 
covering. When con- 
sidered too expensive 
to cover the whole 
wall it is used only as 
a wainscoting with 
the upper wall and 
ceiling painted plas- 
ter or metal tiling. 
Walls of this type 
combined with a tiled 
floor make a most lux- 
urious kitchen. The 
room may be white, 
unornamented, or any 
color scheme adopted 
that the fancy dic- 
tates. All comers and 
angles are fitted with 
cove or angle tiles 
and when the floor is 
tiled a sanitary base 
connects the two. 
When there is to be 
but a wainscoting of 
the tiles the top is 
finished with a suit- 
able cap mould, 
which may repeat the 
general color scheme of the room. 

Metal tiling is less expensive than the glazed 
tiling but at present somewhat difficult to ob- 
tain as all metals were commandeered by the 
government for war purposes. However, it 
answers the purpose in no mean way for walls 
and ceiling. It may fashion the wainscoting 
when upper walls and ceiling are painted, or 
when tiles are used for wainscoting the re- 
mainder of the wall surface may be covered 



around the base of 
the ceiling which is 




Hewitt 



The entire floor and wall space is tile, colored on the floor and white 

on the walls with a color band. From the residence of V. T. Burner, 

Esq., Milwaukee, Wis. 



Tile floor and wainscot are advisable for the laundry glazed tiles 

on walls and patterned on floor, with painted plaster walls and white 

enameled woodwork 



January, 1919 



41 



with the metal tiling. It is especially recom- 
mended because it can be applied easily to both 
wood and plaster, and with a minimum of 
labor can be kept in a sanitary condition. 

Ideal Floor Coverings 

When considering the covering for the kitch- 
en floor it must be remembered that no room 
in the house receives such hard wear and for 
that reason the covering must be durable and 
above all comfortable. For sanitary reasons 
it must be non-absorbent. While a waxed or 
oiled hard wood floor may be cleaned, it is 
not cleaned as easily as a tiled floor, and no 
matter how carefully the boards are laid and 
fitted there is always opportunity for cracks 
to appear and make it unsanitary. 

Vitrified or flint floor tiling is different from 
the tiling employed for walls. In the first 
place the surface of the wall tiles would be 
dangerous because they would be too slippery, 
and besides, they are not hard enough for the 
wear and tear of the countless steps necessi- 
tated in preparing the everlasting three meals 
a day year in and year out. So the tiles are 
baked harder and the glaze is omitted. 

Large tiles may alternate in color or, if one 
prefers, the small square, round or hexagonal 
units may form the floor, set in patterns in 
one or more colors or in a solid tone with a 
patterned border. Quite like the wall tiles they 
are cemented to the floor, becoming a solid 
floor instead of just a covering. A rubber mat 
set in front of the sink or working table is sug- 
gested both for sanitary reasons and for com- 
fort, for a tiled floor is tiresome when long 
standing is necessary and cold during the win- 
ter season. 

Cement floors are commendable, but when 
color is desired it should be mixed with the 
cement in the beginning and not applied later, 
for the constant friction of the feet wears off 
the paint which has to be renewed frequently. 

If a more resiliant flooring is desired there 
are several types from which to choose; among 
the best known are linoleum, inlaid linoleum 
and cork tiles. Each has its special claims 
on our attention. 

Of course, inland linoleum is more durable 
than plain linoleum for 
the latter is formed of 
square or oblong inter- 
locking tiles in solid 
colors. They come in 
all colors with bprders 
and a 
base. 




OUlln 

The pantry should receive the same treat- 
ment as the kitchen. Here linoleum is used 
on the floor. From the residence of Eugene 
Meyer, Jr., Esq., Ml. Kisco, N. Y. 

under the surface of linoleum it will cause 
serious damage, therefore care should be taken 
in wiping it up before it has a chance for any 
harmful effects. 

Cork Tiling and Color Schemes 

Cork tiling makes a very comfortable floor- 
ing. It comes in three shades of brown and 
many patterns which admit of attractive com- 
binations and designs. Each tile is laid sepa- 
rately, whether small or large blocks. A water- 
proof cement hermetically seals all joints, mak- 
ing a non-absorbent, noiseless and non-slip- 
pery flooring. There is also a sanitary cove 
base that is manufactured to specified standard 
heights. 

For a cheerful yet restful kitchen buff and 



sanitary cove 



Using Linoleum 

Linoleum should be 
allowed to stretch on 
the floor for about three 
weeks before it is ce- 
mented in place, after 
which a paste wax is 
thoroughly rubbed into 
the surface. It is then 
ready for use and the 
after treatment is very 
simple ; it may be 
mopped up when soiled 
and an occasional 
treatment of liquid wax 
will keep it in condi- 
tion for a life time. 
Laying linoleum is very 
difficult, requiring ex- 
pert workmanship. It 
should not be attempted 
by the amateur. If 




white in a small pattern ire possibly the most 
-atUfactory color M heme es;>ei ially for a north- 
ern exposure. (Iray and wiite make an ideal 
southern room \\ith bright yellow curtains at 
the windows. Hlue and white in delft colorings 
are still the delight of many, and this room, 
too, may be made less cold with yellow cur- 
tain-. Green and white are rot I'u 1 and very 
attraiiive. While many may choose the strik- 
ing black and white bl<x ks in large design for 
flooring, it will be found that small units of 
color are most restful than large ones. 

The cork tiling in three -h.i-lr- of l.rown 
makes a restful floor to both eyes and feet. The 
borders offered by the manufacturers are to be 
eschewed for the kitchen floor, although a solid 
band of color along tin- sanitary base cove 
makes a satisfactory finish. 

To make and e<|ui|> the modern kitchen en- 
tails more expense than one at first expects, yet 
it is the one room in the house that ^hould not 
be slighted. Get the best of its kind and avoid 
cheap substitutes. 

Painted Woodwork 

Should none of these treatments be feasible, 
and one is required to have wood floors and 
plaster walls, the following facts should be ob- 
served: The painted floor is economical. If 
the floor is not hardwood, it should be given 
two coats of shellac before the paint is applied 
and all cracks should be filled. Two coats of 
paint are usually sufficient. The oiled kitchen 
floor is not advisable because stains are diffi- 
cult to remove from it and it is not easy to 
stand upon or keep clean. 

As the kitchen woodwork gets hard wear it 
should be treated with a turpentine stain and 
then waxed or varnished. White enamel paint 
even when one has to use four or five coats 
of it will make the most attractive finish. 

The treatments of walls, floors and ceilings 
advised in this article will amply repay the 
investment. A sanitary kitchen means less 
work, and less work means happier and more 
efficient servants. It assures cleanliness in the 
handling of foods because sanitary surround- 
ings influence domestics to be cleanly them- 
selves. Finally, a sanitary kitchen is more pleas- 
___ ant to work in; its 

white walls radiate an 
atmosphere of cheer. 

These are facts 
which cannot be over- 
looked. Whatever 
may be the ultimate 
answer to the much 
discussed servant 
problem, the kitchen 
will have a very defi- 
nite bearing on it. We 
decorate and furnish 
the living quarters of 
the house with the 
greatest care; why not 
the working portion 
as well? It is axio- 
matic that without 
work there can be no 
play; equally true is 
it that without a back- 
ground of housework 
a real home is impos- 
sible. Let us see to it, 
then, that all things 
possible be done to 
lighten this back- 
ground by making its 
principal scene as 



Cork 0*. * to been usedin tkis modern "."* *" *""' " 



42 



House & Garden 




$w<-r -E^P: ^ - 4[\'iU 

y2353gpSK 



Construction timbers are left exposed 
both inside and out, and either hand 
hewn or milled timbers can be used. 
The walls are comtosed of an outside 
and inside wall board. The foundation 
is cement with outcropping field >tones 
between which is laid rich loam where 
vines and flowers can grow. Cedar 
posts make the verandah, which may 
be enclosed with glass or screens in 
sapling frames 





The-feature of the plan is the way the 
four corner bedrooms can be opened 
into the living room. Partitions are 
made of paneled wall board and slide 
in grooves on the ceiling beams; when 
not in use they are nested four to- 
gether showing only the surface of one. 
The beds slide under the window seats. 
French doors let out onto the veran- 
dah and from the library to the en- 
trance 



A detail of the sapling 
screen frames for veran- 
dah 



A BUNGALOW in the 
JAPANESE STYLE 

Designed for House & Garden 
By A. D. REED 




A detail showing parti- 
tions nested, and ceiling 
beam groove 




The walls of the rooms are made of the paneled wall board in uniformity with the sliding partitions, and hang on simple hinges forming closets. 
The fireplace, which can be seen from almost every room, is a circular grate enclosed with two sliding sheets of black sheet iron. Two hoods and 

four pipes for smoke are of copper 



January, 1919 



43 







Antique blue glass 
dish , teakwood 
stand, $25. Chinese 
. evergreen, 2Sc 




A Sheffield silver tray with a 
pie crust edge and an etched 
design comes in various sizes. 
8" wide, no feet, ?10; with 
feet, $11. The 10" size with- 
out feet, $13.50 and with feet, 
$14.50. A 12" size without 
feet $18, and $21 with 





Because of its graceful shape, 
size and hand-chased design 
this small after-dinner coffee 
set of Sheffield plate is very 
attractive. Coffee pot 9" high, 
sugar bowl, 3'/i", creamer, 
3*4 . Set $28.50. Tray $IS, 
and sugar tongs, $3 



There is always use for a good water set. This glass pitcher of 
clear crystal, beautifully cut, comes with six glasses to match at $5 

SEEN IN THE SHOPS 

These articles may be purchased through tht Home & 

Garden Shopping Service, 19 W. 44th St., New York 

City. 




For mint sauce or salad dressing, a glass boat 
and stand with gold border, $5 




A cedar wood 
table lamp suit- 
able for a hall 
table has a 
quaint rice pa- 
per shade with 
Japanese design. 
It is 15" high. 
?1S complete 



A silver plated 
electric boudoir 
lamp, 14" high, 
with an 8" stih 
shade in rose, 
gold or blue, 
trimmed with sil- 
ver braid comes 
at $6 complete 




Lacquered boxes 
covered with wall 
paper in differ- 
ent designs and 
sites, from a hat 
box to a trinket 
case. 15" x 15" 
* 10", $4.25, 
12" x 12" x 5", 
$1.15, 9" x 9" x 
3", 80 cents, 7"x 
7" x 2", 55 cents 



44 



House & Garden 



January 



THE GARDENER'S CALENDAR 



First Month 




Continuous bearing 
greenhouse vegeta- 
bles should be mulch- 
ed with manure 




Trench stored celery 
should be protected 
so that water can- 
not penetrate to it 




Plenty of sod and 
straw covering for 
the root pit will 
keep out the frost 



SUNDAY 


MONDAY 


TUESDAY 


WEDNESDAY 


THURSDAY 


FRIDAY 


SATURDAY 




I. Do not 


2. Spraying 


3. New land 


4. Don't ne- 


This calendar of the gardener's labors is 
aimed as a reminder for undertaking all his 
tasks in season. It is fitted to the latitude 


neglect to 
mulch t h or- 
oughly all the 
late plantings 


of dormant 
trees and 
shrubs may be 
practiced 


that Is in- 
tended for 
growing pur- 
poses can be 


glect to keep 
up regular 
sowings In the 
greenhouse of 


of the Middle States, but its service should 


of bulbs, peren- 


throughout the 


made icady for 


those crops 


be available for the whole country if it be 
remembered that for every one hundred 


nials and other 
soft plants. 
Coarse manure 


winter months. 
Any of the 
soluble oil 


u 1 o w I D g hy 
burning the 
long gra.su while 


which require 
frequent plant- 
Ings to assure a 


miles north or south there is a difference 


Is the material 


sprays may be 


it Is diy. This is 


supply. Beans. 


of from five to seven days later or earlier 
in performing garden operations. The 


preferred for 
this purpose. 
Leaves or any 


used for scale 
and other bark 
infections. 


also excellent 
treatment for 
the grass grow- 


cauliflower, let- 
tuce, radishes, 
spinach, etc., 
are all true 


dates given are, o course, or 


oe used, how- 


tions may be 


and bordering 


croppers and 


season. 


ever. If manure 


used now than 


cultivated 


may .be planted 




cannot be bad . 


later. 


fields, etc. 


In this way. 


5. U Is not 
a good prac- 
tice to allow 
leaves to lie on 
the lawn all 
winter. They 
should be 
raked into piles 
and carted to 
some corner 


6. House 
pi ants must 
nave some 
attention at 
this time; the 
pores or 
breathing or- 
gans become 
clogged with 
dust. Sponge 


7. Why not 
make a small 
plan of your 
place to sraU-. 
You can then 
chart any 
changes Intelli- 
gently, mark 
the location of 
water pipes. 


8. Crops that 
have been 
growing in the 
Kreenhousc for 
any conslder- 
a b 1 e time 
should be 
mulcncd. Pure 
cow manure Is 
the best ma - 


9. Chicory 
and rhubarb 
can be forced 
under the 
benches In the 
green h ouse. 
Use a drop cur- 
tain to exclude 
the light. The 
roots may also 


10. It Is a 

bad practice to 
scrape the 
bark from 
trees, as a con- 
slderable 
amount of the 
live bark will 
be Injured. 
When the bark 


11. Plants 
that are being 
wintered In 
frames require 
air and light 
occasionally or 
they will be- 
come soft and 
yellow. Open 
up the frames 


where they can 


the foliage 


waste lines, and 


terlal for this 


be grown In 


is moss grown 


on every 


be composted. 
They are far 
too valuable to 


with a good 
soap solution 
1 n lukewarm 
water, with a 


other Informa- 
tion that it is 
often necessary 
to know 


purpose: sever- 
al inches of It 
should be ap- 
plied to the 


any warm cel- 
1 a r . Mush- 
rooms, too. 
may be grown 


It can be 
cleaned by 
scrubbing 
It well with a 


bright day, and 
always water 
them In the 
morning so the 


Is only too 


little tobacco 


quickly and 


benches where 


in similar situ- 


stiff, hard bris- 


plants will be 


often done. 


extract in It. 


accurately. 


the plants are. 


ations. 


tl3tl brush. 


dry at night. 


12. Bean 


13. While 


14. Heavy 


15. What 


16. Potatoes 


17. During 


18. While 


poles and pea 
brush are 


the ground Is 
frozen it Is a 


mulchings that 
are applied for 


about cold- 
frames ror your 


and other 
stored root 


severe freezing 
weather large 


the trees and 
shrubs are dor- 


necessary ac- 


good practice 


frost p r o - 


garden this 


crops should be 


trees can be 


mant caterpil- 


cessories of the 
productive 
garden. Why 
not gather 


to get the man- 
ure Into your 
garden. This 
will prevent 


tectlon, or the 
loose coverings 
over vegetable 
trenches. 


coming spring? 
You can easily 
build the 
frames your- 


picked over 
and any bad 
tubers r e - 
moved. In 


transplanted 
with absolute 
safety. Dig 
them with good 


lar nests and 
egg masses of 
various Insects 
are readily 


some now while 


the cutting up 


should be 


self, but the 


very dry cel- 


sized balls of 


d 1 s c e r nlble. 


other outdoor 


of the borders 


loosened u p 


sash must be 


lars where the 


earth around 


Burn the nests 


work is slack. 


with the wagon 


with a fork or 


ordered now or 


tubers are like- 


their roots and 


with a torch of 


Do not put It 


wheels. Be- 


they will get 


you won't have 


ly to shrivel 


let them freeze 


kerosene- 


off until spring. 


sides, the fer- 


matted down 


them in time. 


they can be 


hard before 


soaked rags. 


or In the rush 


tilizing quality 


and be of com- 


Rememuer 


covered with 


moving. A 


and paint the 


of other prepa- 


of manure 


paratively lit- 


that the early 


salt hay or 


stone-boat can 


egg ma uses 


ration it may 


Improves 


tle value to the 


cold-frame 


straw to ex- 


be used for 


with a solution 


be omitted. 


with age. 


plants beneath. 


Is the best. 


clude the air. 


transportation. 


of creosote. 


19. Before 


20. Authori- 


21. Have you 


22. A good 


23. Plants 


21. While 


25. All edged 


spring all the 
fruit trees 


ties state that 
placing food for 


a small fruit 
border around 


grape arbor is 
both attractive 


that are grow- 
1 n g In the 


the vines aie 
dormant Is an 


tools should be 
looked over 


must be 


our useful win- 


your garden? 


and remunera- 


house should 


excellent time 


now and those 


looked over 


ter birds will 


Rasnbet ries. 


tive. Build the 


be top dressed 


to take them 


that need It 


carefully and 


not result in 


blackberries. 


arbor substan- 


o c c a s tonally 


down for any 


must be 


every mummi- 


their giving up 


currants and 


tially and buy 


with some sort 


painting that 


sharpened. 


fied fruit re- 


their valuable 


gooseberries 


only good vari- 


of concentrat- 


may be neces- 


Lawn mowers 


moved. These 


activities o f 


are a necessary 


eties of grapes 


ed plant food. 


sary on build- 


that are In 


diseased. 


weed, seed and 


part of a good 


for It. Trench 


Prepared 


ings or fences 


need of repairs 


shriveled fruits 


noxious insect 


garden, and 


the ground be- 


plant foods 


where they are 


ought to be at- 


are the breed- 


hunting. Regu- 


this Is the time 


neath the ar- 


come for this 


growing. 


tended to at 


Ing places of 


lar feeding 


to plan where 


bor so that the 


purpose that 


Necessary re- 


tiiis time, and 


many of our 
Insect enemies, 
and they should 


means more 
birds and 
greater eco- 


they can best 
be put In when 
actually spring 


plants will 

grow and pro- 
duce a b u n - 


are excellent 
and odorless. 
Your dealer 


pairs should be 
made before 
replacing the 


If the wheel - 
hoe needs tink- 
ering It should 


be burned. 


nomic benefit. 


opens. 


dantly. 


will have them. 


vines. 


be fixed. 


2G. Have you 


27. Have you 


28. Dahlia 


29. All kinds 


30. It will 


31. Manx 


W hat art 


ever given 
more than a 
passing 


ever figured 
the loss In your 
garden from 


bulbs should 
be looked over 
at this time. 


of hardy plants 
that require It 
can be pruned 


soon be time to 
start hotbeds 
ror the early 


evergreens are 
damaged every 
winter by al- 


these maples 
and beeches 


thouht to 


summer 


as you can tell 


at this time. 


vegetables and 


lowing wet. 


and birches but 


your garden 


droughts. 


now how they 


Young fruit 


flowers. Fresh 


heavy snows to 


odes and idyls 


soil? Your 


Checkmate the 


are going to 


trees should be 


manure must 


accumulate on 




State agrlcul- 
t u r a 1 college 
will make a soil 


dry weather 
with one of the 
good Irrigating 


keep. If they 
are shriveling, 
cover them 


E rimed severe- 
y, while trees 
that have at- 


be used for this 
purpose; It 
would be a 


their branches, 
breaking them 
down. Take a 


What are these 
pines and firs 


test for you. 


systems that 


with sand; if 


tained fruiting 


good policy to 


wooden rake 


and spruces but 


perhaps free of 


are on the mar- 


they show 


size need only 


start gathering 


and shake the 


holy hymns. 


charge, saving 


ket. Order it 


signs of start- 


very moderate 


It now, so as to 


trees gently to 




you many dol- 
lars in wasted 


now, before the 
rush; it can be 


Ing Into growth 
they should be 


reducing. See 
pages 36 and 


have plenty 
when the time 


remove the 
snow after 


Oliver 


fertilization. 


Installed later 


kept in a cooler 


37 for further 


comes for using 


every heavy 


Wendell 


See pp. 18, 19. 


in the year. 


place. 


details. 


H. 


storm. 


Holmes 


TJ'LIZA says it ain't right, with Mr. Hoover askin' us to save all the food we kin, but I ain't gain' to quit 


feedin' the wild rabbits this winter. I raised quite a batch of extry carrots for 'em last summer, out back 


of the cow barn 'Lisa called it my rabbit garden an' saved all the knotty late apples that weren't good 


for nothin' else. Now that they's two foot of snow on the ground, an' it's colder'n a February moon, I kinder 


like to feel that them little cottontailed devils ain't got empty stomachs. It's pretty hard sleddin' for 'em this 


weather you kin tell that by the mess of fresh tracks in the snow around the house every mornin', where 


they been huntin' for food. Didn't take the furry little cusses long to find where I'd put the carrots an' nub- 


bins on the bare ground under the front piazza, though, an' now they hold mass meetin's there reg'lar every 


night. Mebbe it's waste, but well, I dunno but what it'll be forgiven me. 


Old Doc Lemmon 




Hyacinths, narcissus 

and other bulbs 

may be lifted and 

brought indoors 




Old croquet wickets 
can be utilized to 
hold the leaf mulch 
over small plantings 




Liquid fertilizer is 

simply prepared by 

placing a sack of 

manure in water 




L "* 



To retain the white- 
ness of the cauli- 
flower heads, break 
the leaves over them 



A good tomato trellis pays for itself in im- 
proved yield. It is a -good plan to make 
one this winter, building it in sections to 
facilitate handling 



Straw mats are excellent covers for cold 

frames. They can be bought from supply 

men; or if you have enough long-fibered 

straw you can make them yourself 



Cuttings from 
grapes and green- 
house fruit trees 
should be taken now 



January, 1919 



45 



ST* *?Za*P^JZ% 

- 




A Reproduction of the famous Bagdad Carpet 

ORIENTAL RUGS 

Woven on Our Looms in the Far East 
In Any Desired Design and Coloring 

The reproduction of the famous Bagdad Carpet, shown above, in 
which each detail of the interesting design and all the beautiful color of the 
original Rug are brought out with amazing fidelity, illustrates the unlimited 
possibilities in fine weaving of which our private looms in the Far East 
are capable. 

Thus, any requirements as to weave, size, design, and coloring can 
* be met by having us prepare sketches to harmonize with the decorative 
scheme in view, and weave the Rugs in exact accordance with the sketches 
finally approved. 

As it requires approximately one year to produce such Psugs, it is 
advisable to place orders as early as possible. We will be pleased 
submit full particulars and estimates upon request. 



w 



Direct Importers of Eastern Rugs 

Interior Decorators Floor Coverings and Fabrics Furniture Makers 
FIFTH AVENUE AND FORTY-SEVENTH STREET. NEW YORK 

WASHINGTON, D. C. 



SAN FRANCISCO. CAL 






1 



46 



House & Garden 




Paintings by American Artists 




THE HAPPY HOUR" 



1O"X12" 



BY FRED BALLARO WILLIAMS 



PICTURES for any room require the same care in selection that 
you give your other decorations. Our advice based on twenty- 
six years' experience with American Paintings is at your service. 

"ART NOTES" will be found suggestive 
as a starting f)oint.<May we mail it to you ' 



WILLIAM MACBETH 

Incorporated 

450 Fifth Avenue New York 



111! 1 Ill III Ilillll 111 11 (111 it lillllil III III Illlill IIIIIIIIIIP llHUllil lllilB 



CHARLES of LONDON 




718 FIFTH 

AV E N U E 
NEW YORK 



LONDON- 
27-29 Brook Street, W 



Pair of fine carved walnut 
William and Mary high back chairs 

OBJECTS OF ART 

ENGLISH PERIOD FURNITURE 

OLD ENGLISH INTERIORS 

TAPESTRIES 




11 



A naval prisoner 
of the Napole- 
onic period 
probably made 
this little full- 
rigged ship in its 
straw marque- 
terie cabinet. 
Courtesy Max 
Williams 




Objects of Art Made by Prisoners of War 



(Continued front page 15) 



Italian cousins. I feel sure that the 
Spanish craftsmen did. At any rate 
French prisoners of war have shown 
themselves wonderfully proficient in this 
art in the past. The French prisoners 
of the Napoleonic wars who were quar- 
tered in England were prolific in their 
output of this sort. Numerous tea-cad- 
dies have I seen from their hands, here 
and there preserved in the cottages of 
the country round about Peterborough. 
At nearby Norman Cross was one of 
the chief camps of the Napoleonic pris- 
oners of war. We are told that a regu- 
lar market for the art-wares made by 
French prisoners at Norman Cross 
was held daily in the camp. Perth was 
another prisoner of war concentration 
centre and contemporary writers tell us 
that the objects made by the French 
prisoners there were of a finer design 
and quality than like things produced 
by the English townsmen, in conse- 
quence of which there was brisk market 
rivalry. At Dartmoor, Stapleton, Liv- 
erpool and Greenland Valleyfield the 
French war prisoners exhibited their 
skill. At the Liverpool prison they con- 
structed little straw marqueterie cases 
to contain miniature ships and like 
articles. 

Prisoners in Britain 

In Francis Abell's Prisoners of War in 
Britain, 1756-1815 the author says, in 
speaking of the Greenland Valleyfield 
prison where the making of straw into 
strawplait was carried on by the pris- 
oners of war, "The employer gave out 



the straw and paid for the worked arti- 
cle, three sous per 'brasse,' a little under 
6'. Some men could make twelve 
'brasses' a day. Beaudoin (a sergeant- 
major of the 31st Line Regiment) set to 
work at it, and in the course of a 
month became an adept. After four 
years came the remonstrance of the 
country people that this underpaid labor 
by untaxed men was doing infinite in- 
jury to them; the Government pro- 
hibited the manufacture and much 
misery among the prisoners resulted. 
From this prohibition resulted the out- 
side smuggling of straw into the prison 
and selling it later as the manufactured 
article; and a very profitable industry it 
must have been, for we find that, dur- 
ing the trial of Matthew Wingrave in 
1813, for engaging in the strawplait 
trade with the prisoners at Valleyfield, 
it came out that Wingrave, who was 
an extensive dealer in the article, had 
actually moved up there from Bed- 
fordshire on purpose to carry on the 
trade and had bought cornfields for that 
purpose." 

What stories these objects of art made 
by prisoners of war could tell could they 
but speak! What silent testimonies of 
grit, patience and fortitude! But per- 
haps we may be glad that we do not 
know all they might tell, for to-day has 
sorrow enough and we should be grate- 
ful that time has been kind enough to 
leave us just the beauty and not the 
life details of these objects from the 
hands of those who suffered in the yes- 
terdays of other wars. 




Another straw 
marqueterie cab- 
inet made by a 
naval prisoner of 
Napoleonic days 
and containing a 
model of a ship. 
Courtesy Max 
Williams 



The Role of Furniture Hardware 

(Continued from page 17) 



houette, or shaped and perforated. 
Hinges, likewise, were often treated in 
the same way. 

By far the most carefully and intri- 
cately made mounts of the period they 
really almost form a class by themselves 
were those that adorned the cabinets 
of lacquer or of ornamental woods. The 
inspiration for this particular kind of 
elaboration, both in contour and in the 
surface motifs used, in all probability 
came from the Orient. Hinges were 
short, broad and numerous; angle or 
corner-pieces re-enforced the corners; 



and most imposing of all were the great 
circular mounts for the lock. All of 
the aforementioned mounts were of yel- 
low brass and flat. They were elabor- 
ately shaped or fretted sometimes both 
and their whole surface was often 
covered with shallow engraving in flow- 
ing designs of scrolls, foliage and flow- 
ers, frequently showing Chinese charac- 
teristics. On black lacquer with gold 
decorations or on bright-hued lacquer, 
mounts less brilliant and ornate would 
have looked insufficient; on cabinets of 
(Continued on page 48) 



January, 1919 




. 



Save Seed 

WHENEVER practicable, plant in hills save the 
seed that would otherwise be wasted in crops 
which are widely thinned 

avoid useless buying of high-priced seed, and 
conserve the Nation's supply by using the hill- 
dropping feature on the Iron Age Hill and 
Drill Seeder. This saves from a half to three- 
quarters of the seed used by drilling and very 
greatly reduces cost and the labor of thinning. 

Last year we all gardened as a matter of patriot- 
We learned what a fine thing it is to have 



ism. 



No. 306 Hill or Drill Seeder, fur- 
rowing, planting, covering, rolling 
and marking next row in one 
operation 



our own fresh, succulent vegetables, and a/so that 
it pays! Now the boys are coming home! New 
nations are in the making new nations for us to 
lead and feed ! More urgent than ever is the need for 

Bigger Better Gardens 



HILL DROPPING 
DEVICE 




Save Work 

HARD work back-breaking stooping, brow-be- 
dewing hoeing and cultivating with old-fash- 
ioned* tools is inefficient, foolish. 
Take a hint from the leading market gar- 
deners in your neighborhood the men who 
raise big, luscious things to eat in a sensible, farm-like 
way with Iron Age Combination Tools like that 
shown here. Your dealer can show you many 
sizes and kinds for use in small home gardens, 
flower gardens, poultry farms, seed farms, 
truck gardens, etc. 

Descriptive folders sent on request 

Bateman M'f'g Co. The Bateman-Wilkinson 
641 Main Street Co., Ltd. 

Grenloch, N. J. Toronto, Canada 

In business over 83 years. Makers of Riding and Walking Culti- 
Viitors, Horse Hoes, Cultivators and Harrows, Sprayers, 
Hay Rakes, Sulky Weeders, Potato Machinery, etc., etc. 




Sam* tool does the cultivating, 
furrowing, ridging, weeding, hoe- 
ing, pulverizing, tc. 






48 



House & Garden 




I 



LLUSTRATED is a solid mahogany desk 
Colonial in style fluted columns, three 
large commodious drawers and two smaller 
s the height 3 ft. 6 in., the width 3 ft. 4 



one 

in. 

A useful and decorative piece price $85.00. 

The Pickwick Arm Chair, an exceedingly com- 

fortable Wing chair, solid mahogany. Price 

$37.50. 

Worthy of special mention is a collection of odd 

pieces of furniture upholstered sofas, comfort- 

able easy chairs, mahogany side chairs, rush 

bottom seats gate leg drop leaf and daven- 

port tables mirrors with plain frames aiid 

Polychromed screens, lamps and shades. 

Oriental and American rugs. 

Beds and Sanitary Bedding. 



& 



3 West 



Street 



to 



DANERSK DECORATIVE FURNITURE 



PART of the value of Danersk furniture is the unusual service 
that lies back of it. Careful records are kept of the design 
and color of the individual piece or set sold to each customer, 
making it possible at any future time to add pieces finished in the 
same color scheme. 

All Danersk furniture is made for the particular setting in which 
it is to be used. Our prices are the most reasonable for this 
character of furniture available to-day. Let us help you plan each 
room so that it will possess the maximum individuality and charm. 

ERSKINE-DANFORTH CORPORATION 

2 West 47th Street, New York 

First Door West of Fifth Avenue 4th floor 




I 



SEND FOR VALUABLE 
BOOK "A-i" 



The Role of Furniture Hardware 



(Continued jrom page 46) 



ighly diversified veneer or embellished 
with marqueterie patterns, decorative 
Balance likewise required them the con- 
irasting color of the wood acted as a 
:oil to the opulence of the mounts and 
the character of the mounts enhanced 
:he effect of the veneered or marqueterie 
background. Many of the veneered 
cabinets of the period, instead of the 
broad, flat and engraved brass mounts, 
had smaller mounts of brass molded in 
low relief and sometimes fretted as well. 

In France and Italy 

In France, from the end of the 16th 
or beginning of the 17th Century on- 
ward, fretted and engraved mounts both 
of iron and of brass or bronze were 
wrought with the utmost dexterity of 
finish. During the 17th Century the 
art of molding and sculpturing brass and 
bronze mounts was carried to perfec- 
tion, and not only were handles, pulls, 
key-hole plates, hinges and locks fash- 
ioned in elaborate designs, but bands, 
decorative cartouches or pieces of orna- 
mental metal applique, feet or foot cas- 
ings, angle-pieces, galleries and applique 
scrolls of foliage were wrought in great 
number. The motifs adopted for these 
mounts were exceedingly varied; they 
were all characteristic of the Baroque 
style of decoration with masques, figures 
and leafage playing a prominent part. 
The imposing elaboration of much of 
the Louis XIV Boulle cabinetwork with 
its intricate metal inlay, required the 
extensive use of richly ornate mounts to 
ensure a fitting balance of materials. 

In Italy fretted and engraved iron 
and brass mounts, modeled in relief, of 
the same general sort as those used in 
France, but as a rule far less elaborate, 
were employed to a limited extent. 
They never had the same vogue in Italy 
as they did beyond the Alps. Of more 
frequent occurrence were the small 
molded or cast brass studdings for cred- 
enze and modest turned or cast brass 
knobs for cabinetwork. High cabinets 
with many small drawers somewhat 
like the Spanish papelera on high 
stands, occasionally displayed a good 
deal of perforated brass banding. 

The Rococo style, 1715-1765, affected 



decoration and furniture far more than 
it did architecture and its sway was 
therefore short-lived. 

In England Rococo influence was less 
in evidence and of even shorter dura- 
tion than on the Continent. In furni- 
ture, the chief Rococo exponent was 
Chippendale who, about the middle of 
the century, departed somewhat from 
his better-known modes and designed a 
good deal of cabinetwork the inspira- 
tion for which was wholly derived from 
the contemporary Louis XV fashions in 
France. Chippendale had back of him 
the heritage of Queen Anne and early 
Georgian brass mounts, such as have al- 
ready been noted and illustrated, and 
of these he made constant use, often 
elaborating such features as backplates 
or key-hole plates, in the shaping of the 
outline and in the perforations, or such 
items as bail pulls by their shaping and 
molded relief ornament. He was quite 
ready to fall in with the theory and 
it is a sound theory that mounts should 
be made to play an important decora- 
tive role. Taking his cue, therefore, from 
the French cabinetmakers, he embel- 
lished some of his more ambitious pieces 
with chased and carved mounts in the 
intricate fashion of the contemporary 
French ormolu mounts. After the in- 
tricate key-hole plates and pulls with 
their flamboyant backplates, which were 
sometimes designed in pairs as "rights 
and lefts", were cast, they were in- 
geniously chiselled, chased and engraved 
and, sometimes, to enhance their ele- 
gance and to protect them from the 
atmosphere, they were gilded. 

In Italy and Spain, Rococo furniture 
and decoration never attained the deli- 
cacy of design, the finesse of execution, 
nor the variety of forms and materials 
that were characteristic of the period 
in France. Wherever mounts of the 
species just noted were used at all, they 
were far simpler in design and usually 
cruder in workmanship. Nor was any 
great dependence placed on them for 
decorative effort. As key-hole plates 
and pulls they occasionally appeared, 
but for the most part simple mounts 
of some of the older fashions were 
used. 



How to Handle Color in Decoration 



(Continued jrom page 34) 



the action of receding color upon the 
optic nerve will cause the apparent size 
of a room to increase by making the 
walls seem to stand farther away from 
the eye. The small room with walls 
in a cool or receding color will look 
larger than it is in reality, and the large 
room with wdls of a warm or ad- 
vancing color will lose some of its ap- 
parent size. 

Color and Size 

In deciding whether to use warm and 
advancing or cool and receding color 
for walls and for floor coverings, one 
must also take into account the ex- 
posure of a room as well as its dimen- 
sions. As a general rule, it will be 
safe to use cool colors when there is 
a warm, southern or sunny exposure 
and to use warm colors when there is 
a cold light or a northern exposure. 

In the case of a small room or a nar- 
row room which has also a northern 
exposure and consequently a cold light, 
it will, however, be best to stick to cool 
colors, in order to avoid apparent con- 
traction, and to rely upon occasional 
touches of strong, bright color, intro- 
duced at effective points, to impart the 
necessary warmth and contrast. 

While reckoning the effects of ad- 
vancing and receding colors in furnish- 
ing, remember that a piece of furniture 
upholstered in a fabric of advancing 



color will look larger than it will when 
covered with goods of a receding color. 

A secondary color (resulting from the 
equal combination of two primaries) is 
said to be complementary to the one re- 
maining primary color that does not en- 
ter into its composition. The comple- 
mentary and its opposing primary have 
nothing in common, but they bear a 
definite relation to each other. Green 
(composed of blue and yellow) is the 
complement of red; violet (composed of 
red and blue) is the complement of yel- 
low; orange (composed of yellow and 
red) is the complement of blue. The 
diagram makes this relationship clear. 
The complementary relation can exist 
only between secondary and primary 
colors; beyond that limit every color 
derivation incorporates some proportion 
of each of the primaries. 

It is only between complementary 
colors that absolute contrast can exist, 
a contrast, that is, between totally op- 
posing elements that have nothing what- 
ever in common. The complementary 
colors balance or neutralize each other 
and if blended would produce gray, as 
we shall soon see. If all colors were 
of the same intensity ; if there were only 
one red, and that a pure prismatic red 
without taint of yellow on one side, or 
taint of blue on the other, or if there 
were only one green composed of equal 
(Continued on page 50) 



January, 1919 




HODGSON 



Portable 

HOUSES 



With the approach of Spring you will want to build that house you have had in mind, and you will 
want to build it without having to go through the bothersome preliminary details that usually accom- 
pany building. The Hodgson Way avoids all this bother and trouble. 

First, send for the Hodgson Catalog. It is replete with photographs and descriptions of all kinds of 
bungalows, cottages, garages, play houses, poultry houses, and many other types. You are offered a 
choice of many sizes and styles, one or more of which will harmonize with the architectural motif of 
your house or exactly conform to your own ideas of what you need. 

When you have made your selection, send in your order, and the 
house, already built, fitted and painted, will be shipped to you in neat, 
compact sections that can be erected by one or two inexperienced men 
a day or two. 



If you do not wish to use the house immediately, we suggest that 
you send in your order now, and insure prompt delivery when you are 
ready to have the house put up. 

To avoid disappointment and future delay we suggest that you write 
for the Hodgson catalog right away. 



Poultry House 



E. F. HODGSON CO. 

Room 226. 71-73 Federal St.. Boston, M 
6 Eaat 39th Street. New York 



Screen ffouse 



Dog /fennel 



No payment accepted 
unless successful. 



Also expert services 

on general chimney 

work 

Made to I FREDERIC N. WHITLEY 
iviaae to i E erj ind c . nlri( ., or , 

I 2W rulton St., Brooklyn, N. Y. 



Fireplaces 



is Nurseries 



Before placing any order 
get our late catalog of ever* 
greens, hedge plants, shrubs, 
climbers, roses, shade trees, 
and the best of everything in 
large and small fruits. We 
have a superb stock for spring 
planting. Get the varieties 
you pay for, at right prices, 
witli (air dealing. Our great- 
est care *> to send fruit trees 
true to flame. Catalog has 
many helpful suggestions. 
Write for it today. 
The Morris Nurseries 
West Chester, Pa. 
Box 801 




t?7ALITY 
_ J 

V/bu .should mow your own 

I lawn. If ijou most have a 

new mower, get the lightest 

running mower uou can buy. 

At 

Hardware 

Dealers and 

Seedsmen 



KuNDERD's WONDERFUL 

New Ruffled Gladiolus 




are the most beauti- 
ful in the world. 
No others like them, 
none nearly so beau- 
tiful. 

Finely illustrated 52- 
page catalogue free for 
the asking. It describes 
nearly 300 varieties, all 
of our own production 
and most of them obtain- 
able only from us. It 
also contains the most 
complete instructions on 
the care and culture of 
Gladiolus ever published. 
Let us send you a copy. 

Address the originator 
of the Ruffled Gladiolus 

A. E. KUNDERD 

Box 2 
GOSHEN, IND.. U.S. A. 



UNDERGROUND 
Garbage Receivers 



Savtt conatant rnwl of the frozen 

tarbac. bucket 

Our Truck whmb aah barrel* up or down 
>Upi. Try our Spiral Ribbed Ah Barrel. 
Srml for our catalogue on each. It will par 
jou. 
Sold direct. Look for our Trade Marks. 

C. H. STEPHENSON, Mfr..20 fmr Stnct, lyM, Id. 



FARR 'S 

Hardy Plant 

Specialties 

a book of 112 pages, 30 full 
page illustrations (13 in nat- 
ural color) ; a treatise on the 
hardy garden, containing in- 
formation on upward of 500 
varieties of Peonies (the most 
complete collection in exist- 
ence) ; Lemoine's new and rare 
Deutzias, Philadelphus and 
Lilacs; Irises (both Japanese 
and German) of which I have 
all the newer introductions as 
well as the old-time favorites, 
and a comprehensive list of 
hardy perennials. 



lorerr wko do not kmot 
tkt Sixlk Edition may secure m 
complimentary copy if they 
end me their name and addreu 

Bertrand H. Farr 

Wyomutinf Nuntrics Co. 

106 Garfield Avenue 
Wyomiaaing, - - Penna. 



so 



House & Garden 



),..........- : 

1919 
Jfc-fD..-.- ; ' 




Surgeon's sink a Matt 
Hotpital /Specialty 



One o/ rte Emergency Fleet 
Shiva eauippfd throuuhout 
with Uott Marine Plumbing 



Hospital and Marine 

Plumbing Equipment 

Today we are operating largely on Government work, 
including Hospital and Marine plumbing equipment. 

Years of experience in the manufacture of these very 
special lines of fixtures enable us to meet adequately the 
present unprecedented demand. 

We are also prepared with a stock of regular bathroom 
fixtures to meet the nation's "reconstruction" requirements. 

Everything we sell, we make 

THE J. L. MOTT IRON WORKS, TRENTON, N. J. 
New York, Fifth Avenue and Seventeenth Street 



t Boston 

Pittsburgh 
t Chicago 

Atlanta 

Ft. Smith, Ark. 



t Philadelphia 

Seattle 

Dallas 

t Des Moines 
t Toledo 



t Portland, Ore. 

t Washington, D. C. 

Indianapolis 
t Detroit 
f New Orleans 



t Denver 
t St. Louis 
t San Antonio 
- t Salt Lake City 
El Paso, Texas 



MOTT CO., Ltd. 
t Montreal, t Toronto, Winnipeg, Canada 



MOTT CO. of CALIFORNIA 
t San Francisco, Los Angeles 



t SAowroomj equipped with model bathrooms. 



AG1VES FOSTER WRIGHT 



INTERIOR 
DECORATOR 



4JB KAT 48-ra HTREKT 
NEW -VORK 



AND SHARES, TAI1UK DECO- 
RATIONS, UNKN COVERS ANI> SCAR1KK 



NO SERVICE CBARGK 




Italian Mantel Vases 



How to Handle Color in Decoration 



(Continued from page 48) 



parts of purest yellow and purest blue; 
if there were no gradations from dark 
to light, no manifold tinctures and com- 
binations, it would be as easy to man- 
age color as it is to turn the crank of 
an adding machine. Color management 
would become purely mechanical. For- 
tunately it is not so; the day is saved 
by value and scale. 

Value and Scale 

Value may be defined as "lightness" 
or "darkness," irrespective of color. To 
illustrate: take two pieces of material, 
one turquoise blue, the other deep crim- 
son. It is plain that one is light and the 
other dark. Those are their values. 
The question of value comes into deco- 
ration in the form of contrast. We 
may think of bringing a. certain object 
into the furnishing of a room ; its color 
may be entirely satisfactory, but when 
we try it in place we may find that it 
is so light or so dark that it separates 
itself from its surroundings and fairly 
"jumps" at us. Its value, therefore, is 
evidently too high or too low for the 
room. 

Scale has to do with the divers de- 
grees of tone in color. Tones are the 
gradations of colors produced by dark- 
ening or lightening them. In the case 
of pigments this would be done by add- 
ing, respectively, black or white. If 



we lighten blue by adding white, or 
darken it by adding black, we remove 
it to another scale or key and we can 
preserve harmony with its complement- 
ary color, orange, only by adding a like 
quantity of white or black to the orange 
also, to keep it in the same scale with 
the blue. The same principle likewise 
applies to all other colors in the com- 
position; the whole combination of 
colors should be kept in the same scale. 
For example, it would be exceedingly 
daring and almost inevitably disastrous 
to use a pure, raw, ramping red or yel- 
low in conjunction with a number of 
other colors all in a more subdued or 
lower scale. The red or yellow would 
jump away from everything else. All 
balance would be destroyed; we should 
have an undigested chromatic anarchy, 
and its effect upon the eye would be 
comparable to the effect upon the ear 
produced by three people larking, one 
in Polish, one in Chinese, and one in 
English. Each might speak his own 
tongue perfectly, but their combined ef- 
fort could scarcely be considered an in- 
telligent or intelligible conversation with- 
out a common medium of expression. 
For any coherent color effect there must 
be scale, that is, a common ground of 
values and comparison on which all 
meet. In other words, the colors must 
speak the same tongue. 




Preparedness and This Year's Kitchen Garden 



(Continued from page 19) 



hand after the pressure is released, al- 
though crumbling to a fine mass upon 
the slightest touch. If the soil is too 
heavy in texture it will form a mold 
but will break into two or three lumps 
when pressed; if the texture is too light 
the soil loses form under pressure. 

Soils that are too heavy to produce 
can well be lightened by adding some 
sifted ashes or clean, sharp sand. Un- 
der-drainage by means of land tile is 
necessary in extreme cases to reduce the 
excess of water. Soils of light texture 
require humus or decayed animal mat- 
ter in liberal quantities, to fill the open- 
ings between the soil particles and form 
the necessary breeding medium for the 
bacteria that improve the soil. The 
constant working of soils is a very 
important factor in improving their 
texture, as the air and sunshine are neu- 
tralizing agents that are helpful in over- 
coming chemical excesses and in pro- 
ducing them in soils which lack them. 

Securing Catalogs 

Many thousands of dollars are spent 
yearly in the production of catalogs. 
The seedsman knows it is much easier 
for you and me to settle down among 
the comfortable surroundings of our 
homes and make out a seed order from 
a catalog than to force our way through 
a crowded store. 

The seedsman realizes that your suc- 
cess is also his, and so his catalogs are 
filled with useful information, such as 
planting tables, descriptions of varieties 
and types, cultural notes, etc. In other 
words, the progressive seed houses are 
making an effort to help you, and they 
can't very well do this without your 
co-operation. Of course, you cannot 
buy from all the establishments that 
issue fine catalogs, but you can at least 
send for those you are interested in and 



get your order in at a really early date. 

If you would be successful in any line 
of endeavor do not be miserly. Ex- 
travagance is not a trademark of suc- 
cessful enterprise, but if you are going 
to. analyze all propositions very care- 
fully for fear of making an error your 
progress will be exceedingly slow. Or- 
der your seeds just as soon as you are 
certain of your requirements. Do not 
worry about the interest on that money 
between now and planting time; seeds 
are scarce and should not be wasted, 
but do not ruin your garden because 
of too much economy in ordering. 

Ordering in seasonable time means 
that you will be more likely to get what 
you order. Seedsmen have had a hard 
struggle for the past few years to keep 
up with the demand. Prior to the war 
a great deal of our seed stocks came 
from abroad, but this supply was, of 
course, curtailed and our growers have 
spent money lavishly in trying to grow 
seeds in this country. The progress has 
been all that could be expected but is 
far from ideal, and the stocks of many 
varieties are low. Orders are filled in 
the order in which they are received, 
and the most desirable varieties are al- 
ways the first exhausted; so early order- 
ing will mean helping the seedsman and 
yourself. 

Start your gardening on a business 
basis. It is not only practical and fas- 
cinating but is a matter of good sense 
to keep a proper record of your garden 
work. How many times have you heard 
the remark, "I wish I could remember 
that bean we grew last year," or "I 
wonder what house that lettuce seed 
came from?" How many know when 
they sowed the seed, from whom they 
received it? Invest in a small book to 
keep the records in, and you will have 
a better garden. 



January, 1 v J. v 



Most Flexible 
For Roof and 



Treatment 
Side Walls 



Whatever architectural treatment or color 
harmony may be selected for the exterior of 
a home, the architect and owner will find 
"CREO-DIPT" Stained Shingles blending 
perfectly to produce those artistic effects 
desired. 



them, offers opportunity for marked beauty 
and individuality in exterior finish. 
"CREO-DIPT" Stained Shingles are pre- 
served against sun and storm by an exclu- 
sive process driving both color and pre- 
servative :n>o *he very fibres of the wood. 
They come bundled ready to lay each a 
perfect shingle guaranteeing no waste; 
greatest economy of labor. They do not 
curl, rot or fade. 



30 beautiful colors are available in 17 sizes 
of 16-, 18-, and 24-inch shingles each with 
its velvet color finish, or a combination of 

Would you like to see a few illustrations of what has been accomplished 
with "CREO-DIPT" Stained Shingles on artistic homo? Would you like 
samples of colors on wood ? Are you interested in detail prints and 
pictures of thatched roofs? Write for "CREO-DIl'T" Book of Homes. 

CREO-DIPT COMPANY, Inc. 

101.2 Oliver Street No. Tonawanda. N. Y. 

Creo-DiptStainedSliliioleiiueilmtkurriidnce. tkehomral Mn. J. F. MaMitrdt.l 
Architect, Lavfrcncc Barnard, \t if Hochftle, N. Y. 



CREO-DIPT 

Ctained 

\Uningtes 

O 






llh 









The Star 



This year our selected rose plants will be tagged with a five-pointed, easily 
i/.ed STAR. This STAB symbolizes our Improved Rose Service, toy 
and cultivators of the most Inspirational of flowers. 

ONARD 

ROSES 

BLOOM 

Star Points of C. & J. Rose Service 




Your Guide 




1 . Every rose plant 
you receive from us la 
one of a series of types 
selected for their 
blooming possibilities 
in America. 

2. We provide each 
person who sends for 
our Catalog before 
March 31, with a Spe- 
cial List, which defl- 
n 1 1 e 1 y Indicates the 
beat selection of roses 
for hi particular sec- 
tion. 



3. Our roses are 
ytitiKinti fd to bloom. 
or we replace them ; 
if preferred, money 
returned. 

4. With each order 
for rose plants, we 
send simple, concise 
and helpful direc- 
tions. 

5. We never con- 
sider a transaction 
settled until the cus- 
tomer Is fully satis- 
fled. 



Send ^t onee for our new 52-page Catalog and the Special 
List memloned above. Then you'll know the true meaning of 
,. our "Star Rose Service." , 

'Conard 4. Jones Co. R. Pyle, Pres., A. Wlntzer, V. Pres., Box 126, West Grove, Pa. 




COMBINATION 
COAL AND GAS 



DEANE'S 
FRENCH RANGES 



These ranges during half a century 
have demonstrated constantly that they 
meet every requirement of the exacting 
chef. Their sturdy construction guar- 
antees long life; exclusive features 
make operation economical and insure 
quick and uniform heating. Hence their 
selection for many of the foremost 

homes in America. You will make no 

mistake if you place a DEANE in your No , , 09 - frenf H R,n ef , in combint- 

nome. bend for illustrated Catalogue, tion with Gai Rantt and Broiler 

We also manufacture plate warmers, broilers, incinerators, steel cook's tables, i 
laundry ranges and many other devices for the modern kitchen. 




[ Bramhall, Deane Company 



261-265 West 36th St. 
NEW YORK CITY 



^IIIIII 
I 




CvKRRIT 
INTERIOR 

31 KAMT -JHTii 

^iiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 




PitnteJ 
Furniture 

anJ 
Antif net 



MRS. KMOTT Kl'KI, 

IXTKHIOK DBOOHATIOIW 
KA8T .10TII MT. >'KTV YORK OITV 



mnJ 



52 



House & Garden 



Is Your Bathroom 
As You Would Like It? 



IF good judgment led you to install 
"Tepeco" All-Clay Plumbing, you 
are learning to your satisfaction 
that you ma'de a wise and permanent 
investment. But if you were misled 
by a sense of economy to buy slightly 
cheaper and inferior plumbing, you 
are probably now wondering what 
is the matter with your bathroom 
and how you can make it last until 
such time as you can have it reno- 
vated. 

TRENTON POTTERIES CO. 

"Tepeco " All-Clay Plumbing 
is most sanitary, beautiful, practical 
and permanent. Permanency is not 
denoted by a white surface, but by 
what material is beneath that sur- 
face. With time, inferior materials 
will lose their sanitary value, dirt will 
adhere, the appearance become unin- 
viting the piece lose its usefulness. 

" Tepeco" Plumbing is china or por- 
celain, solid and substantial. Dirt 
does not readily cling to its glistening 
white surface, nor will that surface 
be worn away by scouring. A wise 
investment a beautiful one. 

If you intend to build or renovate 
your bathroom write for our in- 
structive book, "Bathrooms of Char- 
acter" P-8. 

THE TRENTON POTTERIES COMPANY 

TRENTON. NEW JERSEY, U. S. A. 
Makers of the Silent Si-tuel-clo Closet 



Works of Art in Metals 

Unique and useful things of brass, copper and 
bronze wrought and beaten Into artistic de- 
signs by the hand of Russian peasants. Also 
linens and embroideries of a high grade of 
workmanship. Call or write. 
Russian Art Studio Russian Antique Shop 
18 East 45th St., I East 28th St.. 

New York New York 



AUTHENTIC ANTIQUES 

Quaint Old FarmCKairs "1760" 

Curtain Tie-backs 
Other odd and unusual pieces 

Ifhmun JJajiiJ 

525 Lexington Ave., N. Y. C, 

Bet. 48th and 49th St. Tel. 8149 Murray Hill 



" JBBBBBlif: " 




Your Garden Can Be as Lovely as This 
From Early Spring till Frost 

WAGNER Plants, put into your ground early this spring, will 
make your lawn the beauty spot of your neighborhood. The 
tiniest garden plot can be an ever-glowing jewel of color the secret 
lies in the early planting of Wagner Free Blooming Plants. To 
enjoy the full beauty of the first spring flowers, plan now and plant early. 
Write today for Wagner's Free Catalog No. 119, picturing bulbs, shrubs, 
flowers, vines, evergreens, roses and hardy perennials for early spring planting. 

THE WAGNER PARK NURSERY CO., Box 29 Sidney, Ohio 

Nurserymen Florists Landscape Gardeners 

Wagner Landscape Gardening Artists will gladly help you plan your 
garden into a harmonious setting for your house. Ask for particulars. 



The Bedroom of Individuality 



(Continued jrom page 9) 



and a bold design in mauves, blues and 
a touch of burnt orange made an in- 
teresting contrast to the furniture to be 
used at the window and on the over- 
stuffed chair. Simple white muslin 
ruffled curtains and a bed cover of the 
same material give the room a fresh- 
ness and crispness of air, which is very 
pleasing. A two-toned gray wall paper 
with the faintest of designs, the wood- 
work painted a deep ivory and a deep 
mouse colored carpet with a bright col- 
ored little woven rug at the dressing 
table complete the furnishings. 

Among the furniture selected is the 
small dressing table with a mirror at- 
tached and a settle to go with it, also 
a tall chest of drawers with a separate 
mirror. Instead of these pieces one 
may have a short chest of drawers and 
a dressing table with triple mirror. The 
writing table which is a very good size 
is the sort of adjunct which will com- 
plete the room, although in its place 
one may have a small table for lamp 
and books to be placed near the bed. 

A very lovely bedroom which I saw 
recently done in the Lo.uis XVI manner 
had simple gray paneled walls, which 
were a pleasant background for the bril- 
liant shot rose taffeta, which was used 
at the windows with tie backs of many 
delicate colored flowers. True to the 
period the bed was draped in the taffeta 
caught back with garlands of roses and 
blue festoons. Most of the furniture 
was painted a peacock blue and covered 



with a rose taffeta and there were bits 
of old boiserie in commodes, night table 
and small chairs. 

Still another very lovely room had a 
black and white toile de Jouy on most 
of the furniture with blue taffeta cur- 
tains and a dressing table hung with 
cream colored net on which stood 
charming little blue lamps with yellow 
chiffon shades. The old French silver 
mirror on it, the little painted screen 
with a chinoiserie design, the chintz cov- 
ered chaise longue with cushions in sal- 
mon colored taffeta all gave the room 
a delightful French atmosphere. 

A room which shows an enormous 
amount of originality in its feeling and 
requires a rather strong personality to 
enjoy it had brilliant green painted 
paneled walls with self-striped apricot 
taffeta at the windows, and as a bed 
cover for the old Italian painted bed. 
The dressing table was hung with a 
mellow toned French linen and on it 
stood a triple mirror in a dull gold 
frame. The chief point of interest, how- 
ever, was a fan-shaped full-length mir- 
ror which was set in at one side of the 
room, fastened to the walls with dull 
gold rosettes. Great brilliancy was 
added by a central many-branched 
crystal chandelier, caught at the top by 
apricot colored feathers. The use of 
the crystal was repeated in the side- 
lights which were of very delicate work- 
manship and by the use of a crystal 
fringe edging the draperies. 



The Winter Pruning of Fruit Trees 



(Continued jrom page 37) 



to the young wood or the bark. A 
light brushing of large wounds each 
year will maintain the wood in aseptic 
condition and thus prevent decay. 

The principles already enumerated as 
to wound making and the removal of 
interfering branches apply to the prun- 
ing of old and neglected trees. But 
here we perhaps have dead and diseased 
branches and quantities of water sprouts 
and suckers, those usually burly and 
erect shoots that appear upon the trunk 
and main branches and at the base of 



the tree. Such growths indicate good 
root power but the novice will almost 
surely decide to cut out all this "use- 
less stuff." 

So far as the dead and diseased wood 
is concerned this decision is correct. It 
should be cut out first. As to the inter- 
fering limbs and the water sprouts, it is 
well to make haste slowly. The trash 
around the base of the tree may be 
taken out without hesitation and the 
interfering branches may be thinned out 
somewhat. 



Two Important Books 



THE ENGLISH HOME FROM CHARLES I 
TO GEORGE IV. By J. Alfred Gotch, 
F. S. A. Scribner. $12. 

DECORATIVE TEXTILES. By George Le- 
land Hunter. J. B. Lippincott Co. 
$15. 

A WELL-KNOWN British architect, 
in speaking of his work, recently 
said, "English is so nearly finished 
that when I designed and erected a 
chapel at Cambridge, I had contributed 
my quota to English architecture." That 
same sense of architectural complete- 
ness is felt when you lay down Mr. 
Gotch's authoritative volume, and much 
of the sensation is due to the compre- 
hensive manner in which the author 
surveys his subject. 

The history of Britain is writ in her 
homes. Her stately mansions crystallize 
the adventure and courage, the far wan- 
dering and noble aspirations oi innu- 
merable decades of gentlemen. And 
Mr. Gotch has made his architecture live 
by telling of those men and the men 
they commissioned to design their 
homes. Here is new light on Webb, 
Wren, Inigo Jones and Vanbrugh, men 
who knew that "no building is com- 
plete which is not beautiful to look 
upon." , 

For the student of architecture and 
the practicing architect this volume is 
invaluable. It is a worthy successor to 



Mr. Gotch's previous work on the Eng- 
lish house before Charles I. It shows 
the architecture of England's past as a 
vital expression of her national career. 
Eminently readable, it is a work de- 
served of a wide interest. Innumerable 
plates richly illustrate the volume. 

From Mr. Gotch's work to the de 
luxe edition of Mr. Hunter's "Decora- 
tive Textiles" is no difficult passage. 
Both are beautiful books and both au- 
thoritative to the last degree. 

The range of Mr. Hunter's study in- 
cludes damasks, brocades and velvets, 
together with detailed descriptions of 
the weaves ; laces and embroideries ; car- 
pets and rugs, including the Chinese and 
Oriental; the entire variety of tapes- 
tries; chintzes and cretonnes; leather; 
wall paper and the woven trimmings of 
furniture and hangings. 

Mr. Hunter, who is already the ac- 
cepted authority in America on tapes- 
tries, has produced a scholarly and read- 
able volume which will add greatly to 
his reputation. The inclusiveness of the 
subjects and the detailed manner in 
which each is covered and illustrated 
make this volume the most complete 
contribution to the subject published in 
America. Color and half-tone plates are 
scattered through the pages, making the 
volume a worthy possession. It is the 
sort of work that no decorator or stu- 
dent of decoration can be without. 



rtouse Ij araen 







1OUSE FITTINGS NUMBER 



HOSTE 




E S ! 



Make Your 

Dinners 

Unforgettable 



Think! . . . was your dinner free from the bored and bor- 
ing, your ball-room minus pathetic wall-flowers? Consider! 
. . . did you serve gay repartee with your wafers, wit with 
your afternoon tea? Meditate! . . . was the atmosphere 
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duce a moralist and an actress without shocking either; 
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intelligently to a dowager's vers libre; to keep a rabid 
socialist in a state of non-resistance; to understand the 
soul of a misunderstood poet. 

Do you care to be so popular, so charming, so brilliant, 
so informed on everything amusing, that buds, bach- 



elors, butterflies, and ambassadors will pray for your 
invitations? 

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House & Garden 



' 



CONDE NAST, Publisher 

RICHARDSON WRIGHT. Editor 



THE SPRING GARDENING GUIDE 



THE American people have learned one 
thing, at least, from the war. They 
have learned the value and enjoyment of 
kitchen gardening. And it is reasonable to 
suppose that, having known the fun and the 
refreshment and the money-saving joy of rais- 
ing their own vegetables, they will continue it. 
Gardening is a habit, but its success depends 
on how you go about it. Slovenly gardening, 
like a slovenly habit, never gets you anywhere. 
It only wastes time and energy. But and 
here's where the March HOUSE & GARDEN 
comes in you can make every minute and 
movement in the garden pay if you have the 
concise information of how to plant and cul- 
tivate and garner. These three subjects are 
fully described in the various articles and 
pictures that comprise the Spring Gardening 
Guide. 

In "The Four Stages of the Garden" you 
will have succession crops and their planting 
graphically portrayed. In the flower and vege- 
table tables the whole story is tabulated how 
much to plant, when, where, when to expect a 




Tall columns an age old vine climbing 
up them- this is a full page in March 



crop and how much. To this is added a table 
of the destructive bugs and how to combat 
them. These tables are a yearly feature, but 
this time they are arranged in a novel manner. 
You know how a theatre program is printed 
with the names of the actors in the order of 
their appearance? Well, these vegetables, 
flowers and bugs will be listed in the same 
fashion. They will then serve the double pur- 
pose of being a guide and a calendar of activi- 
ties. The details of a beginning garden are 
also described. And thus the story is rounded 
out. 

To these are added an article on conducting 
a flower show, which will interest gardening 
clubs, and one on the "Rainbow Garden 
Border," which is a complete survey of color 
schemes in flowers. 

For inside the house you have cabinets and 
their use, the revived attic, heraldry in decora- 
tion, making a room from cretonne, kitchen 
cabinets and the beginning of a new and im- 
portant series "Decoration for Moderate In- 
comes." 



Contents for February 1919. Volume XXXV, No. Two 



COVER DESIGN BY H. GEORGE BRANDT 

THE WALL or PANELED BIRCH 10 

Murphy fj- Dana, Architects 
THE SMALL HOUSE FOR THE MULTI-RICH 11 

Richard Henry Dana, Jr. 

FIREPLACES 13 

Brett, Gray & Hartwell, Decorators 
VIEWS IN THE NEW YORK RESIDENCE or MRS. MINTURN PINCHOT 14 

Murphy & Dana, Architects 

THE TRIBE OF MANSARD 16 

REPLY TO AN IMAGINARY INVITATION 16 

Robert Nichols 
THE GARDEN OF BROKEN FLAGS 17 

Marian C. Coffin, Landscape Architect 
BERNARD PALISSY, His WISDOM AND His WARES 18 

Gardner Teall 
DOORS AND SHUTTERS OF THE COLONIAL PERIOD 20 

H. D. Eberlein 
THE VERSATILITY OF SCREENS 22 

Nancy Ashton 

FARM BUILDINGS ON THE PLACE OF J. A. MOLLENHAUER, ESQ., 
BAY SHORE, L. 1 24 

Alfred Hopkins, Architect 
IN A SOUTHERN GARDEN 25 

Elsa Rehman 
THE RESIDENCE OF C. C. MULLALY, PHILIPSE MANOR, N. Y 26 

Dwight James Baum, Architect 



COUCH-END TABLES AND STOOLS 27 

COLONIAL ANTIQUES OF DISTINCTION 28 

Louis Ruyl 
THE STORY OF JAPANESE PAINTING 30 

W. G Blaikie Murdoch 
PLASTERWORK IN MODERN DECORATION 32 

W. G. Ward 

HIDING THE UNSIGHTLY FIXTURE 34 

A LITTLE PORTFOLIO OF GOOD INTERIORS 35 

Brett, Gray & Hartwell, Decorators 
How TO HANDLE COLOR IN DECORATION 38 

Costen Fitz-Gibbon 

THE HOUSE PRETTY-FULL 39 

COOKING WITH RETAINED HEAT 40 

Eva Nagel Wolf 

FOUR HALLWAY GROUPINGS 41 

THE PANELINCS AT A GLANCE 42 

Dayton Colie 
How MUCH SHALL You PLANT ? 44 

William C. McCollom 
JULIAN ELTINGE'S GARDEN, Los ANGELES, CAL 46 

Charles B. Adams, Landscape Architect 
THE RESIDENCE OF FRANCIS A. NELSON, ARCHITECT, UPPER 

MONTCLAIR, N. J 48 

SEEN IN THE SHOPS 49 

THE GARDENER'S CALENDAR SO 



Copyright, 1919, by Condi ffast & Co., Inc. 
Title HOUSE & GARDES registered in U. S. Patent Office 

PUBLISHED MONTHLY BY COXDE NAST & CO.. INC.. 19 WEST FORTY-FOURTH STREET. NEW YORK. CONDB NAST. PRESIDENT: 
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House & Garden 



1C 




Hart ing 



THE WALL OF PANELED BIRCH 



There is a richness about the texture of 
some woods that makes it almost criminal 
to cover them with paint. In the New 
York residence of Mrs. Minturn Pinchot 
the dining room is paneled in birch, 
stained slightly to give it a warmth of 



tone, and Kaxcd. The fireplace is set al- 
most flush with the walls and the side 
lights are simple so that nothing detracts 
from the beauty of this background. 
The architects -were Murphy fy Dana. 
Other photograph; on pages 14 and 15 



/' Gt/f MUf J 




THE SMALL HOUSE FOR THE MULTI-RICH 

An Architectural Solution for the Man Who Is Burdened With a House 
So Big That He Can't Afford to Live in It 

RICHARD HENRY DANA, Jr. 



MUCH attention has lately been given to 
suitable homes for the newly-rich work- 
ing man. Should we not also turn to the prob- 
lem of housing the newly poor rich? 

How shall we let them down easy? How 
can we help them lift the load of taxation that 
is imposed upon them for the rich man today 
is being taxed to the limit? How can we help 
them escape from the burden of the sixty-room 
country mansion that hangs like a millstone 
about their lives to the freedom of the ten- 
room little house? How lure them from quan- 
tity and stupid waste to quality and ingenuity ? 
How save them from parasitic servants and 



Drawings by T. F. Hamlin 

help solve the problem, growing daily, of fewer 
dependable domestics? These are questions 
which today come home to the multi-rich as 
never before. 

A large part of their former great income 
gave them no happiness. Now every thousand 
dollars left after taxes are paid must bring its 
worth of satisfaction and comfort. This is one 
of the most urgent problems of today. Let us 
meet it. 

The advantages of the Petit Trianon over 
the Palace of Versailles are quite obvious. The 
small house costs less to build, less to main- 
tain, requires fewer servants, and is easier to 



rent or sell. The little pretty is always more 
appealing than the big pretty; the small chic 
is smarter than the large. 

In the first place, let us question those ex- 
tensive lawns, the pride and ruin of many a 
respected Victorian, requiring the services of 
three or more men constantly to mow. The 
grounds around the new little house would be 
small enough to be well cared for by one man 
preferably only one acre in extent. But, 
mind you, a specially selected acre, with a good 
extensive view, over an adjoining golf course, 
old estate or park, guaranteed for fifty years 
or more. The original price for this view 



"^'^^'^^^^^I^JS^J^^^^ Igf *?*;j 

^" ; V. : .':"v:;':;/ ; "'.;.;p 1; ''v' ",.." , /;; 




The small house for the multi-rich should be compact, readily heated and easily run with a maximum oj three servants. Style and variety 
would be gained by having the rooms either spaciously large or cosily small; elegance ensured by high ceilings, unusually large French win- 
dows, selected materials and the finest finish inside and out 



12 

might be high, but the 
upkeep would be nil. 

The long way of the 
house, and the princi- 
pal rooms would face 
this open prospect. Be- 
tween the house and 
the low hedge separat- 
ing the acre and the 
park would be a long 
oval view terrace, with 
places to sit entirely se- 
cluded from the drive- 
way and public road. 

Complete privacy 
from adjoining houses 
would be ensured by 
thick bosquets of ever- 
green trees along the 
entire two sides of the 
property. The house 
would be secure from 
the dust and noise of 
the public road by be- 
ing set more than half 
way back in the lot. The spaces at 
the sides of the simple forecourt would 
be used for a garage court and small 
flower garden on one side, and a dry- 
ing green and vegetable garden on the 
other side. A large flower garden 
would be unwise with its constant up- 
keep in summer and bare, unsightly 
beds at other seasons. Such small fin- 
ished grounds for the all-year country 
home would be no burden but only a 
pleasure. 

Elegance in a Little House 

The type of house would be com- 
pact, readily heated, and easily run 
with only three servants. Yet there 
would be style and variety by having 
the rooms either spaciously large or 
cosily small, and avoiding the usual 
monotony of many medium - sized 
rooms. Elegance would be ensured by 
high ceilings, unusually large French 
windows, selected materials and finest 
finish inside and out. 

The unwieldy burden of the old 
mansion was largely caused by the 
quantity of rarely used rooms, unat- 
tractive because unlived in, and main- 
tained only by a large corps 'of poly- 
glot servants constantly at variance. 
By eliminating these unused rooms, 
we would throw off half our domes- 
tic troubles, dismiss the housekeeper 



Before the entrance is 
a forecourt; off the 
garage a flower gar- 
den, and a vegetable 
garden off the service 
yard. Extensive views 
over the adjoining 
golf course would be 
had from any point 
on the terrace 




r Um5e , d r T'- the first fl , r W uld consisl > a smart entran ^ hall, a graceful 
staircase a large hvmg room with a small study on one side and a dining room on 
the other. The wings would house garage and service quarters 





House & Garden 

and breathe more freely. 
There would, of 
course, be no reception 
room for polite old- 
fashioned calls; no 
drawing room for the 
formal entertaining of 
astonished acquaint- 
ances; no smoking 
room, as the ladies 
must smoke every- 
where; no billiard 
room, as the country 
club affords better fa- 
cilities for all such 
games. The dining 
room would be small 
and cosy enough to 
serve as breakfast room 
also. The large costly 
conservatory with its 
tiresome ferns and 
palms would be re- 
placed by the flower 
bay in the dining room, 
small and easily cared for, with a 
few bright and unusual flowers. And 
finally, we would be free of those 
empty guest rooms, and the conse- 
quent obligation for large house 
parties and clumsy menage. 

Privacy Indoors 

Privacy would be the keynote of 
the interior. Everything would be 
devised for freedom of family life 
rather than for superfluous enter- 
taining. There would be no grand- 
opera staircase. From the front 
door only a smart entrance hall 
would be seen, no more. The grace- 
ful little staircase would be in a 
separate stair hall leading discreetly 
from the study up to the bedrooms. 
There would be no extensive vistas 
from one end of the house to the 
other, no throwing rooms together by 
broad portiered openings, not even 
glass doors to look through. The 
doors would be few, small and solid, 
often disguised in the paneling for 
the sake of greater seclusion. 

Sense of space would be given by 
one really large room the living 
room. Here would be area for even 
the largest of the good tapestries, 
portraits, furniture and rugs from 
Villa Victoria but no place for even 
(Continued on page 66) 



Upstairs would be 
only three bedrooms, 
each large and well 
aired, opening onto 
iron balconies. A 
dressing and bath- 
room is provided for 
each, with a little 
sewing room looking 
over the forecourt 



February, 1919 



13 




A living room fireplace oj dignity 
and distinction has stone sides 
and a heavy oak carved mantel. 
Inset bookcases range on either 
side. The furniture grouping 
leaves an open space before the 
hearth. Color is given this room 
by the Chinese panels between 
bookcases, and the plaster beamed 
ceiling which is painted blue, red 
and white 



There is an atmosphere of privacy 
about a fireplace in a jog. In 
this residence the Dobyne House 
at Beverly Farms, Mass. the 
dining room fireplace is set off in 
a corner by itself. The mantel 
stone is carved with family coats 
of arms and above that is a plain 
Panel to be filled some day with 
a painting, flanked by carved 
panels and narrow closets 




The unusual blending of 
brick and cement and the 
little niche high up by the 
ceiling give this bedroom 
fireplace interesting indi- 
viduality. A rag mat lies 
before the hearth. The chair 
covering is of green 



UNUSUA L 
FIREPLACES 

BRETT, GRAY 

& HARTWELL 

Decorators 



House & Garden 



14 



K 



VIEWS IN THE 
NEW YORK RESIDENCE 

of 
MRS. MINTURN PINCHOT 

MURPHY y DANA, Architects 



\ 



The. stairway leading from the 
entrance hall has a simple 
balustrade oj wrought iron. 
Black marble floor and pale 
green walls. Furniture l&th 
Century Italian in gray green, 
vermilion velvet cushions 



In the dining room the walls 
are paneled in birch, stained 
light and waxed. The table is 
refectory in shape and is set 
here for the evening meal. A 
little stair leads from this 
room, as shown below 



The little stairs that 
lead from the dining 
room give entrance, 
through a blind door in 
the panels, to this land- 
ing, thus simplifying the 
service when guests are 
assembled in the living 
room, at the side of 
which the stairway has 
been placed. The paint- 
ing by Henri makes a 
bright color spot 






February, 1919 



15 



A detail oj the liv- 
ing room shows the 
placing oj an old 
Italian mirror in dull 
golds and greens be- 
tween two Flemish 
tapestries. The in- 
laid commode and 
the arm chairs of 
dull walnut and 
gold have been clev- 
erly placed so as to 
make the piano as in- 
conspicuous as pos- 
sible 



The main group in 
the living room is 
arranged around the 
fireplace, the mantel 
of which was taken 
from the old Stan- 
ford White house. 
Below the side lights 
hang Venetian em- 
broideries in oval 
frames. Walls are 
painted a delicate 
buff. The color at 
windows and on the 
furniture is warm 
crimson 





16 



ti o u s e cr u ar a e n 




THE TRIBE 

AMONG the fruits of peace that fell to our portion after the Civil 
War was great industrial growth and activity. Americans be- 
gan making money. And having made money, they spent it. They 
went in for fine equipages and spans of glossy-coated horses; they 
sent their sons to college and their daughters aspired to the same halls 
of learning. They also built themselves houses of brownstone with 
slanting, dormered roofs. A man came to be known by the sort of 
roof he lived under. If it was a Mansard, he held a place of respect 
in the community. Since all men desired to hold places of respect, 
Mansard roofs grew apace rows and rows of them all over the land, 
until of the tribe of Mansard there was sealed, yea, more than the pro- 
verbial twelve thousand. The houses sealed with such roofs came to 
be more typical of American than did the Colonial, and they held this 
place for two generations until other times brought other customs. 

One might speculate at great length on what architectural mani- 
festations the present coming of peace will develop. Granted that 
prosperity will again be our portion, it is logical to believe that men 
all over the country will build them homes. For four years now they 
have been restrained from the attainment of this very natural and 
laudable aspiration; with peace a reality, they may go ahead with a 
clean conscience and fairly good prospects of having the cash in hand. 

Here is an opportunity for the architects of America to show their 
artistry and understanding of our American life. They are wont to 
scoff at the bastard Mansard that was forced on an unsuspecting public 
during the giddy 80's. But have they something better to offer, some- 
thing more adequate to the demands of our modern life? Can they 
now evolve a type of architecture of which 
men will be proud, an architecture that will 
give them standing in the community as did, 
once on a day, the brownstone, Mansard 
house? 



MANSARD 



THERE is much to be said for the tribe 
of Mansard. It had a noble lineage and 
it was fairly livable. 

The father of the Mansard roof was one 
J. H. Mansart, master architect to Louis 
XIV, who gave the classic dignity to many 
portions of Versailles, where today the peace 
conferees are assembled. Louis XIV greatly 
enlarged the palace, and Mansart designed 
the additions. Others of Mansart's conception 
of classic forms can be found in the Second 
Church of the Invalides in Paris. His clas- 
sicism became the national architecture of 
the Louis XVI period. It was an imposing 
and dignified style, with admirable qualities 
of proportion and alignment of parts. It was, 
in fact, a continuation of the efforts of the 
Renaissance and it almost succeeded in 
cleansing itself of the vagaries and vulgari- 
lies of the Baroque. 

The revival of the Mansart style was a 
natural step for American architecture after 
the Georgian Classical efforts had spent 
themselves toward the middle of the 19th 
Century. Some sort of classicism was wanted 
and lo, Mansart ! But in his travel across 
the ages and the sea he lost both his purity 
and his name as tea loses some of its 
flavor by coming overseas. The style to which 
he fell in the latter part of the 19th Century 
in America was of low estate, and our build- 
ers and their publicists even did him the in- 
justice of calling his roof Mansard! 

The average brownstone house of the time 
was a box-like affair, crowned with a slant- 
ing slate roof in which were dormer windows. 



REPLY TO AN 
IMAGINARY INVITATION 



What should I go to Greece for 
When I have got mine here? 
Bursts of sunny cloud smothering 
Across skies combed and clear, 
Sunshine falling and fading 
Now far off, now near. 

The gay young beech, the sycamore 

Rather yellow than green 

And the deep wind pouring 

All their leaves between 

What more dare I require? 

What better might-have-been? 

There's a long slope seaward 

Over which the wind flows, 

There is young green corn springing 

And over its sheen goes 

One glossy rock sedately walking 

Turning out his toes. 

The cliff-top dips suddenly 

And below on the broad sands 

A girl in a white fluttering dress 

Runs and halts and stands 

Shouting at a boy on a galloping cart-horse 

And clapping her hands. 

Further out past the breakers' 

Bright welter and clash, 

Three jolly bathers 

Struggle and splash 

And the sea toward th' horizon is 

One glitter, one flash. 

If I shut my eyes I see redness, 
If I open blue and clear, 



If forward sea . . . bathers 
If back gay trees near. 
What should I go to Greece for 
When I have got mine here? 



The angle of the roof was acute, and therein lay its secret. 

In the good old days when taxes were imposed for almost everything 
(something like the present), a man was taxed, it is alleged, for each 
story of his house. Our canny forebears, who were as loath to pay 
taxes as are we, got around the restriction by building a house with 
one story and a hip roof. They also found that this style known 
today as Dutch Colonial made a roomy upstairs because the roof 
was high. The same is true of the Mansard roof; its angle, plus 
dormer windows, made a roomy third floor. It provided space for 
storage, for the nursery and for maids. It may have made the house 
look as though it had a retreating brow, but then, who cared! Man- 
sard roofs were the rage and good folks could see nothing laughable 
or unlovely about them just as you will see nothing unlovely in that 
new hat until the styles change. 

There's the word the architectural style changed ! As time passed 
and other architectural conceptions were put forward, the Mansard 
roof went into the discard. Today its name is a mockery. No one 
would dream of putting up a house with such a roof. And yet, how 
fallacious such judgment is! 

A'sF architecture is good if it serves the needs of a generation. And 
before it can be good architecture, it should first be good work- 
manship. Much good and sincere labor went into the house of the 
Mansard generation. Its woodwork was honest. It stood four squared. 
Its stairs had a dignity of line and a commendable sturdiness of 
structure. Its ceilings were high and its windows looked out upon the- 
world with a measured and precise fenestra- 
tion. If as much good workmanship goes 
into the houses of our next era of prosperity, 
we need have no fear. 

Architecture is an expression of the cus- 
toms and mind of a people. It is an out- 
ward and visible sign of an inward feeling. 
The brownstone tribe of Mansard crystallized 
in its every line the mental and moral con- 
cepts of its age. It stood for a time when 
life was not so frenzied as it is now, when 
a man felt it his duty to the race to have 
issue, when women were content with their 
family life. Since then we have learned 
many things scientifically, but we have yet 
to find a saner basis for life than that which 
the tribe of Mansard typified. 

Try this some time when the world has 
been about your ears try walking down a 
street of brown front, Mansard roofed houses. 
Night time is the best, for then the archi- 
tectural idiosyncrasies are lost in the dark- 
ness. At first, as you pass, you think scorn- 
fully of all those things that such houses 
lacked telephones, good plumbing, and sim- 
ple decorations. Then gradually, you be- 
come aware that they stood for something 
very fine for decent home life, for simple 
pleasures, for children. And deep in your 
heart you are thankful for them. 

We do not suggest that Mansard be re- 
vived. Spare us that! But it is desirous 
that we have an architectural expression for 
our time which will be as effective as Man- 
sard was in its day. Once that form of archi- 
tecture is attained it will have a singular 
effect on American life. For, in addition to 
expressing the genus of a people, architecture 
also stabilizes their life, and American life 
needs stabilizing. More power then to the 
architects! More power to the men and 
women who plan to build homes! 



cliff-top 



ROBERT NICHOLS. 



February, 1919 



17 




Marian C. Coffin 



THE GARDEN of BROKEN FLAGS 



Beyond the gale and the spherical sundial oj this garden, beyond the 
low gray wall and the pergola eiedra at the farther end, beyond even 
the colorful border plantings and their shrubbery backgrounds, lies 
the interest of the paths. They are oj broken flagstones with grass 
cropping up between them. The garden is on the estate of Mrs. 
Charles T. Bollard, Glenview, Kentucky. Marian C. Coffin was the 
landscape architect 



18 



House & Garden 




Two views of a 

basin by Palissy, 

with decorations in 

relief 



BERNARD PALISSY, HIS WISDOM AND HIS WARES 

The Story of a Famous Potter of Old France, Inventor of Rustic 
Figulines to the King and the Queen Mother 



GARDNER TEALL 




porte lummiere 
by Palissy 



FAR better it is that 
one man or a small 
number of men should 
make their profit from 
some art by living hon- 
estly, than that a large 
number of men should 
struggle, one against the 
other, so that they can- 
not gain a livelihood 
save by profaning the 
arts, leaving things half 
done. So said Master 
Bernard Palissy, born 
some four hundred years 
ago 1510, to be exact near Chateau Biron 
in Perigaud, France. 

Where in the whole history of the arts will a 
more interesting figure be found? His was not 
the swashbuckling career of a Cellini, never- 
theless, the serious-minded would not exchange 
him for the volatile Italian who seemed ever 
and anon to be swallowing diamond dust or 
crossing a cardinal for copy. Palissy's was 
romance of a different sort, but romance never- 
theless of a fine type. 

A Forgotten Master 

I have often wondered why we of to-day 
have almost forgotten about Master Bernard, 
Master Bernard, whom the read- 
ers of our grandmothers' genera- 
tion immortalized. I suppose 
the cultivated virtue of novelty 
which, in this restless era, de- 
mands incessant changing of 
school books from term to term 
failed to bring old Palissy along 
with it. In earlier days it was 
part and parcel of one's polite 
education to know something of 
Master Bernard, at least to 
know that there had once lived 
such a person. In those less cur- 
riculumed yesterdays the story 
of Palissy the Potter was always 
a welcome one. Perhaps we our- 
selves have merely overlooked 
the matter, and so I make here 
this venture, believing time has 
intended no slight to Master 
Bernard's memory. 

How well I recall a certain 
lower shelf in a library which 
regaled the rainy autumn days 

of my tender years ! There were (Above) Classical 
treasures here convenint to the subjects intricately 
j c j . wrought m relief on 

hand of one aged nine, treasures round p i a i e 



fitting the advancement of learning laboriously 
attained under the unflinching persistence of 
an all too faithful governess. In this sanctu- 
ary I chanced in childhood to come upon a tiny 
octavo bound in blue, stamped with gilt morn- 
ing-glories, morning glories such as I have al- 
ways associated, for some unexplored reason, 
with the long late Prince Albert and the equal- 
ly long late Lucy Larcom! Within the covers 
of this little book was a highly embellished 




Faience figuline generally ascribed 
to Bernard Palissy 



(Right) A round 
dish with heavy 
decorations. By Ber- 
nard Palissy 



(Below) Round 
plate richly deco- 
rated with allegori- 
cal figures in relief 




frontispiece, hand-stenciled in colors of saf- 
fron, scarlet and azure with an overwhelmingly 
deep dash of bottle-green. I imagine this vol- 
ume emerged from the press at a time when 
analine dyes self-proclaimed their advent to 
the mediocrity of the day. Beyond that I do 
not venture a date. 

This giddy frontispiece seemed, even in my 
childish eyes, profanely gay for the subject it 
presented. Here was depicted the figure of a 
bearded man in foreign dress, visage forlorn, 
person unkempt. The artist pictured him in 
the act of destroying a quantity of furniture of 
a sort that might have given distinction to an 
early Victorian parlor. 

A Destructive Small Boy 

Just what seemed so terrifying about the 
situation, I do not know, unless it was that, as 
I distinctly recall, I myself had occasionally 
been regarded as somewhat destructive in the 
furniture line, as when, quite unintentionally, 
I had scratched my great-aunt's mahogany 
sofa in making a desperate attempt not to slide 
off its hair-covered plateau at a moment when 
the peculiarly poignant texture of this revered 
fabric had caused me unwittingly to squirm 
about in manceuvering for a less aggravating 
bit of the area. From that time on Miss Solan- 
der, the governess, could not adjust her per- 
spective to considering me other 
than a menace to mahogany in 
the front of the house or black 
walnut in the rear. 

Thus you can well imagine 
how heroically there loomed 
forth from that frontispiece the 
figure of one who was deliber- 
ately breaking up chairs, tables, 
stools, four-posters and what not 
and a grown man at that! 
But the thrillingness of the situ- 
ation was further enhanced by 
the fact that not only was he 
breaking up the furniture, but 
he was feeding it to the flames! 
There was no doubt of it; a co- 
pious employment of carmine 
and saffron made that point 
clear. That anyone should have 
dared to be so deliberately de- 
structive at once awakened my 
curiosity, and I am not sure it 
did not awaken my admiration 
as well. I hope not, for as we 
grow older we like to think that 
our Golden Days were paragon 
in their virtues. 



(Left) Openwork 

plate featuring the 

monogram of 

Henry II 



February, 1919 




An oval dish with fig- 
ures and decorations in 
relief, by Palissy 



"La Madaline au Desert," an oval 

plate by Bernard Palissy, in the 

Louvre Museum, Paris 



It was not long before I discovered in the 
background of the picture the figure of a 
woman in a Breton cap inexcusable an- 
achronism, though I did not know it then. 
Who was she? The furniture-breaker's 
governess, perhaps; no, that could not be, 
for he was older than she. From the corner 
of my eye I took a swift visual dart at Miss 
Solander. The lady in the picture appeared 
timid and weeping. No, it would not be a gov- 
erness. 

Just then a voice interrupted, "What are you 
looking at, child?" 

"I do not know," I replied. 

"You do not know!" exclaimed Miss Solan- 
der in expected disapproval, "Pray why do you 
not know?" She moved near, to be serviceable. 

"I was only looking at the picture." 

Now Miss Solander never cared for pictures, 
at least only for painted ones of forget-me- 
nots and buttercups in water-color and sheep 
by Mauve in oil, so I hurried on to spell out 
the title-page. I gave it up. 

"P-a-1-i-s-s-y, Palissy. Master Bernard 
Palissy the Potter,'' coached Miss Solander. 

"What is a potter?" I asked. And then it 
began. 

Meeting Palissy 

In these after 
years I have always 
been glad tha^Miss 
Solander's Em- 
broidery chenaille 
gave out at the first 
question, and that 
a gentle rain kept 
us indoors. Un- 
doubtedly, too, this 
little book had 
been known to her 
childhood, for she 
extended it a 
more approving 
greeting than it 
was her wont to 
begrudge many of 
my other early lit- 
erary discoveries. 
At any rate, I have 
forgiven her much, 
for that afternoon 
she read me the 
story of Master 
Bernard from be- 
ginning to end. 






Faience panel portrait of Palissy 

attributed to himself. Rothschild 

collection 



f * '% '* ** - T\ 

^fl!Js*tt*!?fcct**kA i ^\Al'.o i . .. 

.. ^OpS s ^r'*v ^ '~\\.:r k -^ 




"The Family of Henry IV," an oval 
plate by Palissy. From the collec- 
tion of Prince Ladislas Czartoryski 



How it all came back to me yesterday 
when my friend Cleon, at whose house I was 
dining, took me into his library and showed 
me, not a book about the old potter, but an 
actual bit of his craft, a sauce-boat in the 
enameled faience which Palissy struggled 
through so many years of vicissitude to pro- 
duce. Tenderly I took it in my hands and 
gazed intimately upon its lovely soft blues, 
grays, browns, wonderful greens and the soft 
and well-fused marbled colors on the back of 
the piece, all of which, together with the sharp 
modeling of the relief and "neatness" of its 
workmanship gave unmistakable evidence of 
its authenticity. It had not the crude greens, 
the glaring yellows or the bright purples that 
disclose imitations of Palissy's ware. 

Palissy Collections 

I have seen the fine collections of Master 
Bernard's handiwork in the Louvre, the Hotel 
Cluny, the Sevres Museum, the Victoria and 
Albert Museum and the Wallace Collection in 
London, the Metropolitan Museum of Art in 
New York and the other collections of note, 
public and private at home and abroad, but 
the little sauciere which my friend Cleon per- 
mitted me to gaze 
upon, nay, dear 
reader, to hold in 
my hands ! there 
was not a finer bit 
anywhere. Master 
.- ,--. Bernard must have 

' ' - - given a chuckle of 

contentment when 
he drew it from the 
kiln! 

One might, with 
a princely purse, 
collect a few exam- 
ples of Palissy 
ware in the course 
of a lifetime keenly 
devoted to the pas- 
time! But so rare 
is Palissy ware that 
even in Cleon 's 
house I had not ex- 
(Continued on 
page 68) 



Early view of 
Saintes. Palissy's 
kilns were in 
quarter marked A 



House & Garden 



20 



DOORS and SHUTTERS of the COLONIAL PERIOD 

The Structure, Measurements and Panel Disposition 
Which Make for Colonial Perfection 



H. D. EBERLEIN 



A MAHOGANIZED door, with 
J\ a full-length, bevelled plate 
glass panel and a plated-silver knob, 
set within a fine old Georgian door- 
way is a brutal shock and a glaring 
anomaly. It jars one's sense of the 
eternal fitness of things. It is a 
clumsy misfit and nothing can ever 
reconcile such a door with its 
setting. 

A little more than a year ago the 
writer was making a special study 
of the fine 17th and 18th Century 
houses in a part of the country 
where dwellings of that sort abound. 
Time and again he was confronted 
by just such offensive anachronisms, 
mahogany and plate glass dead flies 
in pots of otherwise purest architec- 
tural ointment. It set him to won- 
dering whether all the people of that 
neighborhood had gone architec- 
turally blind since they had so ut- 
terly failed to appreciate their sur- 
rounding architectural glory and 
could deface it with such monstrous 
improprieties. And the same inex- 
cusable phenomenon may be found 



an 






to a greater or less extent in plenty 
of other places, too. 

The points to note and compare 
in examining the door and shutters 
of the Colonial period are: 

Structure and type. 

Measurements of stiles and rails. 

Arrangement, size and number of 
panels. 

Measurements and profiles of the 
moldings enclosing the panels. 

Character of the hardware. 

Doors and shutters are of two 
sorts of construction, battened and 
paneled. The former are neces- 
sarily more massive than the latter 
but possess the merit of direct and 
vigorous simplicity. They consist 
of two layers of boards, usually 
grooved and often beaded on one 
edge, which are laid at angles each 
to the other. The boards of one side, 
usually the outer, are set vertically; 
the boards of the other or inner side 
may be set either horizontally (at 
right angles to the outer layer) or 
diagonally; sometimes, if there be 
two doors, herring-bone or chevron- 



The affinity bet-ween the door frame and the 
door itself can be seen in this example oj late 
18th Century work found in New Hampshire 



Periods are based on panel arrangement. The 
eight panel design on the extreme lejt is m,d- 
ISth Century type from Barnstable, Mass. 
On the right, the two panel door is late 17th 
Century and comes from South Yarmouth, 
Mass.; the next is late 18th Century, and the 
third, with small top panels, early l&th Century 



n 







Among the unusual types found in Bermuda is this folding door 
with an all-over latticed light. Plaster columns at either end 



Early nth Century doors are to be found at Graeme Park, Hors- 
ham, Pa. This Colonial woodwork is an especially fine example 



February, 1919 

wise. The division lines between the 
boards, especially if one edge is 
beaded, contribute the chief decora- 
tive interest. The type is severe but 
full of dignity and impressive in its 
setting which generally consists of a 
narrow and simply molded frame, 
oftentimes with a narrow transom of 
small rectangular panes. Such a 
heading relieves the severity of a suc- 
cession of vertical lines. If there be 
any external overdoor feature beside 
the transom, it is the plainest kind of 
rectilinear pediment hood. This 
type of door occurred frequently in 
very early dwellings and was also 
much used in old meeting houses. It 
is easy and inexpensive to make and 
can be fitted to any size of doorway 
without reference to the stock sizes of 
milhvork. 

Paneled doors and shutters exhibit 
great diversity of composition and 
consequently a wide variety of inter- 
est. Different fashions of paneling 
doors prevailed at different periods 



UIDD 

DQD 







Door of the Manor House, Croton 

on-Hudson. An early nth Cen 

tury example, from Holland 



21 



and the manner of panel arrangement 
affords an approximate index to date, 
just as do the cut of clothes or any 
other phenomena of style evolution. 
Measurements of stiles and rails vary 
according to panel arrangement and 
can be-t In- studied in that connection. 
In the late 17th Century and earh 
18th Century (c. 1665-c. 1725) one 
common arrangement had four or two 
panel- ni IM ;,r]y cijiial size, double 
doors having two panels in each leaf, 
single ' doors either four or two ac- 
cording to width of doorway. An- 
other arrangement common at the 
same time had six panels (double- 
doors three in each leaf) ; two small 
at the top, two long below, and two 
(Continued on page 60) 



(Left) Doorway to "Ml. Pleas- 
ant", Philadelphia, showing the 
heavy classical lines oj the frame 
and pediment, with sturdy panels 
in the door itself relieved by a 
caned light 




The door of Gloria 
Dei Church in Phila- 
delphia presents^ a 
study in the regutkr 
paneling of the early 
ISth Century. A 
stately style in a 
stately frame 




An eight panel door 
is found at "Cliv- 
den", Germanlown. 
It is an example of 
the mid-lxth Cen- 
tury. Doors are 
narrow and pro- 
tected by shutters 



A late 17th Century 
four panel door is 
found at the Mo- 
ravian Sisters' 
House, Bethlehem, 
Pa. The overdoor 
light is unusual in 
such work 



22 



House & Garden 



In the room above the 
low Coromandel screen, 
so popular in the l&th 
Century, has been re- 
vived in its proper use 
by a settee when it is 
placed near a doorway. 
Schmitt Bros., deco- 
rators 



The successful use oj 
screens to form a whole 
background is here 
happily illustrated. 
Corners of rooms could 
be so created or ob- 
jectionable doorways 
dosed up. Alice Schille, 
decorator 




The VERSATILITY 
of SCREENS 

A Useful Accessory of 
Varied Possibilities 

NANCY ASHTON 

OF all the decorative accessories 
probably the most versatile and 
at the same time the least understood is 
the screen. It never occurs to most of 
us that it has any use except in the 
dining room to shut off the service door. 
As a matter of fact its possible uses are 
as varied as its designs and its pres- 
ence frequently creates the character of 
a room. 

In Georgian days when the huge liv- 
ing rooms were cold and draughty and 
heated by nothing more adequate than 
a small fireplace, a screen was an actual 
necessity. Discreetly placed at one of 
the entrance doorways it served the 
double purpose of cutting off the cold 
air and breaking the length of the 
room. So placed today, with an inter- 
esting furniture group in front of it, it 
may be equally effective. 

Such a screen must of course be tall 
and no less than four-fold. It may be 
of painted canvas in an infinite num- 
ber of designs or of tooled leather, or 
carved wood, but it must be of suffi- 
ciently lovely design and color to add 
a great deal to the harmony of the room. 
I suppose one of the most beautiful 
illustrations of this was the use of a 
tall screen in itself so lovely that it was 
the dominating note in the room. 

It was made of plain emerald green 
old Chinese satin without a sign of 
decoration and it was very tall, at least 
eight feet. In its bright surfaces was re- 
flected all the light and shadow of the 
room. Placed directly in back of the 
glazed chintz davenport, which was 
drawn up at one side of the fireplace, it 
made a perfectly delightful background 
for the charming hostess. The room 
was a library lined with books, with a 
gay flowered glazed chintz at the win- 
dows and on the furniture and the 
striking note of emerald green repeated 
in the glass wall sconces. 

In A Studio 

In these days of huge studios which 
serve the purpose of living room and 
dining room as well, the screen plays 
an important role, and if wisely placed 
may effectively cut off that part of the 
room where dinner is to be served. 

Sometimes an ugly wall may be dis- 
guised by the correct placing of screens, 
so as to form a new and interesting 
background. If more than one screen 
be used, they should of course be the 
same height and the same general char- 
acter of design, preferably as simple 
as possible. 



To break a long living room by dis- 
creetly placing a tall red lacquer screen 
at one of the entrances, with an ar- 
rangement of furniture in front of it, 
is an interesting treatment. Schmitt 
Bros., decorators 



February, 1919 



The little low screens, not more than 
3' high, have always fascinated me the 
most, and they are less used than any. 
The tall, rather important Coromandel 
screens are better known, but the small 
ones are even more delightful, though 
serving an entirely different purpose. I 
saw one effectively used next to a vivid 
yellow damask settee, its Chinese de- 
sign on a black ground making an in- 
teresting color contrast. Placed near a 
doorway as it was, it was both effective 
in color and useful. 

Fireplace Screens 

Another happy use of a small screen 
is near a fireplace, not as a fire-screen 
(they are a story in themselves) but 
just a low, two or three-fold screen, 
either of damask or silk, placed near a 
big armchair, making a little more 
friendly group in front of the fire. 
These little screens may be made in a 
variety of materials, and I saw a fas- 
cinating one made of heavy beige col- 
ored paper on which little old color 
prints had been inset in oval medal- 
lions. The edge of the screen, as well 
as the medallions were finished off with 
a narrow green paper border. 

What a delightful touch this would 
be for a boudoir! 

An artist in the small decorative ac- 
cessories has devised a screen made of 
pergamyn through which the light fil- 
ters sufficiently to bring out the quaint 
Persian design in delicate tones. This 
was placed in a bedroom directly in 
front of the door leading to the dressing 
room and was made about 5' high. 

At a very wide doorway where the 
thoughtless architect has omitted doors 
altogether, the screen is absolutely in- 
dispensable. There one will need a 
very tall one and I have seen a pair of 
tall Chinese screens fitted into such a 
doorway so as to actually close. 

Their Advantage 

There is one great advantage about 
screens: they may be really as simple 
and inexpensive as you please if made 
of a good wall-paper. Even for 
the rather dignified living room, if the 
paper be chosen with great discrimi- 
nation and lacquered to a good tone 
such a screen Vjpuld be very effective. 
There are a variety of black wall pa- 
pers which are excellent for this pur- 
pose and one or two pastoral designs, 
not to forget the bird and flower designs 
reproduced from the 18th Century 
papers. 

The simple chintz covered screens 
are useful for the bedroom, or if one 
pleases, one may have a plain linen in 
a good color with the main design of 
the chintz repeated in the applied mo- 
tifs on the panels of the screen. In 
fact, inexpensive and yet effective 
screens are so easily made that one 
wonders that the department stores are 
still able to dispose of their cheap sup- 
ply of pseudo-Oriental variety. 



.4 tall Coromandel screen in an Orien- 
tal design may be used to cut off the 
service door in a dining room. Walls 
are oak paneled; hangings, blue dam- 
ask. Mrs. Edgar de Wolfe was the 
decorator 




A translucent screen of 
pergamyn on which a de- 
lightful Eastern landscape 
is painted insures privacy 
at the entrance to the 
dressing room. Karl Freund 
was the decorator 



To cut off the corner of a 
bedroom, a screen has been 
placed in this fashion. It is 
of plain linen with a Chi- 
nese motif repealed in cir- 
cles. Decorations by Mrs. 
Woods 




24 



House & Garden 




A general view of the entire group shows the compactness and easy access of the 
various units. The chicken houses are located in the wing on the left. The cows and 
horses are in the long wing in the middle, and the carriage room and general wagon 
storage in the wing joined to the gardener's cottage by a trellis. The cedar planting, 
not on the architect's plan, somewhat detracts from the appearance of the front 



A trellised archway stands be- 
tween the chicken house and 
the tower with a path leading 
to the door of the feed room. 
This trellis is repeated by the 
gardener's cottage 




The cottage is a simple Colonial 
type with jour rooms and hall 
downstairs and four rooms and 
bath up. The latter can be 
opened, making a dormitory. 
A vegetable garden is in front 



The lower floor of the tower serves for 
feed room and the upper houses an extra 
hand. A dove cote is in the top. This 
and all the buildings are finished in old 
split cypress shingles, long in vogue in 
the locality 



FARM BUILDINGS on 

the PLACE of 
J. A. MOLLENHAUER, 

Esq. 

at BAY SHORE, L. I. 
ALFRED HOPKINS, Architect 




February, 1919 



25 







A simple trellis encloses the garden. 
At the meeting of the axes lies a 
little pool. Box edges the borders 

WE have come through a grove of 
tall trees to the arbored en- 
trance of the garden. Before us is just 
a simple straight walk with long box 
edged flower borders and lattice en- 
closure. It is spring and the tulips 
are in bloom, all in the softest shades, 
white, lilac, lavender, heliotrope, pur- 
ple. How delicate it is with the tulips 
raising their tinted cups high above 
the new green of the garden. When we 
see it again, it may be, perchance, in 
the heat of the mid-summer. We find 
white and lilac and violet phloxes, 
lilac and white scabiosa, purple and 
white gladiolus, and pure white gal- 
tonias. How cool and refreshing it 
seems. Or we may see it again in the 
autumn with its lilac and purple 
perennial asters, its lavender and 
white stocks, white snapdragons and 
white dahlias. How quiet and refined 
it seems then. And the vines, at first 
merely a thin tra^ry upon the lattice, 
soon wreaths the wooden framework 
with garlanded decoration. There 
are lathyrus, the climbing pea, and 
roses and clematis. There are Silver 
Moon roses, with soft semi-double 
large white flowers, and the lovely 
blush Gloire de Dijon and the great white 
flowered climbing Ka-iserin Auguste Victoria. 
And of the clematis, there are purple varieties 
and white ones, not only the familiar autumn 
Clematis paniculata but its choicer relative, 
Clematis Henryi with luxuriant June bloom of 
great star-shaped blossoms. Flowers and 
vines, in their overlapping succession of bloom, 
reiterate in different form each time the lovely 
coloring of lilac and white in the garden path. 

' I ^ HAT day in the spring when we walked 
JL between the borders delicately adorned 
vith tulips we went on to the very end of the 
path and there entered the spring garden under 
the old walnut trees. It was full of budding 
columbines where just a little while before we 




f ~j .., diagiaj E-WHT^T^ 
f BV~-r K~-.~~& 

>i f.1 :. ' **" "*''> -1 . f 



usucw 



;*<*> 

i^KJo'J! 

t k/^~\/ 



.1*// ,n A 



There are three gardens in all one 
formal and enclosed, an autumn 
garden and a garden for the spring 



and loose habit displayed through 
very contrast amid the small rambler 
type of the other pink climbers, Para- 
dise and Evangeline. The pink H. T. 
roses are in bloom and the polyanthas, 
pink and cream ones that grow inter- 
mingled as edgings. Then there are 
old fashioned China roses and there 
are moss roses whose spiny clusters 
are full of fragrance and full of mem- 
ories of old-time nosegays. And there 
are some bush roses, white Madam 
Pantier and pink Penzance briers. 



A T 



IN A SOUTHERN GARDEN 

On the Place of Mrs. A. P. Humphrey, Glenview, 
Ky., Marian C. Coffin, Landscape Architect 



ELSA REHMAN 

went to see the creeping phloxes and where in 
a few days we will be seeking the bloom of 
irises and the peonies that will begin to open 
their ready buds. After that, when the great 
trees are in full leaf and the garden becomes 
very shady we will find but an intermittent 
bloom, of white lilies, of foxgloves, of white 
asters. 

SOMETIMES, as upon some day in early 
summer, we will stop midway down the 
path where, at a little round pool, a cross path 
will lead us into the rose garden. It is just a 
tiny place, half hidden away, half lost in its 
enclosing shrubbery, yet how full of flowers 
we find it. Rose Dr. Van Fleet is out, climb- 
ing over the arbored seat with its large flowers 



LT other times when we hesitate 
midway along the path our eye 
may catch glimpses of another garden, 
on the other side. Like the rose gar- 
den it, too, is half hidden in its tree 
and shrub enclosure, but it is larger 
with an irregularly shaped lawn sur- 
rounded by broad borders bright with 
flowers. The oriental poppies may be 
in bloom, pink ones, maroon ones, 
deep blood red ones, or there may be 
great mats of Sweet William, like the 
poppies each variety in separate mass- 
es, or there may be larkspurs in flower, 
their great spikes rising out of the 
background all around the garden. 
These effects are just simple preludes to a 
garden at its best in the autumn. It seems 
quiet enough at the entrance with ageratum 
and blue salvia, but look at the border opposite. 
As we cannot see, from the entrance, any of 
the flowers that make the transition, the pink 
phloxes and flesh colored zinnias, the calendu- 
las, the yellow and orange dahlias and crimson 
coreopsis, several octaves in the color scale 
seem to have been leapt at a bound, for across 
the coolest of blues we see scarlet zinnias and 
red dahlias full of richness and warmth. They 
form a brilliant keystone, as it were, for the 
flowers that seem to radiate out from them: for 
tritomas and orange red montbretias, for rich 
red heliochrysum and flame snapdragons, for 
scarlet verbenas and the brightest red phloxes. 




Tke house is of Dutch 
Colonial influence, clap- 
boarded, comfortably /nv 
to the ground and with red 
brickrd porches and door- 
step. It is white, with blu- 
fsh-grren blinds and red 
'tile chimney caps 



The entrance is sharply 
accented by its peaked 
gable within uhich the 
space is occupied by a 
bathroom. A box of gerani- 
ums and trailing foliage 
plants crowns the door 
frame, adding a touch of 
color 



House & Garden 



The RESIDENCE 

of 
C. C. MULLALY, 

Esq. 
PHILIPSE MANOR, N. Y. 



DWIGHT J. BAUM, 

Architect 






On one side oj the ground floor are 
Ike dining room and service section; 
on the other, the living room with 
its flanking porches and fireplace at 
one end. Four bedrooms and two 
baths are above, besides the maid's 
quarters 



An MK?M< architectural feat** no- 
ticeable at the rrar is the manner in 
tchkh the larger dormer has been 
brought font** so that it blends 
into the main tttr / the house, thus 
greatly mcreoKug tm> bedroom space 



F ebru.ir : , 1919 



27 



COUCH-END TABLES, STOOLS AND STANDS 




One of tht most distinguished davenport-end tables is a reproduction of an old French design, which may be fainted 
any color. There is a special place for books and a lone, narrow drawer. 30" hifh, top 21" x 12". S45 




Jacobean feeling characterizes this little ma- 
hogany table with its half octagonal top. 26" 
high, top 13" x 26". $17.50 



A three-legged table with stretcher re- 
produces a Colonial design. Mahog- 
any with walnut stain finish. 26" 
high, top 24". $37 



A half-moon shaped table of Hepplewhite 

design comes in dull mahogany finish. 26" 

high, top 13" x 26". $15 




.-1 reproduction of an old English stool. 

Solid mahogany in walnut stain finish. 20" 

high, top 18" x 12". $27 



Dull mahogany finish gives character to this rect- 
angular table with single stretcher. 26" high, top 
26" x 13". $22.50 



A convenient little gate leg table comes m 

mahogany with walnut stain finish 27" 

high, top 24" x 30". $40 



28 



House & Garden 




Among the strange records in the 
book of New England antiquity is 
the tale of the Orient in Oriental 
art objects brought back from 
the East by Yankee sea captains. 
Though exotic they fit in with 
the sturdy furniture of the period. 
In this living room, for example, 
the walls are covered with Chin- 
ese tea box paper. Above the 
mantel hang two old Chinese 
paintings on glass, and at each 
end of the mantel shelf is a yel- 
low cloisonne vase. At the same 
time Colonial atmosphere is es- 
tablished by the brass candle- 
sticks and andirons, the crane and 
pot, the warming pan and the 
gold mirrors which hang at either 
side 




COLONIAL ANTIQUES OF DISTINCTION 
IN THEIR PROPER SETTING 



'.,.' 

xfe* 
>*r fcf( j>, 

* -> ^ ' 
.. i.' < 

kmw"^;lkOi 











The walls of the dln'.ng room are 
covered with a blue Chinese paper 
of dwarf pines. Silver sconces 
contrast with their background. 
The table is an old type of square 
gate-leg and the rush-seated chairs 
with spindle backs go with it har- 
moniously. A Queen Anne low- 
boy serves for sideboard, its old 
silver plate grouped in a dignified 
fashion. The corner cupboard, 
which is almost a sine qua non of 
the period, is filled with old china 
that enriches the color of the 
room. The atmosphere is digni- 
fied and livable, the colors inter- 
esting, and the furnishings are 
simple the requisites for any 
dining room in good taste. The 
sketches on both of these pages 
are by Louis Ruyl 



February, 1919 



29 




"- 







When one possesses so dignified 
and rich an antique as a pine- 
apple jour-poster it should be 
given the place of honor in the 
room. The bed takes its name 
front the carving of the posts, 
and is usually low, the posts be- 
ing sturdy and the headboard 
having a slight roll. Its covering 
can be simple, as here, or a val- 
ance may be used around the 
bottom. The fabric here is a rose 
pattern. Curtains are scrim with 
a ruffle edge, hooked back. A 
quaint paper and old color 
prints give the background un- 
usual interest. A colonial secre- 
tary and bureau w.th old chairs 
and mirrors and rag mats com- 
plete the furnishings 



THE HOME OF MRS. IRMA KENNARD 
AT DUXBURY, MASS. 






The drawing-room maintains the 
genuine Colonial atmosphere. The 
walls are papered in silver gray 
with examples of old copper plate 
chintz and carved mirrors break- 
ing the surface. A beautiful man- 
tel forms the focal point of the 
room. It is fitted with a low 
brass fender and a fender cushion 
that encircles the hearth. The 
furniture is typical of the period: 
gate-leg table, rush-seated chairs, 
a sewing stand of Colonial de- 
sign and simple antique acces- 
sories of pottery and brass. Be- 
tween the beading on the mantel 
and the beading on the frieze is a 
marked affinity. The low wain- 
scot and chair rail both 'add to 
the architectural background of 
this genuinely Colonial interior 







House Gf G ar den 



THE STORY of JAPANESE PAINTING 

Being the First of Two Articles on the Beginnings of this 
Nipponese Art and Its Development 

W. G. BLAIKIE MURDOCH 




A 1 



LONG and dreary 
_ _ time must elapse 
ere the Occidental, liv- 
ing in Japan, can 
speak with any fluency 
the language of the 
country. 

Having reached that 
stage, he will find it 
very difficult, still, to 
follow the ordinary 
parlance of the people. 
But, when that like- 
wise has been mas- 
tered, an adventure of 
quite singular charm is 
to visit many Buddhist 
temples, and chat with 
the priests. 

They are usually 
friendly, proud to show 
their treasures of 
hieratic art, glad to 
tell what they know 
about the men who 
wrought these things, 
while often they will give an invitation to 
come into the rectory for some green tea. 
Listening always with a curiously marked in- 
terest to Western comments on Oriental paint- 
ing in general, the priests to-day, as of old, 
are frequently themselves artists, perhaps con- 
ducting a little art-school. And here may be 
seen a group of boys and girls, kneeling on the 
matted floor, with their handiwork spread be- 
fore them, each using exactly the media used in 



fapan centuries ago. The visitor may himself 
essay those media, thus getting an !dea of their 
advantages and disadvantages, compared with 
those of the brushes and pigments of the West. 

Painters and Society 

Through ten centuries, Japan nearly always 
had fine painters. She personally honored 
them far above the adepts in the colored print 
although this last is what the Occident is still 
inclined to view as the prime glory of Japa- 
nese art. 

Dealing with the curious forms of despot- 
ism which existed in Old Japan, Lafcadio 
Hearn says that personality was "wholly sup- 




"The Cliffs", by 

Shibata, early 19th 

Century 





pressed by coercion." Like statements are 
made by countless other historians, pointing 
out for instance that formerly a Japanese, 
whatever his gifts, could not rise from the 
clearly defined social grade into which he was 
born; while the State told people where they 
must live, and even dress was controlled by 
law. But strong individuality is like dyna- 
mite: it will manifest itself in spite of what 
the westerner might deem mere convention. 

That old Japan presents no exception is 
finely shown by the story of Hideyoshi (1536- 
1598) who, born a peasant, and employed for 
a while as butler to a feudal lord, rose by sheer 
genius to be king in everything but name, 
which achievement should be borne in mind by 
Occidental critics of Oriental art. For these 
usually give the bulk of their space to dis- 
canting on the different Japanese academies: 
they tell how, at each, certain tenets were im- 
posed in a manner despotic as that which ob- 
tained in ordinary laws, pupils being taught 
that there was one right way of depicting trees, 
say, water, or the human form. And, as a 
rule, this matter is followed by a mere tabu- 
lating of the artists themselves, according to the 
respective styles of workmanship to which they 
were trained. Now, in Japan, as in every other 
country where art has reached great heights, 
its chronicle is essentially one of individuali- 
ties, not solely of codes or academies. 



Toba Sojo was the artist of "The Way of the 

Monkey" pictured below, a delightful portrayal 

of Japanese humor. Toba Sojo was a bishop 

who lived in the mid-llth Century 



ftm 



BTO 



T 






"The Vine", by Haritsu Ogawa, a 
painting of great delicacy 






/ 

,y^v 

fc- 













There is almost a modernist feeling in 
Sesshiu's "Winter" 



At the Myoshin Temple near Kyoto can be found the famous Peony Screen painted by 

Yusho Kaihoku 



February, 1919 



31 



"Prelates", by Maruyama 
Okyo. Together with 
two pupils he decorated 
the Daijo Temple oj 
Kamaeizan 



A Landscape screen by 
Maruyama Okyo, natur- 
alist, who was accus- 
tomed to paint directly 
from his subjects 



"Philosophers", by Shu- 
bun. Among Shubun's 
pupils was Masanobu, 
renowned for his hieratic 
paintings 




At Horyuji Temple, near Nara, there is a 
pleasant little sculpture, Prince Shotoku of 
Japan as a Child. And, in a document lately- 
found at the temple, a priest has written that 
"we, wishing to do a deed by virtue of which 
we may be admitted to Nirvana, cause with the 
deepest reverence the making of this sculpture." 
A legend says that, shortly before Shotoku's 
birth, an angel told his mother that the child 
was predestined to teach the whole world, the 
story further holding that the 
mother suffered no pain when the 
prince was born. This reverential 
way in which he is viewed is in- 
deed only just, for he, if any man, 
merits the title of the father of 
Japanese painting. It was in 
572 A. D. that he was born, a 
little prior to which time Budd- 
hism had been brought to Japan 
by Korean missionaries, and 
when yet a boy the prince showed 
himself deeply in love with the 
beautiful Indian religion. He 
fought on its behalf against the 
party seeking to uphold by the 
sword Japan's pristine faith of 
Shinto; later he gave both great 
energies and fiwe gifts to lectur- 
ing and writing on Buddha's 
teaching; and in eagerness that 
this should have a worthy temple 
in Japan, he founded Horyuji. 

Work at the Temple 

Loving art keenly, himself a tal- 
ented sculptor, and friendly with 
one of the best Korean painters 
of his day, Prince Asa Shotoku 
entered with the utmost zest into 
personal supervision of decora- 
tions at the temple; and some 
frescoes there, depicting angels 
and Buddhistic deities, are re- 
garded as the oldest paintings ex- 
isting in Japan. It has been sug- 
gested that the artist, named Clio, 
was in actuality a Korean. But 
Shotoku soon had the satisfaction 
of seeing many of his own com- 
patriots actively painting, which 



early group found their subjects exclusively in 
the pantheon of that faith whose spreading, in 
Japan, might have been long delayed but for 
the sculptor-prince. 

The Chinese Influences 

Study of the frescoes at Horyuji does not re- 
veal the exact nature of the paint used, which, 
presumably, was something akin to tempera, 
although, for independent pictures, water- 




"The Han Emperor, Kao Tsung" 
Mitsunobu, who died in 1525. 



part of a silk screen ascribed to Tosa 
Examples of his work are very rare 



color was always the medium of the Japanese 
till quite recent times. The early Buddhistic 
artists naturally took their formulae chiefly 
from Buddha's own land, and naturally looked 
for technical enlightenment to China, painting 
having begun there so much earlier than in 
Japan. But has not the similarity between 
Chinese and Japanese art been greatly exag- 
gerated? Some writers actually infer that 
Japan, as a painter, lacked character of her 
own, and merely uttered her 
neighbor's. 

Nevertheless, almost from the 
first, the Japanese wrought with 
an elegance, a daintiness, beyond 
the alchemy of the Middle King- 
dom school. And, whereas Chi- 
nese art is somewhat staid and 
solemn to the Western mind, 
Japanese is notably light-hearted, 
abounding too in humor. Con- 
sonantly it often expresses a fond- 
ness for the grotesque, which taste 
is marked in the pictures by Kobo 
Daishi, who, living at the end of 
the 9th Century, is famous as the 
inventor of the syllabic signs with 
which his fellow-countrymen 
write todav. 



Kose no Kanaoka 

Kobo attained great distinction 
in the clerical profession, but, as 
painter, he was in no way com- 
parable to Kose no Kanaoka, who 
was' born about 850, and began 
life as a designer of those pretty 
landscape - gardens for which 
Japan is so famous, his avowed 
aim in work of this kind being 
ever to attain quite natural ef- 
fects. Then, his skill with the 
brush coining under the notice of 
the Mikado, he was long kept 
busy with religious pictures for 
the royal palace, painting some in 
a bold, simple style, others min- 
utely. But the best of all his ex- 
tant works is one at Ninwanji 
Temple, near Kyoto, a memorial 
(Continued on page 56) 



32 




Wall ornaments may 
take the shape of 
m aided plaster 
swags and drops, as 
in this example oj 
early ISth Century 
work found at th'.s 
London residence 



A combination oj 
molded niches, 
flower swags and 
ceiling o.nament, 
characteristic of 
early \&th Century 
work, d-gnift.es this 
English hallway 





A molded plaster frieze, pilasters and ceiling enrichment enter into the deco- 
rative composition of this mid-l&th Century dining room. Sir Ernest New- 
ton, architect 



A center ceiling decoration of 

great delicacy found in the Powel 

House, a Colonial Philadelphia 

residence 



M4fMH*4iti 



OUi!xlXEll 



Another of the molded plaster 

ceiling decorations which are 

found in the old Powel House at 

Philadelphia 



A cornice detail of the ceiling 
at "Solitude," home of Wil- 
liam Penn, Philadelphia 



February, 1919 

PLASTERWORK in MODERN DECORATION 

The Various Methods of Plaster Detail for Ceilings and Walls 
Designs from the Renaissance to the Present 



33 



PLASTF.k\Y< )RK may be either a curse or 
;i blessing. It rests with ourselves to decide 
which it shall be. 

It is an unmitigated curse when we use it 
only to create a plain, staring surface, as arid 
of interest as the Desert of Sahara or when we 
fashion ornamental cast devices that 
suggest the technique of the pastry cook 
and confectioner, smug, mechanically 
accurate, mechanically hard, mechan- 
ically stupid, without even the grace of 
occasional irregularity of texture to 
break the exasperating monotony of its 
brummagem perfection. 

It is a blessing when we employ it 
intelligently to produce decorative 
charm of a sort that no other material 
is capable of in quite the same way. 

It is a step in the right direction that 
we are reproducing for domestic use 
some of the old English ceilings, but it 
is only a step and only reproduction. 

Material Advantages 

The material itself is a sympathetic 
medium and remarkably adaptable to 
divers modes of expression. Besides 
that, it is inexpensive and easy of me- 
chanical manipulation. It needs but 
the addition of artistry to render it 
again a most valuable adjunct for the 
fixed decoration of domestic interiors. 
Such artistry former ages possessed. 
Such artistry we have allowed to lapse, 
largely because we have ignored a part 
of our heritage that is worth while. 



W. G. WARD 

Time and conditions are both full ripe for 
a plaster revival for domestic use. The rough 
land-finished plaster wall is a rebellion against 
the ordinary bald, white plaster surface. The 
paneled wall and the paneled ceiling alike are 
protests against desert planter walls and banal 




plaster ceiling ornament. And all the various 
other wall and ceiling treatments we have -an. 
tioned in the nvcnt past are likewise protests 
against the same thing. The lesson is clear; 
people are bored by plaster as they usually 
know it, and wish to escape. The writer en- 
tertains a sincere regard for sand-fin- 
ished plaster walls, for paneled walls 
and ceilings, and for most of the other 
devices for attaining wall and ceiling 
interest, but he insists that plaster, too, 
has its place that is, plaster intelli- 
gently used. There is room for them 
all, in their proper places. 

The Diversities of Plaster 

Besides the ordinary plaster, com- 
posed of sand, lime and hair, and show- 
ing considerable variation in quality, 
there must also be included, under the 
general head, stucco-duro carbonate 
of lime carefully prepared and often 
toughened and regulated for setting by 
the addition of fig juice, curdled milk 
or some such glutinous size the medi- 
um used by the old Roman stuccotori, 
and by their successors of the Renais- 
sance in Italy, England and France, 
to such good purpose; plaster of Paris 
(sulphate of lime) ; and fibrous plaster, 
which is plaster of Paris in combination 
with canvas. The widely varied quali- 
ties of plaster thus attainable render it 
a medium sensitive in the highest de- 
gree; suitable either for executing de- 
(Continucd on page 62) 




The keystone of 
the fireplace sup- 
ports a brick 
bracket finished 
with a plaster or- 
nament that ex- 
tends around the 
ceiling. From an 
English house 



A reproduction of 
English Renais- 
sance molded plas- 
ter ceiling with 
geometrical rib- 
bing and low re- 
lief panels. Wil- 
son Eyre & Mc- 
llvaine, architects 



Another English 
Renaissance mold- 
ed plaster ceiling 
is coved, with rib 
plaster ornaments 
and rosette designs 
at intervals. Wil- 
son Eyre & Mfll- 
vaine, architects 




34 



HIDING THE UNSIGHTLY FIXTURE 



The objectionable two light fix- 
ture may be turned into a thing 
of beauty by the use of either a 
painted vellum or paper shade, 
fan shaped, the right size to fit. 
A quaint carnival scene in bril- 
liant colors on a black back- 
ground is only one of the many 
possibilities of this design 





For the single fixture a shirred 
peach colored silk shield, shaped 
so as to curve at the side and 
completely hide the electric 
bulb, may have an oval ribbon 
embroidered decoration, and 
then, as the final Victorian 
touch, peacock blue beads fin- 
ished off with white drop crystals 




Around a central light could be hung 
some old gold silk gauze, topped by a 
Chinese wood carving and finished 
with an ornamental Chinese tassel, 
Chinese wood and enamel beads 



In a boudoir or bedroom Chinese blue 
silk cords with tassels of a darker blue 
by which the lemon chiffon shade is 
suspended have their tone repeated in 
the blue crystal trimming beads 



Still another drop light fixture 
might have red lacquer and gold 
frame with painted glass sides. 
This would allow you an enor- 
mous amount of leeway in the 
way of interesting designs and 
brilliant colorings, and as paint- 
ing on glass is somewhat of a 
revived art these days, it should 
be of particular interest 




Then there is the ceiling light which is an 
ugly shape and must be concealed in order 
not to upset any decorative scheme of a 
room. This may be of painted parchment 
paper or silk, with shirred silk on the bottom 
finished by a decorative tassel. The color 
scheme may be anything you please; black 
and gold with a touch of terra cotta, perhaps 



For the hallway light a lantern 
shape made either in dull black 
iron with painted glass panels, 
or the lantern itself painted a 
delicate green blue with the 
glass decoration painted in two 
tones of the same shade, would 
shed a welcome glow for the 
arriving guest. And it would 
be a thing of real beauty 



February, 1919 



35 




North. -n. 1 



A LITTLE PORTFOLIO of GOOD INTERIORS 



The Little Portfolio this month shows five 
views in the residence of George Dobyne, Esq., 
Beverly Farms, Mass. The architecture of the 
house is English and this same spirit is reflected 
in the interiors. The opening between the liv- 
ing room and hall shows part o/ a canted grill; 



beyond that a hallway grouping of Jacobean 
chest and an old polychrome and gilt Spanish 
mirror with a background of crimson Italian 
brocotelle. The English chair is balanced by 
an iron brazier. The colors are old blue 
and red. Brett, Gray & Hartivetl, decorators 



36 




A view of one cor- 
ner of the living 
room shows the 
beautifully carved 
screen in which are 
depicted scenes from 
Tennyson's "Tales 
of Enid." It is fin- 
ished in red, green 
and blue.. The rug 
is tete de negre and 
the furniture Jaco- 
bean. Slip covers 
and curtains are 
mulberry, green and 
blue in a character- 
istic Jacobean design 



The master's bed- 
room has a low 
wainscot and cup- 
boards of paneled 
wood painted white. 
The rug is tete de 
negre with a soft 
green fringe. On the 
bed and at windows 
is embroidered linen 
with Spanish wool 
fringe in soft green, 
mulberry and blue. 
The William and 
Mary stool is cov- 
ered with old needle- 
work. Slip covers 
are mulberry, green 
and blue 




February , 1919 



37 



In the morning room 
the color scheme is 
yellow and blue. 
Walls are buff plas- 
ter stippled with 
hand - painted bor- 
ders of birds and 
flowers. The cur- 
tains are oj yellow 
grosgrain with blue 
and yellow fringe. 
An English chintz 
chair is also in yel- 
low and blue. Deco- 
rative tiles around 
the fireplace repeat 
the color scheme, 
lending interest to 
the over-mantel 





The breakfast and 
dining room are, in 
reality , one big 
room, their division 
marked by the 
heavy beam. In this 
sunny corner sur- 
rounded by plants 
is set the breakfast 
table with old rush 
bottom Italian gar- 
den chairs in blue 
and gilt. Tile floor 
with inserts in red, 
green and blue , 
showing the signs of 
the Zodiac 



HOW TO HANDLE COLOR IN DECORATION 



The Second of Two Articles on What Colors Are 
and How to Combine Them 



A JAZZ band jazzing away full tilt is not 
a restful thing to listen to. Amusing, 
for a time, it may be, but no one could wish 
its cacophony for a steady diet, and after a 
while it would become unbearable. The rea- 
son? We might name several, but one will do 
to illustrate our point. The jazz wearies be- 
cause it is essentially restless and represents 
organized disorganization. It is essentially 
restless because there is nothing consecutive 
nor related about it; it is an anarchic jumble 
of sounds without any particular rhythm or 
any particular key. 

It is precisely the same with color. 
If we are so timid that we avoid 
color and stick to dull combinations 
without character, we may get a re- 
sult perfectly safe and harmless, but 
likewise perfectly stupid and de- 
pressing what someone has rather 
aptly designated a "symphony of 
mustard and mud." If, on the other 
hand, we wish to do something in- 
teresting, and are willing to dare a 
bit, but don't know what we are 
about, we are in danger of achieving 
a color jazz, a genuine chromatic 
catastrophe. 

It is plain, then, that to be suc- 
cessful our essays in color composi- 
tion must achieve harmony, and to 
achieve harmony we must have re- 
gard to scale and key. A piece of 
music is written in a certain key. That key 
A major, G minor, or whatever it may be 
has its known tonic, its dominant, and so on. 
Every note in the scale chosen has its definite 
relation to every other note and the composi- 
tion progresses by observance of these laws and 
relations of musical harmony. Now, it is just 
as necessary, in dealing with decoration, to 
have one predominating tone or key color as it 
is to have a piece of music written in one key. 
Having established that keynote of color, then 
we work up to it and build our scheme in a 
logical way with a definite object in view. 

THE adherence to a dominant color or tone 
in the composition of a room the pre- 
servation of a color key does not at all imply 
monotony or dullness of effect. There are 
plenty of ways of avoiding such things and of 
introducing relief. To begin with, the room 
may be composed in a high key or a low key, 
just as a voice may be pitched in a high or 
low key, or a piece of music written in a bril- 
liant major scale or a subdued minor scale. 
Then there may be accents and contrasts. In 
short, there is no excuse for any color scheme 
being dull and stupid, no matter how law-abid- 
ing its creator may be. 

The term "harmony of colors" means that 
the kinds of colors put together in a combina- 
tion work well together and don't jangle. This 
harmony may be arrived at in two ways. 
Either the colors have so much in common, 
both in the scale in which they are presented, 



COSTEN FITZ-GIBBON 

acts as a foil to set off and emphasize the other. 
The first is called the harmony of analogy; 
the second is called harmony by contrast. 

Now begin to appear the possibilities of 
composition by adopting one key or tone of 
color and sticking to it as a guide in our 
elaboration. We may, if we choose, take a 
certain tone of brown as our color keynote. We 
may vary it by making some things a deeper 
brown and other things, again, a still deeper 
brown. Then we may get another touch of 
variety by employing lighter browns here and 
there, running the gamut of browns all the 



complementary or opposing color of orange and 
its related hues and each, therefore, gives value 
and quality to the other. From these examples 
it is plain that there are two kinds of accent 
the related accent and the opposing or con- 
trasting accent. 

The term accent means the addition of em- 
phasis. It is clear, then, that in the tan room 
we must not have too much orange or too much 
blue (either in mass or in a number of scattered 
objects), or instead of accent we should get 
only disturbance. It is also obvious that in the 
tan room we may have more of orange for em- 
phasis than we may properly have 
of blue, for the orange is related 
while the blue is opposing. 



As a nation, we are timid in our use of color, timid 
probably because we do not know how to manage it. 
We may be diverted by colorist fads, but in our own 
homes most of us are too apt to shrink from what we 
fear is "daring." If we would analyze every color 
scheme we see and they are all about us pick out 
what is good and what bad, and determine why it at- 
tracts or repels, we should gain a store of experience 
valuable for our own domestic use. Knowing the ground- 
work and principles, the next thing is for us to cast 
aside our timidity and get rid of the obsession that 
schemes, to be polite, should all be grayed and dulled. 
Such may be polite; they are also an&mic. 



T 



HESE principles still hold if 



way up to light tan. Behold our "symphony 
of mustard and mud." Safe, but about as 
deadly stupid as listening to someone play a 
tune on the pianoforte with one finger. Such 
treatment is a thing to avoid. 

Again, we may select a keynote of dominant 
color and, while keeping a preponderant body 
of it as a foundation, we may enliven the com- 
position by introducing, here and there, bits 
of related color that we know have affinities 
for the foundation and qualities in common 
with it in other words, we may use as much 
variety as we choose, and yet have a harmony 
of analogy. We may be chromatically law- 
abiding and get a stupid result, or we may be 
law-abiding and achieve lively interest. Both 
are equally safe. It is a matter of personal 
choice. 

GOING a step further, we come to accents 
and contrasts as vivifiers. 

A man with clothes of a quiet tan might 
wear a tie of an orange shade. It would be a 
bit loud, but it would produce accent and liven 
the sartorial make-up, which would not have 
been the case if he had worn a tan tie. So a 
room with a similar dominant tan color would 
receive accent from an orange bowl full of 
nasturtiums or, perhaps, an orange screen. 
Without such accent, a keyed and related room, 
though harmonious, is apt to be insufferably 
monotonous and dead. 

But the man with a tan suit might better 
still wear a blue tie. So might the tan room 



and also in their actual physical composition, have a blue bowl or some other blue object and, 

that they will not fall out; or else the colors if the shade be right, the blue accent will have 

are in such manner opposed to each other and more value and variety than the accent of 

so lacking in any common quality that each kindred color. This is because blue is the 



Take for example a bedroom in a 
country house, furnished with old 
mahogany, blue and white curtains 
at the windows, on the floor gray- 
blue rugs, matching in shade the 
blue of the curtains, the wallpaper 
a gray white with a small white pow- 
dered figure. The orange bowl of 
nasturtiums would have been the 
perfection of accent. In this scheme, 
in addition to the blue and orange, 
we have two other elements white 
and the mahogany tone of the furni- 
ture. White is not a color but 
(theoretically) the combination of all colors 
and, therefore, neutral, so that it conflicts with 
none and may be used with all. The mahogany 
tone is related to the orange and contrasts 
agreeably with the shade of blue. 

To the foregoing composition add a screen, 
whose dominant color is the same tone of blue, 
but it contains also green leaves and some other 
colors which, however, occupy less space than 
the blue and are pleasantly related or con- 
trasted. Our color harmony is still safe. Blue 
is the dominant or prevailing tone, but it is 
enlivened by opposing accent and by a mod- 
erate proportion of different but related colors. 
In other words, we have a room composed in a 
dominant or prevailing color and relieved by 
both harmony of contrast and harmony of 
analogy. 

This brings us to a point to be closely con- 
sidered. There are some people, even some 
decorators, who limit themselves too narrowly 
by laying out color schemes or "rhythmic 
notes" composed exclusively of varying shades 
of one color with, perhaps, only an accent 
added. Now, a room composed entirely in dif- 
ferent shades of one color does not present har- 
mony but monotony. Harmony is agreement 
between two or more different things, and to 
have harmony in color, or music, or anything 
else one must first have diversity so that the 
divers factors may agree. In music one can- 
not produce harmony by striking one note or 
its octaves. No more can one have harmony in 
color by playing successively the light and 
dark tones of one color. 

On the other hand, there are people, some 
of them decorators, too, ever ready to indulge 
in a riot of color without a sufficiently large 



February, 1919 



39 



basis of neutral or, at least, quiet and undis- 
turbed surfaces. In themselves the colors may 
not conflict but there is no dominant note and 
there are so many different points of emphasis 
and "reliefs" that they produce both mental 
and visual confusion and the reliefs fail to 
relieve. It is plain that all harmony without 
relief, and all relief without harmony, are er- 
rors equally to be avoided. All of which comes 
hack to what was said at the outset that it is 
necessary to have one predominating tone or 
key color upon which to add the accents and 
the relieving harmonies. The predominating 
ground, or foundation color acts as a foil for 
the accents and relieving harmonies, but to do 
so it must predominate and have enough un- 
disturbed, unbroken expanses to give stability 
and to intensify the accents and reliefs. 

THE individual colors are the tools we have 
to work with in carrying out our schemes. 
We must, therefore, consider their peculiar in- 
dividual properties and their effects upon each 
other. 

Black, strictly speaking, is not a color at all, 
but the absence of color. When black is juxta- 
posed to a color, it lessens the effect of that 
color, renders it less brilliant, or lowers its 
tone. If blue, for example, is lowered in tone 
and removed to another scale by putting black 
next it, the same amount of black must be 
added to its complement, orange, in order to 
give a true contrasting harmony, both the pri- 
mary and its complement being thus kept in 
the same relation by simultaneous removal to 
a lower scale. Although the two colors, just 
noted by way of example, were kept in the same 
relation to each other by exposure to an equal 
amount of black, it is not, however, advisable 
to employ black with one luminous or advanc- 
ing color and one sombre or receding color, for 
the latter will be almost wholly nullified. The 
receding quality inherent in the color itself 
plus the modifying effect of the black produce 



a doubly negative result. With luminous or 
advancing colors, Mark can alwa\* be em- 
ployed to advantage and adds both emphasis 
and refinement. A high-keyed polychrome 
decoration, for instance, will look well on a 
black ground; on a white ground the same 
decoration would be insufferably garish. 

White heightens or intensifies the tone of 
colors placed upon or beside it, just as black, 
similarly used, has a subduing effect. With 
white, also, one may quite safely use both lumi- 
nous and sombre colors at the same time in 
close proximity without the receding color or 
colors suffering any diminution of value. 
White tends to increase apparent size, and 
white woodwork materially aids in giving an 
aspect of space to rooms in which it is used. 
Dark woodwork, on the contrary, tends to re- 
duce apparent size. White has also a reliev- 
ing quality. It should be remembered, espe- 
cially in dealing with large surfaces, that white 
has great reflective quality and that the 
shadows on a white surface are not white but 
reflect varying degrees of color while the high 
lights alone are truly white. 

GRAY is a term susceptible of several ap- 
plications. It is more accurate, there- 
fore, to speak of the grays. 

In the first place, gray is a tone midway be- 
tween black and white. It is a cold tone and 
in its effect may be regarded as half way be- 
tween the effects of black and white. 

In the second place and this is much the 
more common there is the normal gray re- 
sulting from a fusion of equal powers of the 
three primary colors, yellow, red and blue, or 
from a fusion of equal powers of two comple- 
mentary colors red and green, for instance, or 
blue and orange which is, of course, virtually 
the same thing. By the preponderance of a 
little more of one element, therefore, are nat- 
urally derived cool grays and warm grays. 
Thus, for example, we have blue grays or 



greenish grays, pink prays or yellow grays. 

These grays are pre-eminently useful as 
backgrounds and generally posxv-s a reevcliiii; 
or else a neutral quality which render> them 
valuable as foils to throw other colors into re- 
lief, or as harmonizers to blend other factor^ 
and neutralize too insistent qualities, unli-s 
there be an excess of one of the warm color 
elements so marked as to make' the- re.-ulting 
gray an actively warm tone. Such grays, if 
there be not a great e\cv-> of any one element 
as just indicated, assume a tint complementary 
to the adjacent color. For example', gray Ix.'- 
side red appears faintly greenish or gray be- 
side blue has a faint orange tinge. 

Tones of gray along with soft colorings al- 
most invariably make safe combinations. The 
grays, however, are too inert and non-com- 
mittal to be left entirely to themselves. They 
need "accents" and "reliefs" to get the best 
effects of which they are capable. To illustrate, 
the cream gray of linen furniture covering in 
summer has a cool, refreshing aspect, but the 
whole effect of the room is vastly improved if a 
few spots of accentuated color relief are visible. 
Again, yellow or rose with gray make the com- 
bination sing without being loud or dissonant. 
Still again, a room with gray walls and mul- 
berry hangings gives a combination of great 
depth and refinement. In using grays, one 
must, of course, be careful to discriminate be- 
tween the different kinds. 

OF the raw, unmodified primary colors in 
immediate juxtaposition, yellow and blue 
alone do not create a combination bizarre and 
often painful to the eye. Used in judicious 
proportions, they may produce a harmony of 
contrast that is pleasing. Red and blue so 
used are unpleasant; red and yellow are even 
more so. 

Yellow and its derivatives in which yellow 
emphatically preponderates make for light, life 
(Continued on page 52) 



THE HOUSE PRETTY-FULL 



I've never owned a gilded hall; 

No fJmce e'er by me was builded. 
My house is white, and very small; 

7 don't think 1 should like it gilded. 



i in my 
ly wife, 
n'plctely j 



And 

M. 
Completely fill the second fo'or; 

Thank goodness, 1 am fairly thinnish 



house, my children four, 
and cook at present, Finnish, 



Wherefore, we draw, from year to year, 
Crude plans in friendly competition, 

ll'hich show an added wing, out here 
Or there, to better our condition. 



My Lucy claims the Hast is best; 

'The rooms would be so bright and sunny, 
tl'hile 1. with Greeley, say "Go West", 

li'hich she declares is "being funny". 



Alas, how idle a!! our talks, 

How rain the neatly drawn perspective! 
A dreadful hoodoo ever stalks 

Our steps, like some ill-bred detective. 





And when we're ready to begin 
In, say an easterly direction. 

This pest insists oti butting in 
To voice some odious objection. 



Haie you considered, Mr. l , 
"'-- -' *~ 



Once more the cherished hope is killed, 
The plans go back to dusty durance, 

for some one else, perchance, to build 
Assisted by my life insurance. 



Then I, among the seraphim 



The question of young George's schooling? Will hover o'er the excavation, 
Your scheme is charming, I can see, And flap, with all my heavenly rim, 

But come, this %f no time for fooling." Two wings, on my south elevation. 



GXOICI S. 



tl U S 



40 



COOKING WITH RETAINED HEAT 



A Clear Explanation of the Purposes and 
Use af the Fireless Cooker 

EVA NAGEL WOLF 



IF thrift will produce such 
cooks as the French, cer- 
tainly the Americans can 
hope, because of the war, to 
compete with their cousins 
over seas. It has been our 
pleasure, in these grim war 
days, to vie with one another 
in matters of economy. Rich 
and poor alike have used 
every possible means to ac- 
complish the desired results. 
And that which was done for 
the sake of peace, with such 
remarkable results, has come 
to stay with peace. 

The Saving 

It is amazing how much we 
saved ! Every woman has had 
her turn in the kitchen. In 
the days when servants were 
not to be had, the mistress 
donned a business-like apron, 
rolled up her dainty sleeves 
and assumed charge. She 
worked systematically, she 
used every labor saver, time 
saver and money saver. She 
found that among other 
things she could cut her gas 
bill by the use of the fireless 
cooker. So the fireless 
cooker has become a 
kitchen necessity. It 
will be used hence- 
forth by Bridget when 
she condescends to 
leave the munition 
factory or the trolleys 
to return to the 
kitchen. 

But when she does 
return she will find 
that Madame, among 
other things, will ini- 
tiate her in the uses of 
"that quar little box" 
that cooks with no 
visible fire. Bridget 
will be amazed to find 
that not only will it 
cook, but that it will 
cook the biscuits, the 
vegetables, the roast 
and the dessert at one 
and the same time 
and that all will be 
ready to serve with no 
attention from her 
after once they are 
shut up in the box. 

Modern Cookers 

The modern fireless 
cooker must not suffer 
from the faults of the 



n 




The small electric fireless cooker here shows the racks and 
the heavy door and walls with which the heat is retained 




A time clock and automatic heat adjuster is a necessary accessory for the fireless cooker. The 
electricity is turned off when the required heat is reached. Courtesy of the Edison Company 



old-fashioned one. No long- 
er is food allowed to remain 
in the cooker after it has been 
thoroughly cooked. The 
method of cooking in the 
modern cooker differs from 
that of the old one. Former- 
ly all food had to be cooked 
in liquids. The temperature 
was always below the boiling 
point, hence the quantity of 
liquid depended upon the 
length of the cooking process. 
A greater quantity of liquid 
was required for a lengthened 
cooking period. 

The construction differs 
also from that of the modern 
one. They could be made 
with a tighter seal, conse- 
quently the food remained at 
a higher temperature for a 
greater length of time than 
in the modern invention. 
However, the modern cooker 
is safer and more sanitary 
than the other. It can, 
when heated, radiate a tem- 
perature equal to that of any 
range oven, therefore must 
be constructed so that any 
danger of an explosion from 
compressed steam 
cannot occur. The 
steam escapes by 
means of safety valves 
in the outside covers. 
Another arrangement 
entirely different but 
quite as effective is 
the plunger-like cover 
of other cookers to 
allow the steam to 
pass off. 

Cylinder Construction 

Another important 
part of the construc- 
tion of the fireless 
cooker is the cylinder. 
The most expensive 
are seamless, the less 
expensive have one 
seam. If there is the 
slightest opening or 
gap in this seam the 
cooker is practically 
worthless. To pre- 
vent any escape of 
steam the wise cook 
keeps this seam thor- 
oughly rubbed with 
olive oil or any salt- 
less grease. Alumi- 
num is chosen for 
forming the cylinder 
(Continued on p. 54) 



February, 1919 



41 




FOUR HALLWAY 
GROUPINGS 



Three arc of priced articles 
that can bf> purchased 
r*i-Mi(f* the Haute & Gar- 
den Shopping Service. The 
fourth is a suggestion for an 
arrangement 




Against an Italian rough cast 
plaster wall has been set an old 
English coffee table in oak, $65 , 
a grapevine polychrome mirror, 
$65; and Italian table lanterns 
of parchment and iron, $40 



A third group shows a repro- 
duction of an old Dutch fruit 
and flower panel, $75; Italian 
walnut chairs, $30; iron table 
with walnut top, and Italian 
compotes in silver, $65 the pair 



A group for a narrow hall com- 
prises a beveled cut English 
mirror, reproductions of antique 
Italian lanterns, $60; and an 
Italian commode used as Vic- 
trola cabinet, $138 



For a spacious hallway a group 
such as the one below is ad- 
visable Jacobean sideboard 
backed by tapestry and flanked 
by Italian chairs. Silver can- 
dlesticks and bowl give color 



42 




'v\$if ^ '' '' ' ' ' * * 




/i modern form oj linen fold paneling is used in this 
hallway and closet door. The name describes the 
source of the design, being a conventionalized series 
of parallel folds in which linen naturally falls. Brett, 
Cray & Hartwell, decorators 



THE PANELINGS 
AT A GLANCE 



^g^&:feii3:?s^^^^^^^g 

flirt i r~~ir""irF'""HT ~\\ , 



Drawings by 
DAYTON COLIE 



A French Gothic design, 
from the Museum of the 
Arts Decoratives at Paris. 
It is a portion of an im- 
pressive screen from the 
Church of Villeneuve 




Of the two here, the left is 
an example of 16th Cen- 
tury English paneling from 
Broughton Castle; the 
right, a Jacobean example 
from Jesus College, Oxford 



-T 

(I 


' 

i 1 

L ! 


irri 
1 

IvVj 


j 

; 






n 
i 


3 ~^- 

i 
. 




c=^=s=; 



4si>^-^.*iL.=i 



F 



Portion oj early paneling 
from the Stranger's House 
at Norwich, England. The 
rails run through, with 
stiles the length of each 
panel butted against it 



An example from Haddon 
Hall, oj the time of Henry 
VIII, shows the later de- 
velopment of panel ar- 
rangement with character- 
istic carving introduced 



February, 1919 



43 



//" rV ' I 



A modern adaptation of Louis XV. 
There have been used Louis XV 
panel heads and a built-in china 
closet showing Louis XV Provence 
spirit. The room shows how a period 
effect can be obtained by a small 
amount of carving. Francis A. Nel- 
son, architect 




Great dignity and simplicity charac- 
terize the paneling of our American 
Colonial period. This example from 
the House of Seven Gables shows the 
fireplace arrangement of panels 



Of the two sketches, the first shows 
the arrangement of Louis XIV pan- 
els, by Le Pautre, the famous de- 
signer. The Other Louis XIV ex- 
ample is a door from Versailles 



A Louis XVI example from the 
Chateau of Versailles shows the typi- 
cal simplicity of its architectural 
form and the symmetrical placing 
and character of the ornaments 



The use of paneling for an over- 
door is shown in this example of 
Louis XV work. It is a typical sec- 
tion of a paneled wall of that inter- 
esting period in decorative work 




The Regence is represented in 
this section of a paneled salon. 
It is a very restrained exam- 
ple of the period and is prin- 
cipally characterized as to 
style by the large surfaces 
given up to painted decora- 
tion in the over-doors and 
also in the panel above the 
mantel over the mirror 



44 



HOW MUCH SHALL YOU PLANT? 

Determinin, the Garden Space Retired to Grow ^tables for a Family of Five- 
Definite Figures on Seeds Sown and Crops Harvested 



WILLIAM C. McCOLLOM 



state 
& the 



SOME idea of the 
productive value of 
the vegetables we in- 
tend to grow is essen- 
tial if we are to expect 
a well balanced garden. 
We know that if we 
plant one cabbage seed 
and it matures we will 
have but one head of 
cabbage; but if we 
plant one seed of a pea, 
how many pods will 
the vine bear and how 
many peas will be in 

a pod? 

The conditions gov- 
erning the growth are 
factors in production, 
but good ground will 
not make two heads of 
cabbage form from one 
seed. The head will be 
larger and in every way 
superior if the soil is 
right, but it will still 
be one head. That is 
why it is rather easy to 
form a good idea of the 
productive value of the various garden crops. 

The Productive Value of Different Vegetables 

You will find that practically all vegetables 
which produce themselves in one season and oi 
which the seed pods contain the edible portion 
produce much more freely than other types. 
These we will call the embryo type of vegeta- 
tion where the reproductive organisms are es- 
teemed for their food value. You will also 
discover that the embryo types are a much 
better standard of food, containing consider- 
ably more nutritive value than those vegetables 
that require two seasons to reproduce them- 
selves. This may be only an incident, but it 
is a curious one as it follows right through the 
vegetable kingdom. 

The embryo class of garden crops includes 
peas, beans, corn, okra, tomato, egg-plant, pep- 
pers, pumpkin, squash, melons, cucumbers, etc. 
The true type of embryo vegetation is found in 
the grain crops, which are all noted for their 
food value. 

Nearly all vegetables that require two sea- 
sons to reproduce grow beneath the ground, 
such as turnips, kohlrabi, beets, carrots, pars- 
nip, onion, radish, etc. 
Those that grow above 
ground are cabbage, cauli- 
flower, kale, celery, etc. 

Last month we discussed 
the productive value of 
potatoes and beans, basing 
our calculations on a fam- 
ily of five. We will con- 
tinue on the same basis 
in other words, the quan- 
tities will be gauged to 
meet the needs of a family 
of five persons. 

A row of carrots SO' 
long will require about 




reservation in the garden for pumpkins and squash is 
hill* along with the corn ^.P^duce all you wM need 
will keep until late winter without canning 



not necessary. A 
These vegetables 





Corn for canning must not be old. Strip- 
ping the ear will determine its condition 



A high quality 
wrinkled pea pcd 
may be 5" long 
and contain at 
least ten peas 



A 50' row of 
peas like these 
will yield about 
thirty - six pints 
when shelled 



one-quarter ounce of 
seed. This calculation 
is based on sowing 
moderately thick with 
the idea of thinning out 
when the plants are 
large enough to handle. 
The row should pro- 
duce about 600 carrots. 
If used at the proper 
stage of growth, when 
they are young and full 
of their good qualities 
and not when old and 
coarse, it will take 
thirty to fill a pint jar. 
This quantity might 
also be considered 
sufficient for a meal. 
Therefore, one row of 
carrots should yield 
twenty meals or that 
many jars for the pan- 
try shelf. The number 
of rows you must sow 
depends entirely upon 
how fond you are of 
carrots; for a perfect 
succession not less than 

four sowings will be necessary. If you can- 
not use four rows, make four sowings of a 
half row each time. 

Beets are very similar to carrots; in fact, 
they should be treated as companion crops. A 
row of SO' will require one-half ounce of seed 
and should produce about 400 to 500 beets of 
the proper size for table use. Eighteen beets 
of this size will fill a pint jar, so one row will 
give twenty-five pint jars for next winter's use, 
or that number of meals if used fresh. 

Peas, Corn and Beans 

To me it always seemed a misdemeanor to 
call peas vegetables; surely they come from 
different social stock than cabbages or kale. 
But we are not revolutionists, so we will class 
them as others do. At all events, one pint of 
seed will sow 100' of single drill or half that 
distance of double drill. There is no denying 
the fact that our best peas require supporting, 
and it is just as easy to stake a double row as 
a single one. It is therefore better practice 
to sow in double rows. 

A good vine of peas should carry at least 
ten pods, and twelve or fourteen are quite 
common; the pod of real 
quality peas must contain 
not less than ten seeds. On 
this basis a row 50' long 
will produce a little more 
than two bushels of pods 
yielding thirty-six pints 
when shelled. This data 
is based on the large wrin- 
kled varieties; the round- 
seeded types are more pro- 
lific, but are inferior in 
quality, and there is no 
reason for growing them 
in home gardens. The 
number of rows to be sown 




February, 




Always keep the tomatoes picked clean. 

Whatever surplus there may be can be 

canned. Garden costume by Best 



is purely a matter for individual adjustment, 
but you should surely have not less than four 
for spring and two for fall. If you have the 
necessary space, by all means make additional 
sowings, as good peas are never wasted. 

It takes twelve ears of corn to fill a pint jar 
when scraped from the cob. I don't believe 
that twelve ears would be considered too many 
for a meal for the five members of our hypo- 
thetical family if I were one-fifth of that 
family I could answer "no," very definitely! 
A row of SO' in drills should produce ninety 
ears, including the nubbins, or about seven or 
eight jars to the row. Our family of five is 
certainly going to have six rows, for which pur- 
pose we will need one pint of seed. Whether 
sown in hills or drills, the productive value is 
the same. 

Lima beans are one of the real delicacies of 
the home garden. Few 
vegetables dry out and 
lose their good Dualities 
as quickly as the lima. 
That is why you must 
have your own garden 
to know what a real 
lima is like. Pole beans 
are better producers 
than the bush types, but 
it is not always possible 
to get the poles, so our 
bush type fills a little 
niche in the hall of ne- 
cessity. It takes three 
quarts of pods to shell 
out one pint of young 
beans of the kind that 
are tender and succu- 
lent. One hill should 
produce during the sea- 
son from fifteen to 
eighteen quarts of pods, 
or five pints of shelled 
beans; twenty poles will 
allow us fifty pint cans 
for winter and the same 
quantity for use during 
the summer. Fifty feet 



The ideal type of beet for table use or canning 

is the round variety. Beets should never be 

allowed to get old 



of drill of the bush lima should yield about 
half that quantity. One pint of seed will be 
sufficient for SO' of drill or twenty hills of the 
larger seeded type of pole beans. 

Spinach and Eight Others 

Spinach is a very hard crop for which to de- 
termine quantities. There should be some bal- 
ing device for pressing it into shape so you 
could tell somewhere near what your yield was. 
You can cut a washtub full, cook it, and if 
there is company for dinner there will be so 
little that you'll be ashamed to put it on the 
table. From two large, heaping baskets, well 
packed, I had just six pint cans; a row SO' 
long gave me six cans. Six rows in spring and 
four in the fall will give a goodly supply. 

Swiss chard is much coarser than spinach 
and does not shrink so much in the cooking; 
besides, you have the advantage of continuous 
growth throughout the summer. From a row 
of 20' we have canned eighteen jars and had 
all we cared for on the table; in addition to 





The intermediate length carrot is the best for general use, whether on the table or pre- 
served. For a number of reasons this is the proper size for canning. Scraping and cutting 
off the tops and rootlets are necessary preliminaries 



Swiss chard stalks, as well the leaves, are 
worth canning. This vegetable is very pro- 
lific a 20' row will be ample 

this, six cans of the stems were put up for win- 
ter use. This season my row of Swiss chard is 
to be only 15', as I found that we could not 
possibly use all that the 20' of drill produced. 
Tomatoes are canned in so many different 
ways that it is a hard matter to gauge accu- 
rately the space required to produce a given 
amount when put up. When preserved whole 
it takes less than one-third the quantity to fill 
a can than when cooked. However, from two 
rows, each 50' long that is, thirty-two plants, 
sixteen to a row we had all the fruit we could 
use for salads and cooking and put away 
thirty-two cans for winter use. It is of course 
understood that the canning was not all done at 
one time; when enough fruit was ripe to war- 
rant canning the preserving kettle was brought 
forth and the jars put away for the winter. 
Squash and pumpkins were not put up in 
cans, as with any rea- 
sonable care they may 
be kept until late win- 
ter. It seems like wast- 
ing materials to pre- 
serve them. Dehydrat- 
ing is unquestionably 
the proper system to 
employ for the preserv- 
ing of bulky vegetables 
of this type. 

Cucumbers we have 
always planted spar- 
ingly. Where I live 
there are not many doc- 
tors, and the stomach- 
aches are both expen- 
sive and painful. But 
if you like them (cu- 
cumbers, not stomach- 
aches), I would sug- 
gest leaving room for 
six hills, planting them 
three times two hills 
at each sowing. If you 
keep the vines sprayed 
about every fortnight 
(Continued on 
page 52) 






There is a cactus garden, a dry 
hillside thicket of prickly pears, 
flowering Spanish bayonet, scarlet 
aloes and century plants, with des- 
ert trailers below 



Both the house and the gardens 
are distinctly Spanish, great con- 
crete walls forming a background 
for the flowering trees and shrubs 
and vines 




February, 1919 



17 




It looks down upon a mighty panorama 
jramed by the Sierra Madre Range. Silver 
Lake stretches below. Charles G. Adams, land- 
scape architect 



ELTINGE'S 
GARDEN 

LOS ANGELES, 
CAL. 



So precipitous is the site that the grounds re- 
solve themselves into seven gardens of indi- 
vidual atmosphere, on seven connecting dif- 
ferent levels 




u / u c /* 



February 



THE GARDENER'S CALENDAR 



Second Month 




Foliage trees may 

be trimmed this 

month, before the 

sap rises 




Why not some rasp- 
berries or other cane 
fruits around the 
garden? 




Late this month 

sow sweet peas un- 

. der glass for later 

garden effects 



SUNDAY 


MONDAY 


TUESDAY 


WEDNESDAY 


THURSDAY 


FRIDAY 


SATURDAY 


A s sunbeams 




1. Better 

get out the 


through 


This calendar of the gardener's labors is aimed as a re- 


.sashes for the 
hotbed and 


And nothing 


minder for undertaking all his tasks in season. It is fitted 


oold-frame.and 


jostle or dis- 


to the latitude of the Middle States, but its service should 


see that they 
are in good 


So wated the 


be available for the whole country if it be remembered 


condition. 


pine-tree 
through 


that for every one hundred mile north or south there is a 


may need re- 


my thought 


difference of from five to seven days, later or earlier in 


placing, and 
the wood 


dreams it 
nererbrought. 


performing garden operations. The dates given are, of 
course, for an average season. 


should be 
painted to pro- 
tect it from 


Emerson. 




the weather. 


2. N o o n e 


3. AH plants 


4. Plant 


5. Have 


6. Summer 


7. Have you 


8. Have you 


can garden 


that have been 


stakes are 


you ordered 


flowering bulbs 


progressed any 


pruned your 


well with dull 


in the same 


necessary evils; 


your supply of 


such as cannas. 


further than 


fruit trees ? 


or poor quality 


pots for any 


we all wish 


seeds? They 


gladioli, dah- 


your mind 


They will pro- 


tools. This is the 


c o n s i derable 


that the plants 


should be on 


lias, catadlum. 


with that rose 


duce If left In 


time to do any 


time, such as 


would not re- 


hand now. An 


etc., should be 


garden you 


a natural 


repairing that 


palms and oth- 


quire support- 


old bread tin 


looked over 


have been con- 


state, but not 


may be neces- 


er decorative 


Ing, but they 


makes a good 


carefully. Ex- 


s i d e r i n g all 


nearly so well. 


sary. All edged 


things. 


do, and we 


mouse - proof 


cessive heat or 


these years? 


<;ood fruit is 


tools must be 


should be re- 


mustaccoromo- 


storage for 


moisture will 


Each year that 


produced 


sharpened: 


potted before 


date them. 


them. Don't 


start them into 


you postpone 


only where In- 


kerosene and 


their active 


Order stakes 


let the seeds 


growth: damp- 


establishing it 


telligent prun- 


grease will 


growing season 


' now. If you 


get damp a 


ness with a low 


means that 


ing is prac- 


check the rust 


starts. Top 


can't do this. 


cool, dry place 


t e m p e rature 


you are losing 


ticed, so your 


on all the metal 


dressing Is the 


cut some in the 


Is the ideal 


Is apt to cause 


just that much 


labor will be 


parts. 


alternative. 


woods. 


storage. 


decay. 


pleasure. 


well repaid. 


9. Decid- 


10. Pea 


11. Bay 


12. Have 


13. If you 


14. I t i s 


15. Start to 


uous trees and 


brush, bean 


trees, hydran- 


your trees 


like golf you 


much easier to 


Rrepare your 


shrubs also re- 


poles and to- 


geas, oranges 


looked over 


should have a 


overhaul your 


otbed now. 


quire pruning 


mato stakes 


and other 


carefully to de- 


practice green 


lawn mower 


At least 12 


to ieep them 


are necessities 


plants of this 


termine their 


constructed on 


now in the 


Inches of good 


in good health. 


of a productive 


type that are 


true condition. 


your grounds 


garage than It 


hot manure 


Early flower- 


garden. A few 


used for decor- 


It takes a life- 


some 


will be next 


will be neces- 


ing s u b j e cts 


hours spent 


ation outside 


time to grow 


screened corn- 


summer on the 


sary for mak- 


such as the 


with an axe in 


in the summer 


good trees but 


er where you 


lawn. At least 


ing It. Tramp 


lilac or splreas 


the woods will 


should be 


they are sub- 


can practice 


the gear boxes 


this firm and 


are best 


furnish you 


looked over to 


ject to injuries 


when you want 


must be 


cover It with 


pruned after 


with these 


see If the tubs 


of many kinds. 


to. Sow it with 


cleaned out 


about 4 inches 


they have fin- 


needed acces- 


will stand up 


A tittle tree 


i e s c u e and 


and repacked 


of good garden 


ished flowering 


sories. Gather 


through 


surgery at the 


creeping bent 


with vaseline, 


soil that has 


along In the 


them before 


another s e a - 


right time will 


grass in equal 


and the other 


been well 


spring. 


they leaf out. 


son's use. 


save them. ^ 


quantities. 


bearings oiled. 


screened. 


16. Start 


17. Have' 


18. X o w 


19. If y o u 


20. No gar- 


21. Stock 


22. Have 


sowings now in 
the greenhouse 


you studied 
the merits of a 


that the war is 
over let us 


cannot afford a 
greenhouse 


den is com- 
plete without 


plants of all 
kinds of bed- 


you ever given 
a thought to 


of the hardy 


fruit border? 


think again of 


there are nu- 


some well 83- 


ding subjects 


the comforts of 


vegetables 


No place Is 


g r e e n h o use 


merous styles 


lectcd and 


should now be 


our greatest 


such as cab- 


complete with- 


construct Ion. 


of plant pro- 


properly ar- 


started into ac- 


garden friends 


b a g e , cauli- 


out one. Rasp- 


G r e e nhouses 


tectors that are 


ranged garden 


tive growth so 


the birds? 


flower, lettuce. 


berries, cur- 


certainly raise 


helpful to gar- 


furniture. In 


that the neces- 


Why not get 


celery, toma- 
toes, etc. Use 


rants, goose- 
berries, black- 


the standard of 
any * grounds, 


dening. They 
should be or- 


lormal garden- 
ing pottery la 


sary quantity 
of cuttings will 


a few houses 
where the birds 


fiats or seed 


berries, grapes 


whether they 


dered now, as 


very necessary 


be ready for 


can nest? A 


pans for great- 
er convenience, 
and provide 


a 1 1 these 
make excellent 
border plants 


be ior fruit or 
flowers. Early 
planning 


their greatest 
value Is in the 
early season. 


to the com- 
pleteness of the 
scheme. Make 


taking when 
* the proper 
time for them 


bath for the 
birds will give 
even more 


plenty of 


for the gar- 


means fewer 


Glass ones are 


your selection 


comes In the 


pleasure to you 


drainage. 


den. 


errors. 


excellent. 


and order now. 


spring. 


than to them. 


23. Before 


24. Sweet 


25. Flower- 


26. Garden 


27. All dor- 


28. 8 p r a ys 




work Is started 
outside you 
should make 
an inventory of 
your tools . 
Any new ones 


peas may be 
started now in 
the hotbed or 
g r e e n h ouse. 
Paper pots are 
excellent for 


Ing plants of 
all kinds that 
are wanted for 
Easter must be 
started Into ac- 
1 1 v e growth. 


arbors as they 
arc now made 
are very at- 
tractive and 
necessary ac- 
cessories of the 


mant trees and 
shrubs that are 
subject to the 
attacks of San 
Jose scale 
should be 


of all the early 
flowering 
spring shrubs 
can be cut and 
placed In water 
in the house 


There is no 
peace for the 
blowing leaf. 
The end of his 
Journey h e 
never knows; 


necessary must 
be ordered 


them. After 
the seeds have 


By postponing 
this and then 


garden. If you 
wish to enjoy 


sprayed with 
one of the solu- 


where the 

flowers will 


ffe lifts from 
the ground 


now. Tool de- 
signs keep on 


germinated the 
plants must be 


trying to rush 
them along the 


them this sum- 
m e r they 


ble oils. Trees 
that are al- 


quickly d e- 
velop. Pussy 


with an up- 
ward heace; 


being I m - 
proved as well 


kept rather 
cool to prevent 


plants are In- 
variably grown 


should be or- 
dered now, as 


ready infested 
must have at 


willow, golden 
bell, Japan 


Or settles, as 
lulls the wind 


as other 
things, so look 


their getting 
soft and weak 


too warm and 
In many cases 


well as the 
roses or other 


least two 
thorough 


quince, etc., 
ran be forced 


or blows. 


them over. 


stemmed. 


ruined. 


vines for them. 


sprayings. 


In this way. 


-Harry Kemp. 


'XHL r first clear day we're had in a week it's snowed pretty near all the time since last Wednesday an' 
J. tins tnornm I aruv the wood sled up on the mounting fer a had o' logs. By jing, it was great all blue 
an' white an' starkly, same as a Christmas card. There warn't a breath of air stirrin', an' the clouds wa'l 


sir, it fair hurt yer eyes to look at 'em, they was so dnni white an' still an' kinder overpowerin' piiin' tip 
into the sky, ye know, from behind the hills like in a picture. Clouds are blame human sorter things, an\- 


how. Some's skinny an' gray an' old lookin', an' they gener'ly makes ye ntightv low-spirited. Others 're 
rcg'lar high fliers, feather-headed little critters that make ye feel like whistlin' ; they're fair weather clouds 


an' they^ ain't got a care in the world. Then the\'s the dull, weepy kind, no character at all; an' them that's 


ahva\s tn a hurry; an' the bhtstcrin', thundery ones that growl like they was goin' to kill ev'rvbodv in sight 
an then edge past without really doin' nothin' to speak of. An' thev all come an' change an' grow fat er 
. thin an' finally disappear, an' we never see 'em again. Old Doc Lcmmon 




The stakes and 

poles for tomatoes 

and beans may be 

cut now 




Currants and goose- 

berries may be 

sprayed now for 

scale, etc. 




Proper attention to 
wounds, etc., is es- 
sential to the health 
of trees 




When preparing the seed box or flat, use 

plenty of drainage material such as oyster 

shells or broken crocks 



When they have made their first true leaf 
the young plants should be transplanted, set- 
ting them about 2" apart 




When the forcing bulbs have fully developed 

in the greenhouse they should be moved to 

a cool, dark place 




\< 



II 



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the well known French Savonnerie weave. 

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How Much Shall You Plant? 



(Continued from page 45) 



with Bordeaux mixture to prevent the 
blight, you should have the largest crop 
of cramps that any family of five ought 
to battle with. 

Who was it said "From the sublime 
to the ridiculous"? or cucumbers Jo 
melons, for that matter. Anyway, mel- 
ons of quality do not belong anywhere 
near cucumbers; they don't speak the 
same language. You cannot can them 
for winter, simply because you couldn't 
grow enough for this purpose; but you 
can make provision now for about eight 
hills, and a little later we will tell you 
the secrets of growing good ones. 

Peppers and egg-plants are so pro- 
ductive that a few plants of each are 
all that is required. The exception to 
this might be where one is very fond of 
green pickles of various kinds, for which 
the peppers are used generously. How- 
ever, not more than twelve plants will 
yield all the peppers required for a fam- 
ily of five. 

Selecting Types for Canning or Table 

There are very few types of vege- 
tables compared to the many thousand 
varieties that the ambitious seedsmen 
list. The average seed catalog would 
make you believe that the salt in the 
ocean and the North Pole are both in- 
ventions of theirs. It tells you what a 
wonderful creation the kohl-rabi was, a 
cross between a cabbage and a turnip 
(who couldn't guess that it originated 
in Germany?). 

Generally speaking, a good table vege- 
table is also the proper type for can- 
ning, so the first consideration is to 
select types that are best suited for your 
purpose. The common error in the 
gathering of all kinds of vegetables is 
that they are not used when young and 
tender, but are allowed to get some- 
what coarse and woody. The cause of 
this is usually sowing in too large quan- 
tities; the secret of good gardening, if 
there be any, is frequent sowing in 
usable quantities. 

Do you prefer a long beet or a round 
one; a long, intermediate or a stump- 
rooted 'carrot; a wrinkled or smooth 
pea; a bush or a pole lima; a yellow or 
green podded bush bean? These ad- 
jectives refer to the different types and 
not to varieties. Many varieties are the 
result of a clever fancy, but types are 
not. Study the new varieties carefully 



to make certain that they are of the 
types that you prefer; and when select- 
ing the varieties for your home garden 
keep that one motto, "quality," before 
you all the time. 

Quantity Versus Quality 

The commercial grower must always 
have a full crop, or better, to succeed; 
the productive value of the various va- 
rieties is his chief concern. He must 
always judge the merits of a variety by 
its productiveness. Furthermore, the 
best varieties are poor shippers; or in 
other words, a fine quality vegetable 
deteriorates more rapidly than a poorer 
grade. The seedsman is compelled to 
list these sorts along with the real qual- 
ity varieties, so the task for the home 
gardener is to select these latter from 
among the rest. This is much easier 
than it would seem if you select varie- 
ties that are mentioned only for their 
quality. Don't pay any attention to 
others that are said to be equally good 
and more productive; these varieties 
have merit for the farmer, but the best 
for you are the varieties that the seeds- 
man uses as a basis of comparison for 
others. Their quality is unsurpassed 
and their quantity sufficient. 

When a successful salesman enter- 
tains his guest, he picks up the menu, 
runs his finger down to the best and 
most expensive dish, and then says, 
"For two." That is the spirit to apply 
to the home garden. One good dish of 
peas is worth ten ordinary ones; one 
quart of luscious strawberries is worth 
a whole patch of hard, inferior varie- 
ties. Start out with the intention of 
having a 100% quality garden, in selec- 
tion as well as planting and care. 

Ordering for Each Individual 

I firmly believe that the proper sys- 
tem of gardening is the budget system. 
Make a careful survey of your needs 
and then order to meet them. The 
value of this is that you have a pre- 
arranged plan that you will strive hard 
to live up to. Where the supplies are 
secured as occasion demands there are 
too many openings for delayed sowings 
or other neglected detail. You know the 
size of your garden, so you should know 
how many rows of various things you 
can sow and what quantity will be re- 
quired for a seeding. 



How to Handle Color in Decoration 



(Continued from page 39) 



and cheerfulness, especially where there 
is little sunlight. Where there is abun- 
dant sunlight, the quieter shades of yel- 
low may be safely used. Quietness need 
never mean dullness. If one wishes to 
use quiet shades of yellow, there is no 
objection to quietness if the combina- 
tion has life, that is, enough of yellow 
or of orange in its composition to avoid 
dullness. 

Red and its derivatives in which red 
strongly predominates make for strength, 
vigor, vitality and warmth. It and its 
near relatives are most useful in deco- 
ration, but, owing to its great activity 
and power, care must be exercised in 
the amount used or in the modifications 
adopted, else it will dominate every- 
thing else and upset the balance. 

Blue and its derivatives in which blue 
is the dominant element, such as blue 
greens or very blue violets make for 
coolness, stability, poise and elegance. 
Blue is a difficult color to use in quan- 
tity and with divers shades. It is a 
highly sensitive- color and it is hard to 
get different shades to "go together". 



With yellow this difficulty does not ex- 
ist, and even divers shades of red will 
agree better than a variety of blue? 
which are apt to be quarrelsome unless 
tactfully handled. Heed to this warn- 
ing may save the reader much^vexation. 
Blue also is cold and demands relief. 

The properties and uses of the sec- 
ondary colors may readily be gauged by 
considering the nature and properties of 
their components. So also may we 
gauge the tertiary and quarternary col- 
ors. It is necessary, however, to add 
this practical caution regarding green 
while a thoroughly wholesome and rest- 
ful color, it universally needs relief. An 
all green room would be well nigh un- 
endurable; its sedative effect would 
grow benumbing. 

If it be vitally necessary to have the 
right color in the right place, it is no 
less vitally necessary to successful fur- 
nishing, as the reader has probably sur- 
mised by this time, to have the right 
amount of the right color in the right 
place. That is to say, there must be 
(Continued on page 54) 



February, 1919 





Bigger 

Better Gardens 

of fresh, delicious peas, tender corn 
on the cob, cucumbers, crisp let- 
tuce, succulent golden wax beans - 

Bigger Gardens because an Iron Age does 
the work so easily that one can .have a garden 
ten times as large or take care of a large gar- 
den in a tenth of the time required by old- 
fashioned tools. 

Bet ter Gardens because the Iron Age does 
the planting scientifically at the right depth, 
the right distance apart EITHER IN 
HILLS OR DRILLS with soil packed cor- 
rectly and rows evenly laid out by the ma- 
chine itself, the whole job, in fact, done at one 
operation. 





Iron Age Garden Tools keep you from getting 

a "crick" in your back you work upright all the time. 
They take the "work" out of gardening and vastly increase 
the pleasure of it. You get health, exhilaration, genuine joy 
from <n early morning turn in the garden, feeling the moist 
earth crumble under the working tools of a wheel hoe, breath- 
ing the fresh air, enjoying the birds and the sunrise, watching 
the mysteries of nature develop under your own hand all 
this and more is in an Iron Age Combined Hill and Drill 
Seeder, Double and Single Wheel Hoe. 

See your dealer or write us for information 

Bateman M'f g Company 

Implement Manufacturers for 83 yeais 
Box 645 Grenloch, N. J. 

Over 30 style* of seeders, wheel 
hoes, plows and other tools 
No. 306 ~^^_ ^^ f* tne 8 af den are shown in 

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54 



House & Garden 







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Ornamental Evergreens | 
2 ft. High for $5.00 I 

Delivered to Your Door by Parcel Post 

This collection includes 2 Pines, 2 Arborvitae, 
2 Colorado Blue Spruces and 2 White 
Spruces, all 2 ft. tall, choice trees. These trees 
are suitable for general planting. The Stock is 
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raised from seed there. The quality is the best. 

| 

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These illustrations show the 
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< JLitttt tKree Jfarnw 



| Why We Are Making This Unusual Offer 

We have faith in our trees. They are our best 
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little BEree jfarms (Jlear JSoston) 

NURSERIES OF 

American Forestry Company 

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I 



I 



How to Handle Color in Decoration 



(Continued from page 52) 



proportion and balance in the composi- 
tion. In this connection, the advancing 
colors and strong colors in a high key 
in general may be likened to seasoning 
in food. Their function is to give zest. 
Without them compositions would be 
flat and dull, but an excess will cloy. 
Pers6nal inclination must determine how 
highly we like our color schemes sea- 



soned. Or, to continue the analogy with 
music, as the senses are stunned by a 
continuous fortissimo blaring of brass, 
so a continuous color fortissimo begets 
weariness and discomfort. Keep the ac- 
cents for their legitimate use as accents 
and reliefs; use enough and freely, but 
don't waste your chromatic ammunition. 
It will surely lose its effect if you do. 



Cooking with Retained Heat 

f 

(Continued from page 40) 



as it is the onjy metal which will not 
rust when constantly exposed to steam. 

The Radiators and Heat Required 

Next in importance, in the make up 
of the cookers, are the radiators. Two 
kinds are on the market, soapstone and 
metal radiators. Each serves a special 
purpose and the housewife who can 
afford it has a set of each, that is, if 
she uses the fireless cooker a great deal. 
The metal radiators which heat quick- 
est hold baking heat for one and a half 
hours, while the soapstones, splendid 
for slow cooking, hold the baking heat 
in the cooker for nearly three hours. 

For the best results certain processes 
require a definite quantity of heat. It 
would be difficult to estimate when the 
radiators are sufficiently heated without 
a thermometer. Fireless cooker ther- 
mometers are made to stand on the 
radiators while they are heating. The 
following temperatures are authorita- 
tive and, no matter what medium is 
used to heat the radiators coal, wood, 
gas, oil, electricity or alcohol the radi- 
ators should be heated till the right tem- 
perature is obtained, to get perfect re- 
sults: 

Roast meats Heat radiator 600 F. 

Baked beatns or casserole dishes Heat 
radiator 400 F. 

Cakes Heat radiator 375 F. 

Pies Heat radiator 450 F. 

Biscuits Heat radiator 450 F. 

It must be understood that all tireless 
cooking is performed by retained heat. 
Unlike any other process the copker 
does not generate heat. 

Food should not be placed too near 
the radiators or it will be burned be- 
fore it is cooked. Racks are used be- 
tween radiator and utensil holding food. 
When food does not fill the compart- 
ment it is well to have a utensil filled 
with boiling water to fill the remaining 
space. 

Most cooks use the radiators too con- 
stantly. They should be reserved for 
roasting or baking only, as the boiling 
temperature which remains for over an 
hour destroys flavor. In cooking cereals 
the long, slow cooking process pre- 
serves the flavor which is destroyed by 
the quicker method. 

Removing Food 

As necessary as it is to remove food 
from a range oven when it is cooked 
just so soon should it be removed from 
a fireless cooker. Otherwise the steam 
condenses and the moisture is absorbed 
by both food and radiators. When 
that happens the radiators are no long- 
er useful and the food is unpalatable. 
It is then that a disagreeable odor ema- 
nates from the radiators and permeates 
the food that is afterward cooked in 
the receptacles. 



After each cooking process is over, the 
radiators should be carefully cleaned 
and dried and the cooker wells should 
be thoroughly aired. 

When the cook fails to get good re- 
sults from the fireless cooker, it can be 
depended upon that she has failed to 
follow the rules. As stated before, food 
should be removed from the cooker 
when cooked. A roast should be taken 
from the cooker when it has remained 
the required number of minutes to the 
pound to produce, as in any other oven, 
a rare or a well done roast. When 
roasting or baking, a heated radiator is 
placed below the roast and one above it. 
The utensil containing roast is placed 
on a rack and the radiator above is 
used as a cover to the pan or is placed 
on a rack that fits inside the pan. 

For boiling only one heated radiator 
is used and that is placed at the bottom, 
but it must be remembered that the best 
results are obtained with no radiator 
and a longer time. 

The wise cook will carefully note the 
rules that govern her particular cooker. 
The fireless cooker for a family of two, 
if the entire meal is to be cooked, should 
be a two compartment size of eight- 
quart capacity. If it is to be used as 
an accessory only, a single compart- 
ment will be sufficient. For serving 
more than four persons, select a three 
compartment size of eight-quart ca- 
pacity. 

Computing the Gas 

When computing the quantity of gas 
saved it must be remembered that the 
radiators must be heated. Fifteen min- 
utes are required to heat metal radiators 
for baking. Twenty minutes are re- 
quired to heat soapstone radiators for 
baking. Five minutes extra are added 
to each for roasting and twenty-five 
minutes are necessary when an extra 
size roast is to be cooked. The soap- 
stotie radiator is then heated to ca- 
pacity. It can absorb no more heat. 

When the ten minutes required to 
heat the oven before the roast is put 
in a range oven are added to the fif- 
teen minutes for each of the five pounds 
of the roast, we will have just one hour 
and twenty-five minutes compared with 
the twenty minutes necessary to heat 
the radiator which will cook the roast 
in the same length of time. This makes 
a difference of twenty minutes of gas 
in favor of the fireless cooker. To hold 
a brief for the range oven, other things 
could also be cooked in it at the same 
time. However, for the single baking 
and for the single loaf of cake or pan 
of biscuits and the long, slow process of 
baking beans and cooking cereals there 
is nothing that can take the place of 
the fireless cooker. In the summer espe- 
cially its uses are indispensable. 




February, l 9 i 



55 



L_ 







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Shall Versailles 
Be Vienna? 

The genesis of the war of 1914-13 
goes back to the Congress of 
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foundation for the military domi- 
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possible for her to disturb the peace 
of the world. Here the rulers 
turned a deaf ear to the misery of 
Poland; crushed the rising tide of 
liberalism in the German Confed- 
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France and s* Hapsburg rule over 
Italian States that had to bleed 
half a century longer before they 
achieved unity. 

The Century Co. has just published 
a book which is an intimate ac- 
count of the Congress of Vienna. 
It is entitled, "A Peace Congress 
of Intrigue". It was compiled by 
Frederick Freksa, and translated, 
with an introduction and notes, by 
Harry Hansen. In this book the 
author has drawn upon the won- 
derful story of social and political 
intrigue told by the participants 
themselves in their memoirs; and 
here pass in review such figures as 
Hardenberg, Wellington, Admiral 
Sir Sidney Smith, Gentz, Dalberg, 
the Prince de Ligne, Count de la 
Garde, Frederick William of Prus- 
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and Napoleon's son, the young king 
of Rome, the fascinating Countess 
Zichy, Archduke John of Austria 
and most of the princes and prin- 
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statesmen of an age the influence 
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our own time. 

"\ IVace Congress of Inlrigue" is sold 
at all bookstore* for $2.50. 



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The most beautiful of all 
curtains. Handmade in 
original and exclusive de- 
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$9.00 pair up 

If you prefer to do this 
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NET BY THE YARD- 
THREADS BY THE 
SKEIN. (Exclusive sale 
of threads used.) 

Send for circular with de- 
signs illustrated. 




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the high merit of their work 

Our booklet with the latest irt newt of 

the Rallrrif* just published jnt on 

request 

^ ^^ "GRAY DAY" J. FRANCIS Ul'KI'ir 

E. & A. MILCH, INC.. 108 W. 57th St., New York 

AdtointnQ Lntot Clul> 

it 



SATINOVER 
GALLERIES 




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Dealers in v 

SELECTED 

OLD MASTERS 

OBJECTS 

of ART 

Illustrated Booklet 
on request 

No. 27 West }6th Street 
NEW YORK 






'aintings by American Artists 




"Clearing New Ground' 



Elliott.DaingerficlJ 



picture on the wall is the first element of .dec- 
l oration to catch the eye. It may easily spoil an 
otherwise perfect room. Its selection should be the result 
of careful thought, supplemented by professional advice 



"Art Notes" will be found suggestive 
May we send it you .' 



WILLIAM MACBETH 

Incorporated 

450 Fifth Avenue << Fortieth sirn New York City 



FURNITURE 



"NTERIORS 







Reproduction 

Old Tuscan Table 

$150.00 



MACBRIDE 

"THE HOUSE OF THREE CiABLES' 



E. 52n ST., N. Y. 



The Story of Japanese Painting 



portrait of Shotoku. 
Delicate pinks and rich 
greens, flecked here and 
there with arabesques 
of gold, the color-har- 
mony charming as ever 
Whistler compassed, the 
general effect having a 
stateliness which neither 
Rubens nor Van Dyck 
often surpassed such 
is this masterpiece, one 
of the greatest things 
in the whole art of the 
Far East. 

Toba Sojo and Those 
After Him 

So princely a painter 
as Kanaoka necessarily 
proved a great stimu- 
lus to aspiration with 
Japanese artists, the 
next strong individual- 
ity among whom was 
Toba Sojo, a bishop, 
who lived in the mid- 
llth Century. He was 



(Continued from page 31) 



i 




"Kwannon, Goddess of 

Compassion", by Den- 

sho, the Japanese Fra 

Angelica 



Shortly before Densu's 
day, it was acquired by 
the Ashikaga family, 
nearly all the Shoguns 
of which line were sin- 
gularly artistic, several 
of them being them- 
selves gifted amateur 
painters. It was during 
their regime that fine 
landscape -painting 
came to be widely 
practised in Japan. 

It would have been 
strange, indeed, had 
Japan not had great 
landscapists, for, Den- 
su's complaint about 
the picnic parties not- 
withstanding, there is 
perhaps no country 
where the love of nat- 
ural beauty is so wide- 
ly evident as there. 
Even the humblest, 
roughest people are 
often fond of extolling 
stream, or forest, or 



primarily a humorist, figuring the dra- flowers, while Japanese literature is sin- 

matis personae of contemporaneous po- gularly full of glowing tributes to 

litical events in the guise of rabbits, or mountain and moorland; and it was 

foxes, or frogs; and though, as a rule, scenery of the wild, mountainous 

jokes seem rather stale when even a kind which chiefly inspired Shubun, 

hundred years old, Toba's are as de- a favorite artist with the Shogun, 

lightfully fresh still as if they had been Yoshimassa. 
made only yesterday. 

The output of humorous cartoons, 
concerned with politics or with the life 



Shubun's Followers 



Among Shubun's pupils was Masa- 

of ordinary people, increased at great nobu; among his friends Soami; the 

speed immediately subsequent to Toba's former being renowned for his hieratic 

time, and his name came to be the paintings besides his landscapes, while 

generic term for such works, a specially Soami was poet as well as landscapist, 

brilliant adept in this field being Gaki famous for his erudition in old pic- 

Zoshi, whose somewhat sardonic wit tures, and, like Kanaoka, a celebrated 

recalls Goya. designer of gardens. 

Coevally there was founded the prac- It was in Soami's studio that Sesshiu 

tice of painting scenes in bygone his- began work, this master being also a 

tory, in which sort of art a rare mas- poet and scholar, devoted to playing 

ter was Hato no Munezane, whose chef the flute, sadly fond of drink although 

d'oeuvre illustrates the deeds of Sho- he belonged to the priesthood. Having 

toku; while in 1352 was born Cho finished his studies with Soami, he set 

Densu, master alike of portraiture and off for China, in search of a teacher 

landscape, also a fine painter of religious who would further improve his skill, 

pictures. As portraitist he showed him- His pictures being heard of by the Chi- 

self as shrewd a critic of human char- nese Emperor, he was invited to the 

acter as Hogarth or Holbein, while court, the suggestion being made there 

sometimes he would vitalize the human that he should give an impromptu dis- 

form as strongly as Rodin or Hals. It play, whereupon he called for a broom, 

is told that the Shogun, conceiving an with which he drew an enormous dra- 

enthusiastic interest in Densu's art, told gon, its vitality delighting the whole 

him to name the greatest wish of his assemblage. "But I can find none in 

life, -the painter at once exclaiming: all China who can teach me anything!" 

"Sire, one thing alone do I long for, the exclaimed the artist proudly, which 

passing of a law, forbidding people to boast is easily pardoned, considering 

picnic in the grounds of the Tofukuji the loveliness of Sesshiu's art. He is 

Temple, Kyoto, where I live and work, the Corot of Japan, his concern as 

for such visitors always spoil the landscapist being usually with the more 

beauty of the scene by leaving refuse pensive moods of nature ; while as bird- 



behind them.'' 

Shogun Patronage 



painter he has few, if any, rivals. 
During the time of his activity there 

came on the scene Tosa Mitsunobu, 
The term "Shogun" may be cryptic adept in many styles, fostering his 
to some readers. So it behooves me to genius by keen study of various foreign 
explain that, from Toba Sojo's time on- schools, to-day busy with portraiture, 
wards till the Revolution of 1868, the the next with history, and commonly 
Mikados never had any real power, al- giving his historical incidents exquisite 
though they were regarded as divine, landscape backgrounds. Deservedly he 
the government being controlled by the won the ardent patronage of the Mi- 
Shogunate, which office was hereditary kado, at once an official honor and a 
in various noble houses in succession, recognition of his talent. 







-^j 



"7 he Carnival of Flowers", an amusing caricature by Toba Sojo, 
the llth Century artist 



February, 



57 




A GARDEN OF DELIGHT 



breathing the world's sweetest perfumes blazing with 
brilliant blossoms throughout the long summer months 
and rearing green foliage above the snows of winter. 

Wagner's New Free Flower Catalog 

tells how and when and what to plant for the garden 
beauty you wish to gain. It is a dependable guide to the 
correct planting of Wagner's free blooming roses, bulbs, 
flowers, hardy perennials and shrubs, vines, evergreens, 
hedges and ornamental trees of all kinds. 

For garden success, plan 
Send today for Wagner's 

WAGNER PARK NURSERIES 

Nurserymen Florists 



Wagner Landscape Service 

will help you to attain the most effective planting of 
your garden or estate. We will make a personal study 
of your grounds, or you can send us a rough sketch of 
the space to be planted. Wagner Landscape Gardening 
Artists are experts in planning harmonious surroundings 
for private homes and public institutions. For further 
information without obligation, address our Landscape 
Department. 

now and plant early 
Free Catalog No. 120 

, BOX 30, SIDNEY, OHIO 

Landscape Gardeners 



STANDARD 

of Mw WOULD 



IRON FENCE AND ENTRANCE 
GATES OF ALL DESIGNS AND 

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t FREDERIC N. WHITLET 
Engineers ind Contractors 
H Fulton St. . BfooUjn. N. Y. 



ANOTHER 




VICK'S 
Garden and Floral 

For 1919 GUIDE Now Ready 

Ereryone interfiled at iM in gardening 
tlunilil hart a raft, fur crfily Heart tkr 
Iniina author it t in reoetarjlt. /arm ana 
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tie An inralvaWe midr to a sMMMfw 
fnrden Send lor your Ires cy tediy 
before you forget. 



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TRIUMPH 

THREE SPLENDID NEW ASTERS 

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"America'.* Firmt National Sttdhauie" 
18 Stone St., Rochester, N. Y. Th* Flomr City 



$1.25 each 



ThrM for $3.50 




BIRDS HELPED WIN 
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Rustic Bird Hoiuei are the molt 
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CRESCENT CO. 

Rirclvill* Torn* River, N. J. 




COLONIAL REPRODUCTIONS 

May be choien either for the 
entire furniihinfr or here and 
there a well selected piece to 
harmonite with the surround- 
ing interior The Leaveni way 
of allowing; the purrhater tc 
specify the color, finish or dee- 
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ij in addition to the larit 
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Shipments carefully made, in- 
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Send for complete catalog;, over 
200 illustrations and color chart 




\VILUAM LEAVENS iTO. w 

32 C<uuJ St. BOSTON. MASS. 



58 










Lowell Mason, born 
Bedfield, Mass., 
1792; died Orange. 
N. J.. 1872; an 
American musical 
composer especially 
noted as a teacher. 
llo jmblished many 
collections, principal- 
ly of Thurch and 
Sunday School mu- 
sic. At 20 played on 
all musical instru- 
ments ; promoted vo- 
ral music in Boston 
and New England ; 
1832 founded Hoxtim 
Academy of Music; 
made Doct9r of Mu- 
sic by U n i versity of 
Xf\v York; his musi- 
cal library presented 
to Yale College by 
Ida heirs. 




PORTRAIT OF LOWELL MASON 

Painted in 1831 

BY ASHER BROWN DURAND 

Sice of Cant-as 30" x 25" 

THE "Old Masters" sold from our 
collection are always exchange- 
able at full purchase price. 




(Batteries 



Dealers in "Old Masters" Exclusively 
707 FIFTH AVENUE AT 55TH ST. NEW YORK 




DANERSK DECORATIVE FURNITURE 

: 'T T OW can I obtain a pleasing harmony of color in my 
L I room in furniture and fabrics, and yet be able to 
select the particular size, style, and number of pieces that 
I need?" Only in Danersk Furniture can this question be 
answered quickly, 'adequately and in exquisite, good taste. 
We have the pieces ready for immediate finishing in the 
color harmony of your own choosing. Your individual 
requirements are met without added cost. 
Permanent records of all orders are kept for future addi- 
tions. 

Consultation and advice without obligation to purchase. 
Send plans of single rooms or entire house. 

ERSKINE-DANFORTH CORPORATION 

2 West 4/th Street, New York 

First Door West of Fifth Avenue 4th floor 



SEND FOR VALUABLE 
BOOK "A-z" 




Garden 



Couru->.\ uf Unit- Tree Farms 

The arborvitce draws attention by its form 
and the play oj light on its foliage 

The Winter Window Box 



YOU know those windows of sum- 
mer in the country, so bright with 
boxes of geraniums, daisies and 
glowing petunias? And it has occurred 
to you how much those same windows 
(and, in fact, the whole house) would 
lose in effectiveness were the plants re- 
moved? If you can answer these ques- 
tions in the affirmative, then what fol- 
lows should be of especial interest. And 
if you cannot, read it anyway and ap- 
ply its ideas to your own home. 

The outdoor window-box should and 
can be a year-round adornment of the 
house in either city or country. As to 
its warm-weather planting, I shall not 
;peak here, for that is a separate sub- 
ject and untimely in cold weather. Let 
the winter box alone concern us now, 
the box planted with hardy little ever- 
greens whose thrifty color and sturdy 
forms defy the lowest temperatures and 
heaviest snows. Whether viewed from 
within or without, the window well 
planted with evergreens finds its attrac- 
tiveness increased a hundredfold. 

The Type of Box 

Generally speaking, the evergreen 
window-box need not be different from 
the one for summer flowers and vines, 
so long as it is substantially built and 
able to withstand the hardships of severe 
weather. It is well to remember, how- 
ever, that the matter of architectural 
and color harmony with the exterior of 
the house is of special importance, be- 
cause the box itself will be more in 
evidence when the upright evergreens 
are used than if it were partially masked 
by flowering plants of more drooping 
habit. In this connection it may be well 
to note that window-boxes are now 
offered for sale along with the little trees 
to fill them. The majority of the manu- 
facturers sell only the boxes themselves, 
but a few firms can supply them with 
selected evergreens all ready for plant- 
ing, and even plan the arrangement for 
you. 

The advantages of the ready-to-plant 
boxes are worth considering. In the 
first place, the little evergreens are espe- 
cially prepared for planting when they 
reach you. This point is more impor- 
tant than may appear at first glance, 
because much of the success of the little 
trees depends upon the care with which 
they are moved from the nursery to 



the box. Furthermore, if the plants 
are purchased from a reliable concern, 
you need have no anxiety as to the 
hardiness and general sturdy qualities 
of the stock. Still another advantage 
is that, by following directions, you 
will secure a balanced arrangement of a 
number of different varieties which ex- 
perience has proved to be harmonious. 

The evergreens used in these winter 
window-boxes range in height from 8" 
to 18" and, in some cases to 24". The 
determination of which heights will be 
best, hinges, of course, upon the size of 
the box and largely upon its location. 
Naturally, you would not want tall 
specimens in a low, broad window, nor 
very low ones where the windows are 
high and narrow. A brief list of stand- 
ard species includes Colorado blue 
spruce (silvery green), white spruce 
(silvery gray), Norway spruce (dark 
green), red cedar (dark green), white 
pine (silvery green), American arbor- 
vitae (light green). 

Looking over this list, you might 
think that the colors are so nearly alike 
that the result would be monotonous. 
Such is not the case, however, because 
in addition to the countless indefinable 
tones and shades which are apparent to 
the eye, there are the differences in form 
and structure of the selected species 
which lend variety to the whole. The 
spruces, for example, are rather stiff and 
spiky, with short, straight needles. 
Pines, on the other hand, look softer 
and more tufted; their needles are 
longer and softer, lending a more grace- 
ful aspect to the whole plant. The 
cedars and arborvita? are again dif- 
ferent. They are the finest textured of 
all, and in the case of the arborvitz we 
find perhaps more to hold the eye than 
with any of the others. This results 
alike from the apparent color variation 
due to the effects of light on the pe- 
culiar hand-like character of the foliage, 
and from the compact, symmetrical 
form of the plant as a whole. 

Warm Weather Uses 

It would be misleading to close this 
article without mentioning the fact that, 
if properly cared for, these little ever- 
greens may be carried over for several 
years. During the warmer months they 
are by no means to be despised as 
garden accents. 




Courtesy of Little Tree Farms 



The formal house calls for formality in box and planting. Particular 
attention should be paid to the type of the box, because where ever- 
greens instead of flowering plants are used its form is more pronounced 




59 







"JOHN BAER" TOMATO 
By Their Fruits Ye Shall Know Them 

A War Tomato Patch 

Tlif ('Htintru Gentleman) 




. 

(Siswcll ". '. Srofl. 

.Montgomery County, Kantoi. 

Write for Botgiano'i 1919 Seed Annual. It mhowm the 
"John Baer" Tomato in exact *i*e and color. It gives a 
compltte lilt of Bolgiano'*"Big Crop" Seed*, beautifully 
illustrated and fully described. It contains valuable 
garden information that will assist you in making your 
ISIS garden the best. 



NEW CROP 
SEED 



"John Baer" Tomato 



ORIGINATOR'S 
SEED ONLY 




P erf eel Fruit in 30 Days The Best Extremely Early Tomato on Earth 

"John Baer" Tomato Produces Perfect, Solid, High-Crown, Beautiful, 
Brilliant Red Tomatoes in 30 Days from Large, Strong, Well- 
Matured Plants Grown in Veneer Bands with Roots Undisturbed 

Prices: Pkts 25c. 1 Oz. 75c. 2 Ozs. $1.45. % Lb. $2.75. Va Lb. 
$5.00. 1 Lb. $10.00. Postpaid. We Offer Veneer Bands 75c Per 100. 

GOOD QUALITIES OF THE "JOHN BAER" TOMATO 

"John Baer" Tomato produces the most perfect High Crown Tomatoes ever grown, entirely 

free from core. 

"John Baer" Tomato produces an enormous crop of Tomatoes, 100 fruit and over to each 

plant. 

Every "John Baer" Tomato ripens evenly, right up to the stem. 

No cripples, no scalds, no blight, no cracked, no wrinkled, no one-sided, uneven, scarred fruit. 

When dead ripe "John Baer" Tomato will not burst. 

"John Baer** Tomato has a wonderful glistening, brilliant, bright red color. 

"John Baer" Tomato has a mild, delicioualy sweet flavor. The finest flavor you have ever 

tasted. 

"John Baer" Tomato is almost seedless; it requires 6 to 8 bushels of "John Bacr" Tomatoes 

to make one pound of seed, a marvelous Stem Setter, often ten 

fruit in first cluster, solid and meaty. 

"John Baer" Tomato has just enough foliage- -will stand plenty 

of manuring without going to vine. Set plants 3x3^ feet. 

"John Baer Tomato is the most perfect shipping Tomato ever 

grown 24 fruit exactly fill a six-carrier basket. 

Each beautiful "John Baer" Tomato weighs about 6 'A ounces. 

"John Baer" Tomato Seed was saved only by John Baer. the 

originator, who personally selected and picked every Tomato 

from which he saved this need, selecting only the most_beauti- 

ful, perfect fruit of the Early Stem Set Clusters. 

"John Baer" Tomato is the offspring of two marvelous Toma- 

toes One Great Specialist' having devoted 10 years in select- 

ing and improving one parent and Another Expert devoted 

five years in selecting and improving the other parent. The 

"John Baer" Tomato is, therefore, the result of Fifteen Genera- 

tions of Improvement and Selection for earliness, quality, 

shape, fruit, color and shipping quality. 

As a Canning Tomato. "John Baer" is a miracle 

Fancy, no seconds, and all can whole. 



they all can 



ESTABLISHED 
1818 



"BIG CROP" SEEDS 
FOR OVER A CENTURY 



J. Bolgiano & Son 

Address Department 1O5 BALTIMORE, MD. 




MR. JOHN BAER 
The Man Who Has Per- 
formed Wonder* With 
Tomatoes 





Fourth**) 

1 A Price Rose Sale 

This special offer enables jnu to provide for a 
luvely display of "Monthly" Hybrid Tea Roses at 
almost no coat. My regular price la 5 for $1, but I 
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50 lovely Gladioli. $1; 12 fine Dahlias. $1: 12 
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WHITE, RED, BLACK, PURPLE 

GRAPES 

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rich, sweet, luscious 
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Send $1 for this collec- 
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lifetime treat. 

CLARENCE B. FARGO 

Desk O Kra.clituwii. N. J. 

11' si. R.-cis Kv.rhcarlne BJ Kunberrlvs. Jl. 
(All drllverirs made at M-OJMT time.) 




The Right Rose Plants 
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Guaranteed to Bloom 



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ROSES > cali *- 



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In Star ilze . . , entire six, $4.50; any four, $3.00 
In 2 year ). . .entlr* six, 3.00: any four. 2.00 

By Parcel Post, C. O. D.. postage extra. 
Write today for our free 52 page Floral Guide 
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CONARD & JONES COMPANY 

Rote Specialists backed by Fifty 
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Robert Pyle 

President 

Anlolne \Vlnuer 

Vice Pres. 

Box 126 

West Grove. Pa. 




(Oregon Beauty) 

WING'S DAHLIAS 

When M i ni MM' r lif^'ins to wane and the 
gardens to lose their splendor, the Dahlia 
comes into her own. Gone are the stately 
Iris and the glowing Phlox; the Peony is 
but a memory. The coot days of autumn 
aound the knell of the sun-loving flowers, 
but stimulate to an opulence of bloom the 
iMhliii. last of the lovely train. All the 
colors of all the seasons are combined In 
her blossoms; the delicacy of the first 
spring flowers, the tints of June roses, 
the brilliancy of autumn leaves. The 
forms are as varied aa the colors, so 
changed and Improved Is this flower. 
Massive blooms of velvet and aatln are 
found, together with forms as airy and 
graceful as snow crystals. 
\\V want all who lo*e beauty in the hnrne to 
write for our catalog describing our two hun- 
dred varieties of Dahlias. Many of these are 
obtainable from no other source In America, 
Ti. those who wish to obtain a beautiful col- 
lect inn for a moderate rost. we offer the 
follow-in*: 

Eleven Varieties for S2.2O 

Value. 92.70 

Oreaon Beauty. Peony. Immense relvety cherry 
r-'.i Countets of Malmstfaury Ca/tu-s, dfllct 
reach pink. Llbtll* Cactus. deei> purple. 
Ptrls de Lyes Decurattre. Pure white. Briga- 
dier ractun. brlftot crimson. Ross Pink Cen- 
turySingle, TlolAt rose, J. H. Jackson 
t actus. relrety maroon. Jack Row IM-ora- 
tive. t'olor rose of tame name. Prince of Yel- 
low* i'actus, soft primrose. Debutante Cac- 
nw. Try fan rose. Glowing Gen Singh*, deep 
crimson. All good strong roots. 

The Wing Seed Company 

(The HOUM of Quality and Mod<-rl, ; 
Box 1327 Mechanicsburf, Ohio 




House <y LT a r a f 




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Interior Decorating 



REED SHOP, INC. 

581 Fifth Avenue 
NEW YORK 

"Suggestions in Reed Furniture" forwarded on receipt of 25c postage 



bald you think 

this a Player Piano? 



WOULD you adorn and complete your home with the most 
beautiful of all possessions, a Player Grand Piano 
A piano" which will equally satisfy the accomplished musician 
who can play, and the music lover who cannot himself play? 



Player Qrand Pi AND 



This the masterpiece of the piano maker s art, containing 
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KRANICH & BACH 

E. zjrd St.. New York City 
CHICAGO 1158 WabashAve. 




Doors and Shutters of the Colonial Period 



(Continued from page 21) 



more, not quite so long, at the base. 
The two lower panels were separated 
from the four upper by a wide cross- 
rail. 

18th Century Panels 

In the early 18th Century (c. 1700- 
c. 1735 or 1740) the same two arrange- 
ments persisted to some extent and, in 
addition, we find a wealth of multiple 
panel arrangements of no little diversity 
three long vertical panels above, the 
same below, and a wide cross-rail be- 
tween; two large above, two small 
square or horizontal oblong below, and 
two large again at the bottom, broad 
cross-rail occurring usually below the 
two small panels; three small square 
panels at top, three vertical below them, 
a broad cross-rail, three more small 
squares, and then three verticals at the 
bottom; and besides these there were 
various occasional combinations of ver- 
tical and horizontal panels, panels with 
shaped heads, and triangular panels di- 
vided by diagonal rails, as in the door 
of the Parson Williams house at Deer- 
field, Massachusetts, one of the best 
New England examples. 

In the mid-18th Century (c. 1735- 
c. 1775) the most characteristic arrange- 
ment had eight panels two small 
squares above, two vertical panels be- 
low, then two small, then two large, all 
stiles and rails being of about equal 
breadth. 

In the late 18th and early 19th Cen- 
turies (c. 1775-c. 1815) there was an 
almost universal return to a six panel 
plan, the proportions, however, some- 
what different from the earlier six panel 
scheme, two small at top, two long, 
a broad cross-rail, and two large panels 
below. ' 

The panel divisions are not, of course, 
an invariable index to date as there 
were overlappings, earlier forms persist- 
ing into a later period, on the one hand, 
and later forms, on the other, being 
sometimes foreshadowed in earlier 
periods; but in the main the indications 
are reliable. 

Types and Periods 

If anything, it is even more impor- 
tant to mark well the kinds of panels 
whether they be countersunk, bevel- 
flush, or flush and whether there be a 
molding denning the panel or whether 
it abuts directly against stiles and rails 
without a molding; likewise the dimen- 
sions and profiles of moldings, for they 
varied in every period. Not only did 
each period have its own general mold- 
ing characteristics, such as the favorite 
quarter-round molding between panel 
edge and the stiles and rails of the early 
18th Century, but there were also minor 



variations and each of them holds some 
lesson for us. Shutters followed pretty 
closely the characteristics of the doors. 
Attention should be called to the fre- 
quent practice, especially in the first 
half of the 18th Century, of using two 
narrow doors instead of merely one 
wide door. 

The two cardinal principles to ob- 
serve in studying doors and shutters of 
the Colonial period, and in any creative 
work resulting therefrom, are ( 1 ) pro- 
priety of scale and (2) consistency. 

The former requires the scale of the 
door's details the proportions and 
depth of its panels and the size and con- 
tour of its moldings shall coincide with 
the scale of the corresponding charac- 
teristics in the doorway. To illustrate, 
it would be an infraction of the prin- 
ciples to put an early 18th Century door 
with deep-set bevel-flush panels and 
vigorous, boldly-defined moldings within 
an Adam doorway where all the con- 
tours are shallow and all the details ex- 
ceedingly delicate. It would be like 
putting a full-blown peony in a bunch 
of small orchids a violation of all our 
ideals of fitness and harmony of char- 
acter. 

Congruity 

The second principle calls for cor>- 
gruity between door and doorway. Do 
not put a door of a pronounced type of 
design into a doorway where the type 
of design is utterly at variance; for in- 
stance, an early 18th Century door with 
multiple divisions and shaped panel 
heads into an Adam doorway of severe 
rectilinear emphasis. It is a univer- 
sally accepted truth that the openings 
have more to do with the appearance 
of a building than almost any other 
feature. This applies to what we put 
within those openings as well as to the 
openings themselves. The inconsistency 
of a good doorway and a bad door is 
obvious, like a wretched chromo in a 
beautiful frame. 

The writer holds no brief for a puris- 
tic, meticulous adherence to architec- 
tural and decorative precedent and slav- 
ish reproduction. That would be noth- 
ing but archaeology, would mean the 
rapid ossification of all originality and 
initiative and would put a speedy stop 
to all legitimate adaptation and crea- 
tion. But there are certain inherent prin- 
ciples of fitness that are unalterable. A 
lively perception of these principles re- 
sults from the conscientious heed of just 
such details as have been pointed out. 
They are subtle, and potent as they are 
subtle, and they richly repay the study 
bestowed on them. Likewise they are 
prompt to avenge neglect or ignorance 
or misuse. 





At Milford, Conn., is found a* seven- 
panel narrow type of Colonial door of 
late 17th Century design 



revruaryi -t v j. 




"Evergreen 
Bittersweet' 



Beautiful 365 days in the Year 

\Yith gorgeous red berries aguinxt foliage that is 
green all year round, this vine beautifies the home 
\vitli a thick shade in the summer, and with glowing 
fruit and bright leaves when other vines are bare. 
Evergreen Bittersweet (Euonymus Vegetm) climbs to 
a noble height in the severest climates, where Eng- 
lish ivy can be used only as a ground cover. Two 
year old vines fruit freely. 
Planted in rows and sheared, it 
makes an incomparable ever- 
green hedge, solid and erect. 

Strong Pot Plants, 

50c each ; $5 per doz. 

$35 per 100. 

Write now for latest catalog of 

Hardy Plants, Trees, 
Shrubs, etc. 

It contains a great variety of the most 
dependable and popular favorites in 
hardy plants, Roses, Peonies, Del- 
phiniums, Evergreens, Rhododendrons. 
Also seeds of superlative quality. 
Write today. 

ELLIOTT NURSERY CO. 

339 Fourth Ave., Pittsburgh, Pa. 





arketBasket U 



Vegetable Seed Collection 



^ on can "go to market" in your own garden, getting 
fresh, crisp vegetables for summer use, and some to save 
for winter. ,A dollar invested in seed now will mean 
many dollars saved next summer. 

A Garden Full of Vegetables 

the kinds that your family likes; the kinds that are easy 
to grow and that will give you satisfactory returns. Forbes' 
Dollar Market Basket Collection of Seeds contains 

One Packet Each of these Eighteen Varieties: 



Beans, Kiliff of Earlies ; Ward- 
well's Wax; Fordhook Bush 
Lima. 

Beet, Detroit Dark Red; 
Early Wonder. 

Carrot, Coreless. 

Cucumber, Forbes' Prolific 
White Spine. 

Lettuce, Champion of All; 
Grand Rapids. 



Onion, Yellow Globe Danvers; 

Red Wethersfleld. 
Parsley, Moss Curled. 
Radish, Scarlet Globe; Scarlet 

Turnip White-Tip. 
Spinach, Savoy-Leaved. 
Swiss Chard. 
Tomato, Matchless. 
Turnip, Purple-Top White 

Globe. 



Sent Postpaid for One Dollar 

Forbes' 1919 Catalogue "Every Garden Requisite" is full 
of helps for the vegetable and flower grower seeds, tools, 
insecticides. Write loday for your free copy. 

ALEXANDER FORBES & Co., seedsmen 

116 Mulberry Street, Newark, New Jersey 



nmmmmim 11111111111111 



{ToMrunter. 




CHOICE WOOD MANTELS FROM THE BEST EARLY EXAMPLES 

True to the originiU in their charming refinement of line and detail. 

FIREPLACE ACCESSORIES H.nd Forged Bket Gr,t. Andiron.. J.mb Hook.. 
Log Pail*. Cranes. Trivet*. Etc. 

Quaint and interesting deiitfnt of the Early English and Colonial Period*. 

ARTHUR TODHUNTER Showroom. 101 Park Ave.. New York 




First Time Ever Offered 
in America 

Europe until now has alone enjoyed 
a great nut delicacy large, tasty Fil- 
berts. The American wild Filbert has 
lacked size, taste and food value. 

Seven years ago, however, we im- 
ported plants that bore abundantly, 
as far North as Riga, Russia, and 
obtained a European nut expert to 
begin experiments here. Success has 
crowned his efforts and we now offer 
you 

Improved European Filbert. 
(Hazel) Nut Trees 

Famous nut experts C. A. Reed, of the U. S. Dept. of 
Agriculture and Dr. R. T. Morris have pronounced 
our plants wonderful. On the shore of Lake Ontario, 
with temperature last winter of 20 degrees below 
zero, they thrive and bear abundantly. 

Beauty and Profit 

Bushes make a very ornamental shrub with deep green leathery foliage 
in summer and loaded with husks of delicious nuts, which ripen in Sep- 
tember here. Plants bear second or third year after planting, and when 
10 years old stand 5 to 7 feet high, and should yield 20 to 25 pounds of 
nuts each. 

All plants offered grown on their own roots, are 2 to 4 feet high, and 
will thrive in any moderately rich, well drained soil with very little culti- 
vation. Be the first to grow large Filberts 
the European kind on your grounds for 
real pleasure or in orchard for good profit. 
Satisfaction comes either way. Send for 
catalog with full details. 

L. W. HALL COMPANY, Inc./E*/. 1879 
581 Cutler Bldg. Rochester, N. Y. 

Complete Mock of Fruit and Ornamental 
Trees, shrubs, vines, berry plants, etc. 






Plasterwork in Modern Decoration 



(Continued from page 33) 



AL the taste expended in the bathroom 
is useless unless the water closet is 
quiet of operation. A noisy closet is an 
annoyance to you, an embarrassment 
to your guests. 

THE TRENTON POTTERIES CO. 




SILENT CLOSET 



incorporates special features to make its operation 
quiet and thorough. Its sanitary features over- 
come the danger of clogging and subsequent 
damage. No effort has been spared to make the 
Si-wel-clo and its component parts the very best. 

The Si-wel-clo is but one item of our complete line 
of all-clay plumbing fixtures. "Tepeco" Plumbing 
is china or porcelain, solid and substantial. Dirt 
does not readily cling to its glistening ^ white sur- 
face, nor will . that surface be worn away by 
scouring. A wise investment a beautiful one. 

Before you build or renovate send for our in- 
structive book, "Bathrooms of Character," P-8. 

The 

TRENTON 
POTTERIES 
COMPANY 



TRENTON 



NEW JERSEY 



vices of the utmost delicacy or for 
modeling large and bold figures; durable 
and resistant; and susceptible of great 
diversity of finish and texture ranging 
from a mirror-like polish to a creamy, 
granular chalk-like surface. It can be 
modeled, stamped, incised, and cast, and 
it may be colored and stencilled. 

It is a misapprehension to regard 
decorative plasterwork as applicable 
only to ceilings. It was once extensively 
used for the embellishment of wall sur- 
faces and the field for that sort of or- 
namentation is still just as. free and 
legitimate as it has ever been. The 
overmantel space, panels over doors or 
above windows, tympana above re- 
cessed doors and windows, lunettes over 
windows or at the ends of barrel- 
vaulted ceilings any wall space, in fact, 
that is limited and clearly defined and 
possessed of some emphasis of location 
that invites a measure of decoration 
are all eminently appropriate places for 
decorative plasterwork. In such places 
no one hesitates for a moment to hang 
plaster casts of della Robbia subjects 
and similar compositions, perhaps col- 
ored and gilt, as detached or detachable 
pieces of decoration, thus incidentally 
paying a tribute to decorative plaster- 
work without their being more than 
half conscious of doing so. It would 
be quite as fitting to fill those same 
places with plaster decoration, modeled 
in situ, or else to incorporate the 
plaques and panels of della Robbia and 
other reproductions, and model suitable 
plaster settings about them, keeping the 
whole composition in the white or add- 
ing color and gold, whichever might 
seem preferable. 

This incorporation of previously ex- 
ecuted plaster reliefs is mechanically a 
simple matter and ensures really fine 
plaster decoration of a certain type at 
a very low cost. Again the same spaces 
might be filled with conventionalized 
repeats, modeled and stamped in situ, 
or cast separately and then assembled 
and set. 

Mural Plasterwork 

For a more extended and ambitious 
use of mural plaster decoration, if one 
be so inclined, a frieze, the cornice, the 
cove above the cornice, or the whole 
wall space between the wainscot and 
the 'cornice, provide ample opportu- 
nity. In the last named instance the 
wall becomes essentially a decoration 
and must be given the decorative right 
of way, other features being kept away 
from it. 

So far as ceilings are concerned, to 
which for a long time past convention 
seems to have confined plaster adorn- 
ment, the possibilities are almost with- 
out limit. That so comparatively lit- 



tle serious attention has been paid in 
our day to plaster decoration as a ceil- 
ing resource is probably due to the 
perfunctory and unalluring character 
of the ceilings so embellished, by the 
square foot or the yard, in the middle 
of the last century. There, are plenty 
of them still intact to exert a baleful 
influence and prejudice popular taste 
against employing any similar means to 
create interest. It is not unnatural that 
people who know decorative plaster- 
work only in an unfavorable form 
should conclude that it is better to have 
no decoration than bad decoration. And 
yet, there is something illogical in hav- 
ing the walls replete with interest and 
then cut the interest short at the angle 
of wall and ceiling, leaving overhead a 
"broad, blank waste of white." 

It is far more logical to make the 
ceiling a feature of distinct interest and, 
if need be, to concentrate interest there, 
keeping the walls, paneled or otherwise, 
comparatively plain to act as a foil to 
the furnishings and decorations that will 
necessarily be placed against them. If 
one seeks precedent for such marshaling 
of decoration, there is no lack of it, 
from the frequent practice of the 
Brothers Adam and their contempo- 
raries all the way back to the days of 
Queen Elizabeth. The same may be 
said of decorative practice in France and 
Italy, and many an Italian room of the 
Renaissance period had severely plain 
walls while the ceiling was resplendent 
with adornment. The use of plaster- 
work as a means of ceiling decoration 
does not necessarily involve a preten- 
tious scheme nor a large space. It is 
so adaptable and so flexible in its modes 
that it may be employed, in one form 
or another, equally well in a stately 
apartment and in the simplest of small 
rooms. 

Renaissance Decorations 

During the Renaissance period plaster 
decoration received a great impetus 
through the work of the Italian stuc- 
cotori who, inspired by many newly- 
found masterpieces wrought by the old 
Roman plaster artists, not only emu- 
lated in stucco-duro the beautiful low 
reliefs executed by their ancient pre- 
decessors, but also developed a sys- 
tem of bold modeling of large figures 
and vigorous details in high relief or 
in the round. They wrought and taught 
in France and jingland, as well as in 
Italy, and the seeds of their teaching 
fell on fertile soil. In France, as a re- 
sult, was developed the admirable tech- 
nique that produced the impressive 
plasterwork of the Louis XIV style and 
the intricate and often exceedingly deli- 
cate creations of the following reign. 

In England the development took an 
(Continued on page 64) 




\ \ 



A ceiling detail of "Solicitude," 
Penn House, Philadelphia 



r e o r u a T y , 



63 



REER'S 1919 

GARPEN BOOK 

m*m*m*m*m*mmmm~*mm*mm*mm^m*mH* 

Solve Your Gardening Problems 

by using Dreer's Garden Book for a ready refer- 
ence. It combines the experience and knowledge 
of eighty-one years. Both the amateur and pro- 
fessional gardener will find invaluable the expert 
advice on how to grow the best 

Vegetables and Flowers 

224 pages, with over a thousand photographic illustra- 
tions, describing and listing practically everything worth 
growing in the garden, truck patch or farm. 

Four Color Plates of Drecr's Specialties in 

I'cyctables and Flou-ers 
Mailed free if v<>i< mention this publication 

HENRY A. DREER 

714-716 Chestnut Street 
Philadelphia 





The Only Ruffled Gladiolus 
Offered in the World 




Gladiolus are fast becoming 
the most popular flowers, and 
if you are interested in them 
you cannot afford to be with- 
out a copy of our well illus- 
trated 52-page catalogue for 
1919, which is free for the 
asking. 

It contains a list of nearly 
300 varieties selected from 
thousands of our best seed- 
lings. All of our production 
and almost all of them ob-. 
tainable only from us. The 
catalogue contains the most 
complete cultural and storage 
directions on this flower ever 
published and is worth hav- 
ing for this reason if for no 
other. It .tells you how to 
grow "Giant Gladiolus," etc. 

May we send you a copy?. 

Address the originator of the 
Ruffled Gladiolus 

A. E. KUNDERD 

Box 2 
GOSHEN, IND., U. S. A. 




;urpees 
Seeds 




Burpee's Annual The Leading American Seed Catalog 

Burpee's Annual Is a rnmplrtp guide for th<> Flower and Vegetable Harden. It mntaltu an entire cliap- 
ill-lte VEGETYBLF ' Klti'lT* " !OPS and f; BEEX8 and SALADS, and last-but most deliclou* of 
Burpee's Annual will IK mailed to you free upon request. Write for your copy today, a post card will du. 

WATLEE BURPEE CO., Seed Growers. Philadelphia 



I 




There'* only one motto 

You need 
To auccc 



"BETTER". 

The other man's winning? 

Then you 

Muat do 

BETTER! 

In no other way than by repeat- 
ing this little poem by Cooke, 
could I illustrate so well what it 
is that has yearly made 

PETERSON ROSES 

Better and still better until now they are freely acknowledged 
by rosarians the world over the best that are anywhere 
produced. 

An inborn and ever-increasing love for the rose, combined 
with enthusiasm and hard work has produced a result which 
annually brings forth, entirely unsolicited, literally hundreds 
of such letters as follow : 



Cowanda, N. y., April 24, 1918. 

"Of all the rose growers from 
u-hom I have procured goods, am 
glad to advise that yours show the 
healthiest and sturdiest grou'th. 
and furnish the greatest number 
of Hooms." . 



I 123 H'yoming Are., Scranton. Pa. \ 

June 14, 1918. I 

"It may interest voii to know I 

1 that I ordered roses from fve dif- -- 

\ ferent concerns, and that your i 

i plants u-erc far superior to ov / t 
i reetn-ed" 

Harry Simffson. 



"A Little Book About Roses" 

sent on request, tells you the whole story 

GEORGE H. PETERSON 

Rose and Peony Specialist 
Box 3 Fair Lawn, N. J. 




Plasterwork in Modern Decoration 



(Continued from page 33) 



AL the taste expended in the bathroom 
is useless unless the water closet is 
quiet of operation. A noisy closet is an 
annoyance to you, an embarrassment 
to your guests. 

THE TRENTON POTTERIES CO. 




SILENT CLOSET 

incorporates special features to make its operation 
quiet and thorough. Its sanitary features over- 
come the danger of clogging and subsequent 
damage. No effort has been spared to make the 
Si-wel-clo and its component parts the very best. 

The Si-wel-clo is but one item of our complete line 
of all-clay plumbing fixtures. "Tepeco" Plumbing 
is china or porcelain, solid and substantial. Dirt 
does not readily cling to its glistening? white sur- 
face, nor will , that surface be worn away by 
scouring. A wise investment a beautiful one. 

Before you build or renovate send for our in- 
structive book, "Bathrooms of Character," P-8. 

The 

TRENTON 
POTTERIES 
COMPANY 



TRENTON 



NEW JERSEY 



vices of the utmost delicacy or for 
modeling large and bold figures; durable 
and resistant; and susceptible of great 
diversity of finish and texture ranging 
from a mirror-like polish to a creamy, 
granular chalk-like surface. It can be 
modeled, stamped, incised, and cast, and 
it may be colored and stencilled. 

It is a misapprehension to regard 
decorative plasterwork as applicable 
only to ceilings. It was once extensively 
used for the embellishment of wall sur- 
faces and the field for that sort of or- 
namentation is still just as. free and 
legitimate as it has ever been. The 
overmantel space, panels over doors or 
above windows, tympana above re- 
cessed doors and windows, lunettes over 
windows or at the ends of barrel- 
vaulted ceilings any wall space, in fact, 
that is limited and clearly defined and 
possessed of some emphasis of location 
that invites a measure of decoration 
are all eminently appropriate places for 
decorative plasterwork. In such places 
no one hesitates for a moment to hang 
plaster casts of della Robbia subjects 
and similar compositions, perhaps col- 
ored and gilt, as detached or detachable 
pieces of decoration, thus incidentally 
paying a tribute to decorative plaster- 
work without their being more than 
half conscious of doing so. It would 
be quite as fitting to fill those same 
places with plaster decoration, modeled 
in situ, or else to incorporate the 
plaques and panels of della Robbia and 
other reproductions, and model suitable 
plaster settings about them, keeping the 
whole composition in the white or add- 
ing color and gold, whichever might 
seem preferable. 

This incorporation of previously ex- 
ecuted plaster reliefs is mechanically a 
simple matter and ensures really fine 
plaster decoration of a certain type at 
a very low cost. Again the same spaces 
might be filled with conventionalized 
repeats, modeled and stamped in situ, 
or cast separately and then assembled 
and set. 

Mural Plasterwork 

For a more extended and ambitious 
use of mural plaster decoration, if one 
be so inclined, a frieze, the cornice, the 
cove above the cornice, or the whole 
wall space between the wainscot and 
the cornice, provide ample opportu- 
nity. In the last named instance the 
wall becomes essentially a decoration 
and must be given the decorative right 
of way, other features being kept away 
from it. 

So far as ceilings are concerned, to 
which for a long time past convention 
seems to have confined plaster adorn- 
ment, the possibilities are almost with- 
out limit. That so comparatively lit- 



tle serious attention has been paid in 
our day to plaster decoration as a ceil- 
ing resource is probably due to the 
perfunctory and unalluring character 
of the ceilings so embellished, by the 
square foot or the yard, in the middle 
of the last century. There, are plenty 
of them still intact to exert a baleful 
influence and prejudice popular taste 
against employing any similar means to 
create interest. It is not unnatural that 
people who know decorative plaster- 
work only in an unfavorable form 
should conclude that it is better to have 
no decoration than bad decoration. And 
yet, there is something illogical in hav- 
ing the walls replete with interest and 
then cut the interest short at the angle 
of wall and ceiling, leaving overhead a 
"broad, blank waste of white." 

It is far more logical to make the 
ceiling a feature of distinct interest and, 
if need be, to concentrate interest there, 
keeping the walls, paneled or otherwise, 
comparatively plain to act as a foil to 
the furnishings and decorations that will 
necessarily be placed against them. If 
one seeks precedent for such marshaling 
of decoration, there is no lack of it, 
from the frequent practice of the 
Brothers Adam and their contempo- 
raries all the way back to the days of 
Queen Elizabeth. The same may be 
said of decorative practice in France and 
Italy, and many an Italian room of the 
Renaissance period had severely plain 
walls while the ceiling was resplendent 
with adornment. The use of plaster- 
work as a means of ceiling decoration 
does not necessarily involve a preten- 
tious scheme nor a large space. It js 
so adaptable and so flexible in its modes 
that it may be emplo>ed, in one form 
or another, equally well in a stately 
apartment and in the simplest of small 
rooms. 

Renaissance Decorations 

During the Renaissance period plaster 
decoration received a great impetus 
through the work of the Italian stuc- 
cotori who, inspired by many newly- 
found masterpieces wrought by the old 
Roman plaster artists, not only emu- 
lated in stucco-duro the beautiful low 
reliefs executed by their ancient pre- 
decessors, but also developed a sys- 
tem of bold modeling of large figures 
and vigorous details in high relief or 
in the round. They wrought and taught 
in France and ngland, as well as in 
Italy, and the seeds of their teaching 
fell on fertile soil. In France, as a re- 
sult, was developed the admirable tech- 
nique that produced the impressive 
plasterwork of the Louis XIV style and 
the intricate and often exceedingly deli- 
cate creations of the following reign. 

In England the development took an 
(Continued on page 64) 




A ceiling detail oj "Solicitude," 
Penn House, Philadelphia 



r ear vary , 



REER'S 1919 

GARDEN BOOK 

^MMMNMMMHMM^MHMMHMMMM 

Solve Your Gardening Problems 

by using Dreer's Garden Book for a ready refer- 
ence. It combines the experience and knowledge 
of eighty-one years. Both the amateur and pro- 
fessional gardener will find invaluable the expert 
advice on how to grow the best 

Vegetables and Flowers 

224 pages, with over a thousand photographic illustra- 
tions, describing and listing practically everything worth 
growing in the garden, truck patch or farm. 

Four Color Plates of Drecr's Specialties in 

1' cm' tables and Floivcrs 
free if Vi' mention this publication 




HENRY A. DREER 

714-716 Chestnut Street 
Philadelphia 




The Only Ruffled Gladiolus 
Offered in the World 




Gladiolus are fast becoming 
the most popular flowers, and 
if you are interested in them 
you cannot afford to be with- 
out a copy of our well illus- 
trated 5 2 -page catalogue for 
1919, which is free for the 
asking. 

It contains a list of nearly 
300 varieties selected from 
thousands of our best seed- 
lings. All of our production 
and almost all of them ob-. 
tainable only from us. The 
catalogue contains the most 
complete cultural and storage 
directions on this flower ever 
published and is worth hav- 
ing for this reason if for no 
other. It tells you how to 
grow "Giant Gladiolus," etc. 

May we send you a copy?. 

Address the originator oj the 
Ruffled Gladiolus 

A. E. KUNDERD 

Box 2 
GOSHEN, IND., U. S. A. 




iurpees 
Seeds 




Rurpce's Annual 

L'li'i/A i / * k 




Burpee's Annual The Leading American Seed Catalog 

Buree's A 



Burpee's Annul l a 'omiilclp guide for thv Flower and VcmaMe rrten. II mnuliu an entlr.' cliap- 
''- 1 " < ' BOI>S " ul UR KKX8 ami SALADS, an.l iMt-but roo.t dvllciou, of 



. 
Burpee's Annual will be mailed to you free upon request. Write for your copy today, a post card will do. 

WATLEE BURPEE CO., Seed Growers. Philadelphia 




There's only one motto 

You need 
To succeed 

"BETTER". 



The other man's winning? 

Then you 

Must do 

BETTER! 

In no other way than by repeat- 
ing this little poem by Cooke. 
could I illustrate so well what it 
is that has yearly made 

PETERSON ROSES 

better and still better until now they are freely acknowledged 
by rosarians the world over the best that are anywhere 
produced. 

An inborn and ever-increasing love for the rose, combined 
with enthusiasm and hard work has produced a result which 
annually brings forth, entirely unsolicited, literally hundreds 
of such letters as follow : 






Gouunda, N. y., April 24, 1918. 

"Of all the rose growers from \ 

it-horn I hare procured goods, am = 

glad to advise that yours show the | 

healthiest and sturdiest growth, I 

and furnish the greatest number I 
of blooms." . 



i 123 H yarning Are., Scranton, Pa I 

June 14, 1918. | 

"ft may interest you to knoir I 

\ that I ordered roses from fve dif- I 

| ferent concerns, and that four I 

I plants were far superior to any 1 t 
i received." 

Harry Simp-son. 






Box 30 



"A Little Book About Roses" 

sent on request, tells you the whole storv 

GEORGE H. PETERSON 

Rose and Peony Specialist 



Fair Lawn, N. J. 



64 




The Seal of Worth 



attesting that the furniture which bears it 
is of Berkey & Gay manufacture. Like an 
artist's signature on his painting, it is. the 
maker's identification of his own handi- 
work and proof of its genuineness. 

But the user of this furniture requires no 
shop mark to signify its character, its worth 
or its charm; they become an inseparable 
part of the atmosphere of the home, to be 
handed down to generations which follow. 

Berkey & Gay furniture is an investment in 
more than the meFe chattels of a household. 
It has a cultural value which grows with 
years of association. 

When planning spring replenishment, householders 
will find helpful suggestions in "The Story of Span- 
Umbrian Furniture" and "The Style of Knoleworth," 
booklets which describe and illustrate two interesting 
Berkey & Gay styles. Send 25 cents for either booklet. 



FURNITURE COMPANY 

444 Monroe Ave., Grand Rapids, Mich. 

A new and comprehensive exhibit comprising, thousands of pieces 
of Berkey & Cay furniture may be seen a t our New York show- 
rooms 113-119 West 40th St., or at Grand Rapids. Visitors 
should be accompanied by, or have a letter of introduction from, 
their furnfaire dealer. 



iijiiiiiimiimiiii iiiiiimmiiiii nun i > miiiMmiimmiiiiimmiiimiiiujmiM 



SPENCER, POWERS & MARTIN 

ARCHITECTS, 5 N. LA SALLE STREET 
CHICAGO 

SPECIALIZING IN DOMESTIC ARCHITECTURE. ARE EQUIPPED: TO 
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ROBERT C. SPENCER, JR.. F.A.I.A. 
HORACE S. POWERS, A.I.A. 
EDWIN O. MARTIN 



Plasterwork in Modern Decoration 

{Continued from page 62) 

entirely different course and there grew whole system of details introduced by 
up a style, purely local and thoroughly the Brothers Adam the circles, lozenges, 
domestic in character, which nourished ovals, hexagons, octagons, paterae, fan 
throughout the Tudor period and the shapes, medallions and plaques with 
Stuart period up to the Restoration classic figures and the dainty arabesques 
and even after that date, was 'percepti- are familiar to all. 
bly felt for a long time. The English Before passing on, the reader should 
plaster workers were craftsmen rather be reminded that the Adam school em- 
than artists. The human figure and ployed relief decorations extensively on 
animal figures alike were too much for walls as well as on ceilings, and par- 
them Their human figures, however ticular attention should be called to the 
spirited, considered from the artist's effective use, made on walls, of slightly 

countersunk panels, or of panels formed 
on an uninterrupted surface with deli- 
cate foliage bands, containing a single 
medallion. Such decorations may very 

Nevertheless', humans, bird's and beasts easily be applied even to old walls that 
were intensely decorative. These same have a good surface. After the Adam 
plasterers displayed great ingenuity in school, plasterwork sank into a dreary 
levising a wide variety of vigorous and, state of coarseness and vulgarity. 



iJimiTml iliiimmmm llTmiim nun fin linn 



MI I nimmimi 



point of view not only lacked finesse 
>ut were cloddish and often merely 
.rotesque caricatures. Their animals 

were usually lumpy and pudding-like. 



at the same time, delicately modeled 
jystems of geometrical ribbing and 
strap work interlacings along with foli- 
ated and floral sprigs and repeats. All 
of their work, even with the crudities 
of human and animal forms, was in- 
tensely decorative and pleasing and 
wrought with a broad freedom and 
freshness. 



The Practical Side 

As to the purely practical application 
of decorative plasterwork for our own 
requirements, the following facts and 
suggestions are to be kept in mind. 
Plaster decorations are either modeled 
in situ or else they are modeled, or cast, 
in separate pieces and applied, being 



It is this type of plaster decoration stuck in place with plaster of Paris and 

that is peculiarly in keeping with pan- lime putty, the small connecting details 

eled oak rooms, and it is the reproduc- being modeled in situ. Large castings 

tions of this school, done in a coarse- with a wooden framework or a canvas 

textured creamy plaster, that have ma- backing are screwed to the joists, 
terially aided a re-awakening taste for 
plaster decoration. There is no good 



Many readers of HOUSE & GARDEN are 
doubtless able to model in clay. With 

reason why, holding to the same tech- a little practice they could easily learn 
nique, a great deal of interesting orig- to model separate pieces in plaster which 
inal work of the same sort should not 
be executed. Finicky exactitude and a 
sand papered perfection of plaster sur- 



a plasterer could then put in place. 
Have the plaster well seasoned, that is 
to say, the lime must be well slaked and 
face, however,' will spoil the whole ef- toughened^ worked up, chopped and 



feet. Incidentally, it will pay to con- beaten. For a rather coarse texture, 
sider barrel vaults, coves and other ceil- like the old work, do not have the sand 
ing shapes. One cannot afford to neglect riddled too fine and robbed of its grit, 
the ceiling of a room any more than one 
can the sky of a landscape. 



Wren, Gibbon and Adam 



It may also be well to stiffen the mix- 
ture with short white hair. 

Unless one is going to experiment 
with working in the old stucco duro, 

From the time of Sir Christopher which while extremely plastic and' slow 
Wren to the middle of the 18th Century, setting, becomes intensely hard and 
the dominant Palladian influence in strong with the addition of marble dust, 
architecture required a more regular and and admits of high relief and under- 
formal manner of ceiling decoration and cutting, it will be better to avoid any 
there came into fashion the stately and attempt at undercutting, high relief, or 
more heavily detailed sort of plaster- sharp brittle lines and stick, instead, to 
work that often appeared as a reflection mellow, soft modeling of fairly low re- 
of the Grinling Gibbon school of wood lief. Somewhat conventionalized de- 
carving fruits, flowers, foliage, birds, signs will probably prove the most suc- 



cherub heads and the other familiar 
motifs and, with its symmetrical dis- 
position of large panels, coves, and 
coffers, accorded with the robust and 



cessful and let them be bold and virile 
rather than over-refined. For modeling 
in situ or in detached work, dies may 
be made and used for impressing on the 



ordered scale of the period. These dec- pats of plaster such details as the vein- 
orations were often modeled or cast ing of leaves, the petals of rosettes and 
separately and then put up by sections, the like. 

many of the smaller connecting features Work done wholly by plasterers, from 
being modeled in situ. The same kind designs prepared by the architect or the 
of plaster decoration in bold relief with householder, will need close supervision 
festoons, drops, trophies, armorial bear- because the fault of the capable modern 
ings and figures often graced the upper plasterer, from the decorative point of 
portions of the walls also. 
With the ascendency of the Adam 

i style, after the middle of the century, like manner he was taught as a prentice. 

i an altogether new plaster technique, if Unless he is carefully watched, therefore, 
indeed it can properly be called plas- he will do too good a job, too smooth, 
ter, came to the fore. The exquisite low too slick and finished and, of course, 
reliefs and the profusion of attenuated monotonous. 
Pompeian details, which the Brothers 
Adam and their contemporaries and imi- 
tators habitually used, were executed 
with a composition of dead plaster or 
gypsum combined with a glutinous 



view, is that he insists upon doing his 
job in what he considers the workman- 



Architects are constantly 
finding the same trouble in other 
branches of work where texture is con- 
cerned. 

When the plaster decoration is not 
modeled in situ, but is formed of separ- 



compound and pressed while hot into ate parts and put in place piece by 
metal molds. Hence the sharp definition piece, the operation may be carried on 
of even the minutest lines and finest either when an entire surface is to be 
edges and the rather hard effect result- newly plastered or when an old surface, 
ing therefrom. This sort of decoration that is thoroughly sound, is to be em- 
ensured elegance, accuracy and a wealth bellished. When a whole surface is 
of fine detail that would have been dim- to be fresh plastered, the general out- 
cult to achieve in a different medium, line and places of embellishment may be 
such as the earlier plaster used in the scratched or marked on the gray or 
17th Century, but despite its great "brown" coat. They may then be 
beauty and delicacy, it conveyed a cer- stuck in place when the final "white 
tain metallic effect and lacked the sym- coat" is given. The surface to be 
pathetic warmth of the older work. The (Continued on page 66) 



February, 1919 



65 



This Day of Wedded Science and Art 



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The Architecture! Record is an artistic monthly magazine 
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66 



House & G ar d e 1 








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Plasterwork in Modern Decoration 



(Continued jrom page 64) 



worked on must be properly wet and 
sufficiently roughened or scored to give 
the plaster of the decoration a firm hold. 
Small separate items of modeled orna- 
ment, such as single sprigs, flowers, ro- 
settes, or the leaf banding for small 
Adam panels previously alluded to, may 
be applied to old plaster by chopping 
^way a corresponding portion of the 
surface, wetting it and roughening it, as 
before noted, to give a sure hold, and 
setting in place with lime putty and 
plaster. 

Using Gesso 

For low or moderate relief decora- 
tions to be applied to an old surface, 
gesso is an admirable medium and easily 
worked. Trace the outline of the deco- 
ration to be added, then scratch the 
ground well to make the gesso adhere, 
stop absorption by a thin coat of shel- 
lac or a couple of coats of thin glue 
over the roughened surface, and then 
apply the gesso, either by modeling it, 
in a thick consistency, or by painting 
it on with a brush, keeping the mixture 
about the consistency of thick cream. 



Gesso applied in this way has been 
aptly termed "relief painting." If a 
continuous surface, such as a lunette 
or a chimney-piece decoration is to be 
done in gesso, glue thin canvas on scrim 
over the old plaster and apply the 
gesso. This method commends itself 
especially also for small decorations to 
be executed in conjunction with panels 
made by applied wooden moldings 
Tempera colors are the best to use for 
polychroming either gesso or other plas- 
ter decorations. Admirable results may 
be gained by using color either partially 
or fully. In applying decoration to old 
surfaces, the use of color becomes al- 
most a necessity to cover up the traces 
of recent addition. 

If the reader is minded to essay any 
plaster modeling for his or her own 
satisfaction, it would be well to make 
friends with a good local plasterer 
(who probably won't prove very en- 
couraging) and profit by his hints. It 
will also be advisable to get the plasterer 
to prepare the plaster, as well as to put 
the finished results in place, as this is 
work in which experience counts. 



The Small House for the Multi-Rich 



(Continued jrom page 12) 



the smallest poor "souvenir of Viterbo." 
Plenty of light, air and out-door feel- 
ing would be given by three great 
French windows opening directly onto 
the view terrace, avoiding the need of 
a separate sun room. 

The Dining Room 

Sense of sociability would be found 
in the small octagonal dining room, com- 
pelling that conviviality so lacking in 
the long state dining room of old. Fare- 
well ! chilling expanses of white, crowded 
with much silver, hills of candy, shaded 
lamp-posts and landscape gardens in 
curving cut-glass beds ; distances and 
barriers that made all general repartee 
out of the question and forced lines- 
capable tete-a-tetes. 

Good-bye to the rows of uncomfort- 
able thickly carved high-backed chairs, 
with host and hostess marooned at far 
ends in throned grandeur! Farewell 
pompous bulging sideboards, thick 
crummy rugs and layers of stuffy hang- 
ings! Au revoir to the tedious ten- 
course dinners hurriedly served and 
wantonly wasteful. Instead, hail little 
round painted table bringing a few chos- 
en friends close together; almost bare 
save for one low Venetian glass bowl of 
fruit in the center, a bright-colored pivot 
to cross conversation. Hail unbroken 
circle of small low-backed comfortable 
chairs, with host and hostess informally 
seated among their friends with no 
marked separation! Welcome small 
practical consoles for serving bare tile 
floors and plain paneled walls nothing 
to distract from the central interest, the 
diners! Welcome the simple four-course 
meal, slowly and quietly served by one 
neat and competent servant ! 

The Study and Bedrooms 

The wish for the intime would be 
satisfied in the small study or "cabinet 
de travail," as the French would call it. 
Here the walls would be lined with 
books to the ceiling, with secret cup- 
boards between and below for various 
practical uses. A room to work in, un- 
disturbed, apart from the household; 
rarely, if ever, to be invaded by friends. 



Upstairs there would be only three 
bedrooms, but each one large, and well 
aired by huge French windows, opening 
out onto iron balconies. The ceilings 
would be high, the walls treated with 
big simple panels, giving a sense of rest- 
fulness and well-being. Connecting with 
each, would be an unusually large dress- 
ing and bathroom, with all the latest 
appointments. An extra dressing room 
would be so arranged that it could be 
conveniently used as bedroom for gov- 
erness or nurse, if so desired. 

No attic would be provided for stor- 
age of unused and unusable what-nots. 
Poor things would be destroyed and 
good things given away. Trunks would 
be stored in a special dry room in the 
basement. There would be an air-space 
only above the bedrooms for coolness 
in summer and warmth in winter. 

The Service Wings 

In one low wing would be the service. 
An up-to-date kitchen with white tile 
walls and plenty of cross-ventilation. A 
comfortable servants' sitting and dining 
room, with fireplace and other attrac- 
tions. Three servants' bedrooms and 
bath, conveniently adjacent yet suffi- 
ciently separate. 

In the other wing would be the garage 
for two cars only (all the others be- 
ing sold to help pay the new taxes). 
Also a chauffeur's room and bath, and 
a room for garden tools and equipment. 

If such a house' is too small for the 
needs of a large and hospitable family, 
let there be a second small house for 
the children on one side, and a third 
house for guests on the other, closely 
connected to the owner's house in the 
middle by short brick paths through the 
garden. When the children are grown 
and guests become fewer one side 
house could be used by a married son 
or daughter, and the other rented to 
congenial friends. 

Three such small houses would be 
much easier to rent or sell than one 
great whale of a mansion ; and, what 
is more to the point, would make life 
much more flexible and free. 

Well, rather! 




February, 



67 



REEMAKI 

afcatlWGARDEN TRACTOR*. ^ 



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POCONO HILLS MODEL 





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Phone 68 



Bernard Palissy His Wisdom and His Wares 



(Continued front page 19) 



pected to see such a treasure acquired. 
Strangely enough, it had been discov- 
ered, not just bought, discovered in 
London, and, unromantically enough, 
though exultingly, in a shop whose 
keeper ought to have known what it 
was, who ought to have known enough 
not to have let it go for the mere pit- 
tance of but that is Cleon's secret ! 

My own flaire for collecting has often 
fed my pride, but it is tempered with a 
happy contentment for an interest in the 
things I cannot have, may never hope 
to have ! I cannot, perhaps, describe to 
you the delight I experienced in coming 
upon that sauciere at Cleon's, the joy I 
felt in being permitted to take my time 
in gloating over it untimed by a museum 
curator, whose official anxiety must of 
necessity ever play false to his kindly 
attempt to conceal it. When I came 
home I looked over all my photographs 
of Palissy Ware, and took down from 
its shelf in my library a volume in 
French of the Works of Master Bernard, 
a volume of the date of 1636, followed 
by one of 1777 and one of 1844. Mas- 
ter Bernard was not only a notable pot- 
ter, but as both Lamartine and Anatole 
France observed, he holds a high posi- 
tion among French writers in the field 
of natural philosophy, agriculture and 
religion. 

A Record of Struggle 

Master Bernard's early life is wrapped 
in mystery. We do know that he was 
a worker in stained-glass a craft which 
bore the aristocratic distinction in his 
time of its being followed by the needy 
gentry, that he traveled afar in his 
youth, and that he returned to his own 
country and settled in Saintes about 
1542, a married man, adding portrait 
painting and land surveying to his vo- 
cations. 

I imagine that Master Palissy, Ma- 
dame and the little Palissys there were 
little Palissys got on very comfortably 
for a time. Had not the Council of 
King Francis I. decided to impose a 
salt tax on the Saintonije, and had not 
Master Bernard been commissioned to 
make the surveys of the salt marshes ^n 
the neighborhood of Saintes? 

However, there came a day when 
Palissy tells us this himself he was 
shown an earthen cup turned and en- 
ameled so beautifully that from that 
moment he entered into dispute with 
himself, remembering many things that 
people had told him, making mock of 
him when he was painting pictures. 
Now, seeing that these things were no 
longer much wanted in the part of the 
country where he dwelt, he began to 
think that if he found out the invention 
of making enamel he could make ves- 
sels of clay and other things of comely 
favor, as God had granted him to 
understand somewhat of portraiture. 
Without caring that he knew nothing 
concerning argillacious earths, he set 
himself to search out enamels like a man 
who gropes in the darkness. These are 
his words. 

How the imagination wreathes around 
that mysterious cup which inspired 
Master Bernard. What was it, maiolica 
of Italy or of Spain, or was it an en- 
ameled cup of southern France? None 
of these things, I think. I cannot im- 
agine it could have been anything short 
of some such treasure as a porcelain cup 
fetched from China by some Marco 
Polo I 

At any rate, Master Bernard set 
about the business diligently and per- 
sistently. Once he had made up his 
mind to a thing there was no changing 
him, so long as the thing he had set his 
mind to appeared to him better, more 
wise or more righteous than that which 
would take its place. He became as 
persistent a potter as he had been, (and 
as he was!), persistent a protestant. 



Lucky it was for him that the Constable 
de Montmorency, who was sent by the 
King to quell an uprising in Saintes, 
chanced to come across Master Bernard 
and to take up with his ingenious com- 
positions. 

Before this day, however, Master 
Bernard had slaved away at his experi- 
ments, neglecting his work, meeting dis- 
appointments and reverses, until finally 
there was not even a crust left in the 
house. His invention of a white enamel 
was only a step out of the darkness. 
This is his own story: "Upon the dis- 
covery of the white enamel, another 
misfortune befell me, causing me great 
annoyance; which was that running 
short of wood I was obliged to burn 
the palings which maintained the boun- 
daries of my garden, the which after 
being burnt I had to burn the tables 
and the floorings of my house in wder 
to cause the melting of the second .om- 
position. I was in such agony as I can- 
not express, for I was utterly exhausted 
and withered up with my work and the 
heat of the furnace ; during more than ,1 
month my shirt had never been dry 
upon me; even those who ought to have 
helped me ran crying through the town 
that I was burning the planks of the 
floors, so that I was made to lose my 
credit, and was thought to be mad. 
Others said that I was trying to coin 
false money, and I went about crouch- 
ing to the earth like one ashamed." I 
think that what Madame Palissy did 
not say places her in the hierarchy of 
our marveling esteem ! Howbeit I 
write of a hero and not of heroines. 

Ah, little blue book with the gilt 
morning-glories, the analine frontis- 
piece! Brave, unflinching Master Ber- 
nard; brave, suffering madame! 

Recognition Comes 

Probably by that time Palissy's wife's 
mother had left them and had taken the 
children with her for a summer. How- 
beit, the day arrived when Master Ber- 
nard pulled a perfect plate from the 
kiln. He had succeeded. The Saintonge 
had known he would of course, after- 
wards! But Master Bernard was de- 
cent about it. When the Montmorency 
arrived Palissy was already entering 
upon a profitable livelihood. Though 
his Huguenotism might have made life 
precarious, the protection extended by 
the Constable made all go well for a 
while. Palissy was called upon to un- 
dertake the decoration of the Chateau 
d'Ecoun in his faience. Soon his fame 
spread to Paris and he was fetched 
thither and made "Inventor of Rustic 
Figulines to the King and the Queen- 
Mother" with workshops in what is now 
part of the gardens of the Tuilleries. 
The nobility patronized him. He be- 
came a favorite of the Queen-Mother, 
Catherine di Medici, and was saved 
from the Massacre of St. Bartholomew's 
Eve. He discoursed to the learned on 
topics in Natural Philosophy and was 
respectfully listened to at a crown a 
head, a large lecture entrance fee for 
those days. 

Palissy in Prison 

Although Master Bernard had es- 
caped with his life, his property had 
been destroyed in 1S62, and now, twen- 
ty-six years later, he found himself at 
seventy-eight again in peril. This time 
the King, Henry III., declared he could 
do nothing for him unless he would 
recant the heresy of his Huguenot faith. 
Palissy indignantly scorned the ignoble 
terms of release and remained in the 
Bastille, whither he had been led a pris- 
oner to the great satisfaction of the 
ecclesiastical court. Probably kings had 
ceased to become interested in gray- 
haired potters and their expenses. At 
any rate, Master Bernard was con- 
(Conlinued on page 70) 



February, 




You'll Want Flowers 

When The Boys 

Come Home 

You'll want the garden to speak its "welcome 
home" with brilliant blooms; from every corner in 
the house bright flowers should smile their greet- 
ing. Gladioli are superb for decorations, retaining 
tiK'ir freshness for days, and every bloom opt-nint; 
to full beauty. My special collections will supply 
a choice assortment of varieties and 
colors. 

Special Offer No. 1 
42 Bulbs for $1, postpaid 
6 America, lavender-pink 
Baron Hulot, violet-blue 
Brenchleyensis, scarlet 
Empress of India, purplish-red 
Halley, salmon-pink 
Independence, orange- scarlet 
Mrs. F. King, salmon-pink 

Special Offer No. 2 
20 Bulbs for $1, postpaid 

2 Mrs. F. Pendleton 

2 Panama, pale pink 

2 Apollo, carmine 

2 Chicago Whit.- 

2 Faust, crimsun 

2 Hollandia, pink 

2 Niagara, cream-yellow 

2 Glory of Holland, white 

2 Willy Wigman, white 

2 Pink Progression 

All Bulbs true to color, securely packed and 
sent postpaid. 

/ hare a plan whereby you can get twenty- 
fire bulbs for almost nothing. Ask me. 

^^*" My "Glad" Catalogue tries to convey to you 
some of the surprises in store for those who 
plant my Gladioli. Cultural directions furnished 
will help you to be successful with the bulbs. 
Send for the catalogue; or better still, order 
the collections for immediate or future delivery. 

Jelle Roos, BOXT, Milton, Mass. 




in 70 Varieties 

and Many Sizes 



EVERGREENS 

These include the four ironclad natives : 

Concolor Fir Hemlock 

Douglas Fir White Pine 

If you wish the best hedges, use Hemlock; the best windbreak, 
Douglas Fir. White Pine, easily grown in poor soil, becomes 
a stately monarch while you watch it mature. All may be 
used with good effect as specimen trees. Rosedale Evergreens 
can be safqfe' transported in large sizes. 

E. H. Wilson, an authority on cone-bearing trees, says : "Either 
as a lawn tree, or for avenues, or for 
massing, the Douglas Fir is equally valuable 
and needs no commendation." 

Downing says of the Hemlock, "In almost all cases. 
it is extremely ornamental." The White Pine. 
he says, is undoubtedly the most beautiful North 
American tree of the genus Pinus 24 species. It 
is beautiful in everjr stage of its growth from a 
seedling to a towering tree. 

Dozens of other varieties are useful in certain 
places, including Arborvitaes, Cedars, Retinisporas 
Spruces and Ewes. 

Broad - Leaved Evergreens 

Broad-leaved Evergreens are well-nigh indis- 
pensable in many locations. Some of the 
most popular are: 

Andromeda Floribunda 
Leucothoe Catesbaei 
Mahonia Aquifolium 
Mountain Laurel 
Rhododendron 

Both narrow and broad-leaved Evergreens 
are fully described in the Rosedale Catalog. 
Also Roses, Fruit. Perennials and Deciduous 
Trees and Shrubs. Get our prices before 
ordering. Write today. 



Rosedale Nurseries, 5 

Box H Tarrytown, N. Y. 




Farr's Hardy Plant 

Specialties 

(SIXTH I l>ll ION, ISStX OF 1918) 

The most complete and 

helpful book of hardy 
garden PERENNI- 
ALS, SHRUBS and 

Tkl.l-.s that I have ever 

issued. 

Specialties for 
Early Spring Planting 

?B New French Lilacs, Philadelphus 
IP* and Deutzias 
a complete collection of Lemoine's new cre- 
ations. 

New Japanese and Asiatic Shrubs 

new cotoneasters, enkianthus. 
berberis, flowering cherries, f or- 
ylopsis, etc., for the border and 
rock garden. 

Dwarf Evergreens 

rare specimens for formal gar- 
dens, lawn groups and rock gar- 




den plantings. 



Peonies 

the most complete collection of 
herbaceous and tree peonies in 
the world. 

Irises 

many novelties of my own rais- 
ing (awarded the Panama-Paci- 
fic Gold Medal). 



Perennials, Phloxes, Asters, Delphiniums, Chrysanthemums, etc., etc. 
This book containing 112 pages of text, 30 full page illustrations (13 
colored plates) is already in the hands of most well informed gar- 
deners, but if you have not received it, or it has been mislaid, a copy 
will be sent to you promptly on request. 

Bertrand H. Fair, Wyomissing Nurseries Co. 

106 Garfleld Avenue, Wyomissing, Penna. 



BobbinkAtkin 

HARDY ROSE BUSHES 

are supreme for their fragrance, beauty and vigor 
your panted would be lacking lu sentiment and 
color without some. 

For the bet selection OBDEE NOW. 

TREES A SHRUBS 

OLD-FASHION FLOWERS 

RHODODENDRONS A EVERGREENS 

in their completeness growing st our 500-acre 

Xunerr. Come and we then. 

Send jrour name for our Catalog. 

Ready In February. 
RUTHERFORD. NEW JERSEY. 





70 



House & Garden 




You will not tire your eyes 
when reading, writing or sew- 
ing if Emeralite, Jr., is at your 
side. 

This artistic electric lamp has the 
famous Emeralite useful green shade. 
Adjusts to any angle. Emeralite is 
the cheapest form of "eye-insurance" 
you can buy. Harmonizes with ex- 
quisite furnishings. Complete, $6. 
Start now to save your 
eyes. Write us to-day 
for booklet, "Be Kind to Your 
Eyes," or get Emeralite, Jr., at 
dealers nationally. 

H. G. McFADDIN & CO. 

30 Warren Street, N. Y. 

Makers of Lighting Devices tince 1874 




Established 1851 

A.KIMBEL&SON 

Incorporated 

Interior 
Decorations 

Reproductions 
Tapestries 
Petit Points 
Hangings 
Antiques 

12 West 40th Street, NEW YORK 

Paris: 16 Rue D'Artols 



E DACE'S 



GLUE 



A HOUSEHOLD NECESSITY 



In Your Garden 

Consider how much more 
charm and attraction your 
garden would have if you 
were to add only a simple 
Btouevase, bench. or sun-dial. 

We have the largest col- f, 
lection of models for garden r 
ornaments and can fill every 
requirement. Illustrated cat- 
alogue gent on request. 

The Erkins Studios 

TJif, Larfjext Manufacturers 
of Ornamental Stone 

226 Lexington Avenue 
New York 




Bernard Palissy His Wisdom and His Wares 



(Continued from page 68) 



demned to death. Before the fragile 
clay that God had modeled in the cup 
of his life had a chance to be dashed to 
earth by hideous bigotry, his soul was 
liberated from his worn-out body, and 
the headsman's block was cheated of 
the grace of being Master Bernard's last 
pillow on earth. May Heaven rest his 
soul! 

I shall never forget, Little Blue 
Book, how Miss Solander shed a tear 



over those last pages, how my own eyes 
were not dry. Somehow I think every- 
thing must have its story, and when I 
am in Cleon's house or in my own, 
looking at this thing or at that with the 
love a collector holds for the things of 
yesterday, I am not content with the 
thing alone, but my thoughts seek out 
the memory of its story ; at least it was 
so with that inimitable sauciere of Mas- 
ter Bernard of blessed memory! 



Questions Which Have Been Answered 

Hv our Information Service. We always stand ready 
to help you with your own house and garden problems. 



Inquiry Could you help me to get 
rid of the moles, which are becoming so 
numerous that they eat the bulbs in my 
garden and spoil the turf near the house ? 

Are they useful as insect destroyers, 
or should they be exterminated? 

Answer The mole problem is one of 
the most troublesome with which lawn 
owners have to contend. In spite of in- 
numerable experiments which have been 
made to find a real solution, I believe 
that about the only way to attain 
worth-while success its to carry on a per-^ 
sistent warfare against the pests by 
means of the standard traps which are 
sold in any hardware store. In addition 
to this (if your place is of any size you 
should have at least half a dozen traps, 
and keep them all working all the time), 
some of the moles can usually be caught 
by digging them out as they work at 
extending their surface burrows. 

If you happen to have a good, keen 
terrier, such as a Scottie, fox or Irish, 
very likely he will pick up the trick of 
mole hunting. Of course, he will disfig- 
ure the lawn to some extent by his dig- 
ging, but that will be worth it if he 
gets the moles. I have known several 
dogs which became very proficient at 
this work, rarely missing their quarry 
and never making a hole more than a 
few inches in cflameter. 

Lacking such a dog, a person with 
persistency, a light step and a handy 
spade, can destroy a good many moles 
in the course of a summer simply by ad- 
vancing quietly to where they are at 
work (easily discernible by a slight 
movement of the soil surface as the 
mole heaves it up in his advance into 
fresh ground), stamping down the bur- 
row immediately behind the mole to 
prevent a retreat, and unearthing him 
with a quick stroke of the spade. Once 
above ground, the mole will move so 
slowly that it will be an easy matter to 
dispose of him. 

To the best of my knowledge, moles 
have no economic value or at least, the 
damage they do far exceeds the benefit. 

In conclusion, may I suggest that the 
extermination of moles, once they have 
become well established, is a long and 
tedious process that calls for unending 
watchfulness and patience. It can be 
done, however, although any slackening 
of vigilance will almost surely be fol- 
lowed in a short time by a reappearance 
of the pests from neighboring places. 

Inquiry We have a very pretty front 
and back lawn. A year ago I sowed 
about two quarts of white clover on 
top of the grass, as I am very fond of a 
clover lawn. This year I have quite a 
little new clover, but I also have no end 
of weeds. There are plantains, ground 
gill and, what is my greatest problem, a 



weed which is spreading very rapidly 
and bids fair to kill both grass and 
clover unless I do something and do it 
quickly. 

This weed resembles chickweed in that 
it is not very deeply rooted, but it is 
very fine and so close that when you 
walk over a patch of it, it is like walk- 
ing on moss or velvet, it is so soft. I 
had thought of weeding these patches 
out and sowing in grass seed. I do not 
like to ruin the appearance especially of 
the greenness of the front lawn. 

There is a patch in the front lawn 
which I should judge is about 2' by 3', 
and you can readily see what I am up 
against if I weed this out, as there is 
nothing left but the weed on this patch. 

I realize that the ground gill and 
plantains are bad, but I could handle 
them as I cannot this other. It has sim- 
ply sprung up all over the yard with- 
out warning, and seems to gain on me 
even overnight. What would you ad- 
vise me to do, or is there anything I 
can use which will kill this pest and 
still not injure the grass or clover or 
keep them from growing in on these 
patches again? 

Answer Careful consideration of your 
letter forces me to the conclusion that 
the only real solution of your weed 
problem is to remove the interlopers, 
roots and all. Any preparation that 
would exterminate them would also de- 
stroy the clover as well as the grass, be- 
sides running the risk of making the 
soil chemically unfit for future growing. 

Of course, such a procedure as I ad- 
vise necessitates an ensuing period of 
bare spots where the weed patches were 
uprooted, but if these are seeded down 
at once (or sodded, if you can secure 
clover sod of the right quality), they 
will soon look presentable again. 

It is simply a case of the lesser of two 
evils; if the weeds are not kept down 
now they will seed themselves and come 
up thicker than ever next year. On the 
other hand, if you sacrifice present ap- 
pearance for the sake of future effect, 
you will be almost certain to win out. 

There is no need for discouragement, 
since your clover, when once well estab- 
lished, will probably hold its own 
against all comers. Fight the weeds 
hard this year, seed down all resultant 
bare patches, and next summer should 
see a greatly improved lawn. 

As a matter of fact, every well-kept 
lawn should be weeded as thoroughly, 
and as frequently as the vegetable gar- 
den. Weeds seem to have an uncanny 
power of taking root where least ex- 
pected. Sometimes they can be traced 
to the stable manure which is often used 
for mulching, and for this reason many 
experts advise the use of liquid manure 
whenever it is necessary to enrich the 
soil. 




OUTSIDE SHUTTERS 

BECOME FUEL SAVERS 

Oi'cninR and closing outside shutters from with- 
in your room will he found a great fuel econo- 
mizer this winter as well as convenience. The 

MALLORY SHUTTER WORKER ST-KB. 1 "- 



not only saves opening 
stormy nights, but 
makes it easy to keep 
blinds closed; and closed 
blinds create an air . 
space between blind 
and sash that helps 
exclude cold and re- 
tain heat. Easily put 
on any old or new 
dwelling. Drop us a 
postal at once for full 
information. 

Mallory Manufacturing Co. 

255 Main Slreel 
Flfminglon, N. J. 



windows on cold, 



Simply tarn the handle^ 
to adjust shutters- 
automaticaHy locked^ 
in any position, 



Works of Art in Metals 

Uniqup and useful thinns of brass, copper and 
bronze wrought and beaten into artistic de- 
signs by the hand of Russian peasants. Also 
linens and embroideries of a high grade of 
workmanship. Call or write. 
Russian Art Studio Rustlan Antique Shop 

18 East 45th St., I East 28th St.. 

New York New York 



SEWAGE DISPOSAL 

An Efficient System which You 
can Install Yourself. For Home, 
Factory and Institution. 
Atrn Sewage Disposal System 

Designed by an expert to elim- 
inate the cesspool. Thorough 
in construction, absolutely 
odorless, self -operating, per- 
manent and in expensive, 
Costs nothing to operate. Our 
pamphlet No. 7 
tells how it works. 





ATEN 

Sewage Disposal Co. 

286 Firth Ave., New York City 




VERONA 
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Now is the time to give- the bird* 
a few log houses, just sm-li as 
they Hud in the natural forest. 
Three room Wren, house (illustra- 
tion) $3.50 f. o. b. Venma. Mail 
weight 10 Iba. List on request. 

W. H. BAYLES. Verona, N. J. 




Dorit Waste It! 



The chief cause of wasted fuel comes from 
alternately overheating and underheating the 
house. This can be entirely overcome by the 
installation of 

The "Minneapolis" Heal Regulator 

Will keep the rooms exactly at 68 degrees 
during the day and 60 degrees or lower dur- 
ing the night. 
Consult your Heating Man or write MS for 

particulars. 

MINNEAPOLIS HEAT REGULATOR CO. 
2790 Fourth Ave. So., Minneapolis, Minn. 



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House & Garden 



CONDE NAST, Publisher 

RICHARDSON WRIGHT. Editor 



INTERIOR 



DECORATIONS 



I N 



APRIL 



THERE are three things we have been 
trying to create and maintain in HOUSE 
& GARDEN. The first is an atmosphere 
of good taste which is livable. The second is 
the practical suggestion on how this can be 
gotten. The third is to arrange this material 
in such a manner that every time a page is 
turned you find something different. In other 
words, the reader's interest is maintained from 
start to finish from frontispiece to Gardener's 
Calendar. The pages do not lose in interest 
as they approach the back of the magazine. 

Take this April issue, for example. It is 
about Interior Decoration. A mighty big sub- 
ject, but we've managed to assemble many of 
the numberless interests that it creates. If you 
want to know what the current and most up- 
to-date tendency in decoration is, an article 
gives you a resume of the work being done. 
Another article discusses painted shades a re- 
vival of a quaint custom and another takes 
up the use of Portuguese prints for wall decora- 
tions. The amateur decorator has a whole 
page of don'ts, a description of how to treat a 
stairs landing, a page of nursery furniture and 
one of upholstery fabrics, papers for the hall 




Tin' painted shade and the shade of 

decorative glazed chintz, now much 

in vogue, will be described in the 

April Interior Decorating Number 



and a little layout of suitable bedside lamps. 

In this issue is continued the series on three- 
year decoration for young married couples. 
The dining room is created by Mrs. Gerrit 
Smith. Gardner Teall writes on Intarsia ai..l. 
of course, there is the Little Portfolio. 

With April also comes the awakened gar- 
dening interest. The Greek garden of Samuel 
Untermyer perhaps the most remarkable 
garden of its kind in America is shown here. 
There is an article on planning the grounds of 
a small place and one on starting the vegetable 
garden. As a fill up come directions for mak- 
ing a suburban rose garden and pictures of a 
small flower garden which was created in a 
single year. 

The prospective house builder will find in- 
spiration .in the Italian house that spreads 
across two pages and the English home by 
Lewis Colt Albro. How to make a stone 
fireplace is another topic. 

There are others, but these few suffice to 
show the diversity of inspirational and prac- 
tical material in this April issue. The pages 
flick and flash with live interest like figures on 
a movie screen. It is an issue not to miss. 



Contents for March 1919. Volume XXXV, No. Three 



COVER DESIGN BY L. V. CARROLL 

THE SUNLIGHT MAKES IT So 18 

Charles I. Berg, Architect 

(5k LOOKING UP FROM A GARDEN 19 

^Richardson Wright 
WHEN TO USE A CHINA CABINET 21 

MAKING THE ATTIC LIVABLE 22 

Mary H. Northend 

A MUSEUM THAT EARNS ITS KEEP 24 

HEARTHSIDE 24 

Archie Austin Coates 

WHITE AS A COLOR FOR HOUSES 25 

Aymar Embury II, Architect 

CAPO Di MONTE PORCELAINS 26 

Gardner Teall 

A REMODELED HOME OF THE PAST 28 

Jack Manley Rose 

THE TRUE WILD GARDEN 30 

Robert S. Lemmon 
A PATIO GARDEN IN BOSION . 32 

THE THIRD YEAR LIVING ROOM 34 

Agnes Foster Wright 

RUGS AND CARPETS.... 37 



THE HUMORISTS AND LANDSCAPISTS OF JAPANESE PAINTING 38 

W. G. Blaikie Murdoch 
CANE AND BUSH FRUITS FOR THE GARDEN 40 

G'. T. Huntington 
STARTING THE GARDEN . 41 

William C. McCollom 
PLANNING A SUCCESSFUL GARDEN SHOW 42 

Olive Hyde Foster 

A LITTLE PORTFOLIO OF GOOD INTERIORS 43 

THE BEDROOM FOR MIDDLE AGE 45 

Ethel Davis Seal 
THE KITCHEN CABINET "THE MIXING CENTER" 47 

Eva Nagel Wolj 
HERALDRY AS A DECORATIVE ACCESSORY 4g 

H. K. Pike 

THE BIG TWELVE IN GARDEN TOOLS 40 

THE RAINBOW GARDEN BORDER SO 

Frances E. Rehfeld 

HOUSE & GARDEN'S GARDENING GUIDE FOR 1010 52 

FLOWERS FOR EVERY PLACE 53 

VEGETABLES FOR A CONTINUOUS SUPPLY 54 

THE PESTS AS THEY APPEAR 55 

THE GARDENER'S CALENDAR $6 



Copyright, 1919, by Condi Natt & Co., Inc. 
Title HOUSE Sr GARDEN registered in V. S. Patent Officr 

PUBLISHED MONTHLY BY CONDE NAST & CO., INC.. 19 WEST FORTY-FOURTH STREET. NEW YORK. CONDK XAST. PRESIDENT: 
W. E. BECKEBLE TREASURER F.UROPEAN OFFICES: ROLLS HOUSE. IIREAMS HI.1K! . LONDON. F. C. : IMI1I.IITE ORTIZ, t RUE 
EDWARD VII P\RIS SUKSCRIITION: $3.00 A YEAR IN THE UNITED -STATES. COLOX1K8 AND MEXICO: J3.50 IN CANADA: H.OO IN 
FOISKKJN COUNTRIES SINGLE COPIES. 35 CENTS. ENTERED AS SECOND CLASS MATTEE AT THE I-OST OFFICE AT NEW MIKK CITY 



House & Garden 




Gillies 



THE SUNLIGHT MAKES IT SO 



You can't blame men for worshipping the sun. Such a 
human old god he isl He moves across the paved terrace 
and warms the slates. He lifts up the heads of geraniums 
standing primly in a row beneath the window. His fingers 
feel out the crannies of the rough wall and emblazon the 
window panes. At his call casements fling open, and men 
and women and little children come out to sit at breakfast 



in the sun-washed alcove that overlooks the garden Aow 
you can, if you see nothing more in it, call this the rear 
terrace of 'Mr. George Marshall Allen's house at Convent 
N J And you can say that Charles I. Berg, who designed 
it, has created a fine bit of architecture, that the texture of 
the wall is extraordinary, etc., etc. But it's more than 
just architecture and the sunlight makes it so 



March, 1919 



19 




ON LOOKING UP FROM A GARDEN 

A Discourse That Attempts to Show That Gardens Are Even More 
Than Brown Earth and Blossoms 



EVERY year just about this time some 
poet or essayist or other writer-person 
delivers himself of an ecstasy on Spring 
Spring as a sort of glorified fairy in diapha- 
nous wraps who comes tip-toeing down the 
land to touch the flowers and trees and make 
them leap into blossom. 

Very pretty picture! 

But the gardener, who really knows and 
loves flowers and trees and all the green, grow- 
ing things, has quite a different conception of 
spring. Nothing diaphanous, nothing fairy- 
like; in fact, to him spring isn't a person at 
all, it is a movement a mighty urging up- 
ward. It isn't coaxed from above, but moved 
from below. The growing things break up- 
ward through the crust of chill earth the way 
a man gets out of bed on a cold morning 
gradually, reluctantly, cover by cover, a toe 
at a time, not because someone has waked him, 
but because he has accumulated the necessary 
refreshment of sleep and is ready to go forth 
and do the day's work. Having stored energy 
through a winter's 
sleep, the growing 
things rise up to go 
about their work. And 
they urge upward and 
outward until that 
work is finished, when 
winter brings them rest 
again. 

Until a man appre- 
ciates tin's upward urge 
he can never gather the 
full fruit of enjoyment 
that a garden yields. 
For a garden is not 
merely a place to look 
at; it is a place to look 
from. And the way to 
look from a garden is 
to look up. More a 
garden is not alone a 
place to work in; it is 
a place to work from. 
And the way to work 
from a garden is to 
work up. 

These are hard say- 
ings, so we shall ex- 
plain them. 

/ T V HERE is magic 
J. about soil that is 
cleansing. The mere 
dust of loam on the 
hands, the very breath- 
ing of its aroma seems 
to clear away the false 
values of life we ac- 



RICHARDSON WRIGHT 

quire in the everyday business of living. Per- 
haps this is because the earth is so much a 
part of us and we of it we come from the 
earth and to the earth we eventually return. 
Touching it is like going back to the little old 
home- where life is simple and kindly. It 
cleanses us of our popin-jay egotism, rids us 
of futile materialism, acts as a sort of spiritual 
cathartic. 

It is ludicrous to be cynical in. the presence 
of a lusty oak breaking into leaf. It is futile 
to be decadent with loam on your hands. And 
imagine pretending to be fashionable or ele- 
gant or superbly intellectual or absurdly radi- 
cal as you guide a plow! These things simply 
won't work. They don't belong. The realm 
of Nature is a different world, where such 
affairs are of no consequence. Therefore, if 
you would understand Nature, you must learn 
her tongue, and before you learn it you must 
clear away your false notions, forget the jargon 
of cities and books and ballrooms. 

It is a commonplace that men who live daily 






' 





with Nature farmers and sailors and such 
have a quaint way of speaking. They u-<- 
fantastically simple images and are gifted witli 
a native brand of poetry that sounds like some 
passages of the Bible read. There is a rhythm 
to their tongue that other mm simply can't 
acquire. 

Nature has a rhythm all her own, a rhythm 
so entirely different from the concatenation of 
cities that a man has to be purged of his pride 
before he can understand it. He has to ac- 
knowledge that there is another world besides 
the little circle in which he moves and has his 
being. Once he acknowledges this he is given 
a glimpse of that world and hears the echo of 
its songs. It is this echo that makes the speech 
of farmers so strange. 

In the eternal dominion of Nature there is a 
great movement constantly circling upward, as 
the lark circles upward, and those who come 
close to her are swept along with it. A man 
soon learns this when he starts working in a 
Harden. He can't resist its cleansing. He 
can't resist the tug of 
its other-worldly urg- 
ing and the up-rushing 
of its hidden energy 
from the deep silences 
of the earth. Conse- 
quently, the longer he 
works in that garden, 
the more is he com- 
pelled to work the way 
.Nature work s up- 
ward. 



NOW there are 
many fair thini;- 
to look upon in this old 
world the smile that 
gnrts your home-com- 
ing of nights, the mist 
wraiths about tall 
buildings in the du>k. 
the pure colors of a 
medieval lacquer and 
of these one very fair 
is a garden. In the 
springtime there is the 
strangely fragile lush 
grass and the golden 
loveliness of mornings 
that make you feel as 
though you are in at 
the beginning of a new 
world. In .summer come 
tin- siesta hours when 
heat vapors float over 
the earth like levita- 
tion, and the poppy- 
bows her head in the 



* HP 



20 



// o u s 



G a r d e n 



garden close until the cool rains of evening 
raise it again. Then in autumn, the flame of 
tree and bush, and Nature is mightily con- 
sumed on her pyre, like some old Indian queen 
majestically sorrowful in her suttee. These 
things, I say, are fair to look upon, and a man 
is a better man for having seen them. But if 
he never raises his eyes, much there is he 
misses. 

For a garden is more than stem and blossom 
and brown earth. It is infinitely greater than 
anything you can create with diligent labor. 
In the huge mosaic of the countryside it may 
be only a small piece, but it shares the glory 
and the wonder of even-thing about it. To 
see these is one of the compensations of gar- 
dening and, oddly enough, they mean more to 
the gardener than to anyone else because he 
understands them. 

For moments now he has been busily en- 
grossed with spade and hoe, the earth yielding 
readily to his skill as he shapes the tender 
seedlings into a seemly row against their day 
of growth. Then he straightens up to stretch 
his tired muscles and a vision of great activ- 
ity is vouchsafed him. Bird choirs sing in 
the clerestory of the trees. Toward the horizon 
the tawny checkerboard fields spill merrily over 
the hilltop. Far above, the streets of the sky 
are peopled with cloud denizens. For a mo- 
ment he is bewildered by the gigantic puissance 
of it all; then, gradually, he realizes that in 
looking up he has beheld the face of a new 
world. And when he turns to the flowers at 
his feet, they are lovelier for the contrast: del- 
phiniums are bluer for that sky, and phlox 
whiter for the clouds and the brown earth more 
golden for those tawny fields on the hilltop 
over there. 

DURING the past three years great num- 
bers of the American people have been 
obliged to garden. The stern necessity of war 
made it incumbent upon them to raise their 
own vegetables. This year that necessity is 
somewhat mitigated. And in removing the 
stern purpose from gardening there is oppor- 
tunity for other objects to be attained. Is it 
conceivable that these three years of initiation 
shall not have made many a confirmed gar- 
dener out of an amateur? Is it not possible to 
hope that they will now garden because of the 
unalloyed joy it brings and the cleansing con- 
tact with another world? Can we not also 
trust that they will grow flowers with the same 
enthusiasm as they have grown vegetables? 

Yes, it is a fairly safe wager that those who 
have learned to work in their gardens, who 
have been ennobled by looking at them, will 
now turn to them as a means whereby they 
can look up. For the great reward of garden- 
ing is that we are gathered along in Nature's 
upward swirl and carried above the ordinary 
things of everyday life. 

The gardener should be able to take more 
from his plot than a crop of flowers and 
freckles, succulent vegetables and hard mus- 
cles. If that is all he expects, he will get even 
less than his expectation. Nature is a jealous 
goddess and she demands that appreciation go 
with culture. The heart must work with the 
hoe. Aspirations must exude with good, hon- 
est sweat. There must always be that vision of 
blue sky above and tawny fields on the hilltop. 

These are things that set a man to dream- 
ing, and he is big or small, vital or inconse- 
quential, comprehending or dullard according 
to the measure of his dreams. He is also a 
successful gardener according to the measure 
of his dreams. Nature requires sympathie, an 
understanding of her wavs. 



N r OT all gardeners understand Nature be- 
cause not all permit themselves this sym- 
pathy. Their purpose in gardening is such 
that it limits their capacity for dreams, for 
hoeing with the heart. 

Some people make a garden because it is the 
fashionable thing to do. And they have them- 
selves photographed for the magazines and 
Sunday supplements, in their gardens, wearing 
jewels and the smartest garden clothes where- 
upon all the little birds in the tree tops there- 
about set up unconstrained laughter and the 
workman on the East Side vows to vote the 
Socialist ticket at the next election. 

Other people take gardening as they would 
a narcotic the way some men take work to 
make themselves forget. Which is a futile at- 
tempt, because to maintain the stimulus for 
oblivion they must increase the dose, and they 
eventually reach a point where they are not 
capable of increasing it. 

Still others make gardens because it is part 
of a full life. To live happily they must in- 
vest their hours and aspirations in the activities 
of another world. And they draw the interest 
of pleasure according to the measure of their 
investment. They are usually quaint folk, 
other-worldly in their manner, but capable of 
comprehending the idiosyncrasies of Nature as 
she displays them in tree and bush and fra- 
grant blossom, across the skyline and in the 
infinite zenith. These are, moreover, the suc- 
cessful gardeners. 

Let's look into this class of gardeners for a 
moment and then quit. 

SOME people are referred to as "born gar- 
deners." They aren't necessarily scientific 
folk or intellectual quite the opposite in most 



cases but they- seem to have a knack for mak- 
ing plants grow. Others may spend money 
freely for fine tools and chemicals and espe- 
cially selected seeds, and have no luck at all, 
whereas, some poor little old woman in the 
back street, who cannot afford all these luxu- 
ries, puts their gardens to shame. 

What's the answer? 

The little old woman, like as not, raises her 
flowers the same way she raises her babies. 
She does it herself. It is part of the day's 
work. Upon her own energies depends the ap- 
pearance of that front yard. She doesn't lay 
off because the sun is hot, and she hasn't any 
gardeners to hand the work over to when it 
grows irksome. She doesn't garden because it 
is the fashion, but because flowers are pretty 
things to have about the place, and because 
her man and her children enjoy fresh vegeta- 
bles. They are a vital part of her everyday life. 

But that is only one reason. The other you 
will discover when you get to know her well 
which may not be so easy. True gardeners, 
like true fishermen, are a clannish lot; they 
stolidly refuse to tell their secrets. But say 
you do get to know her well and start her on 
the' subject of flowers and vegetables, she will 
begin to talk about them in the most amazing 
fashion familiarly, poetically, like the lover 
in the Song of Solomon, with quaint observa- 
tions that open doors to worlds of deep under- 
standing. And midway in her conversation 
this happens invariably and to it is due much 
of her success she will stop and look up lov- 
ingly at some fluffy little cloud drifting across 
the sky, or listen to the call of a bird, or let 
her eyes rest understandingly on the horizon 
where the tawny checkerboard fields spill over 
the hilltop. 










March, 1919 



:i 




A cabinet in the Chi- 
nese manner, inlaid 
with gold, is used 
here to hold ancestral 
china. From the col- 
lection of Mrs. Dud- 
ley L. Pifkman at 
Beverly Farms, Mass- 
achusetts 



WHEN TO USE 
A C H I N A I 
CABINET 



D I/RING the | MM i.w 
years the vogue in diina 
laliiiu-ts dropped perceptibly. 
In fact, they went completely 
out and it is difficult to >ay 
when they will return to favor. 
Hut when can you use a china 
cabinet? 

The aii>wtT is simpK when 
you have a cabinet of .-uch 
U-auty and of such historic 
lines a> those shown here. 
Such pieces of furniture are 
always in good taste and can 
be used either in the dining 
room to hold the best china 
and glass ware or in the living 
room to house some precious 
collection. They justify dis- 
play because of their intrinsic 
merit. 

Three of them are of old 
Spanish design with character- 
istic shaped top and elaborate- 
ly decorated with intarsia in 
flower designs; the fourth is 
William and Man-, a double- 
top cabinet with unusual 
wooden partitions for the panes. 

A good antique when it is 
antique enough <an defy any 
of the vagaries of passing 
custom. 




Another example of 
lt>th Century Spanish 
inlay is this cabinet 
with cupboard be- 
neath. It holds a 
Chinese collection. 
From the residence of 
'. E. Atwood, Esq., 
of Boston 




AH example of \t>th 
Century work is 
found in this Spanish 
cabinet a rare piece 
of mahogany with in- 
laid boxwood. From 
the collection of Amos 
A. Lawrence, Esq., 
Boston 



The lines of this cabi- 
net pronounce it Wil- 
liam and Mary. It 
has a chaste but solid 
dignity. A glass col- 
lection is preserved in 
it. It is from the 
Amos A. Lawrence 
collection 



22 



House &r Garden 





Northend 



Give the children an attic room to themselves. Fit it up as study, 

bedroom or nursery. Use plenty of wicker and hook rugs. Storage 

closets can be placed in the jog at the end. F. Patterson Smith was 

the architect, and Brett, Gray & Hartwell the decorators 



7 he attic shown above and oelow is a boys' room. The study corner 

is at this end, the sleeping part at the other. Open beams, white walls 

and simple sturdy furnishings make a boys' paradise. It is their own 

furniture, not the cast-off pieces from downstairs 



In one alcove, by 
a window, is a lit- 
tle sewing corner 
where mother can 
come for a mo- 
ment's peace or to 
superintend the 
youngsters' hours 
of study 





In another alcove, 
the boys have a 
fireplace of their 
own where they 
can bring their 
gang of small 
friends without 
disturbing the 
downstairs rooms 



M arch, 1919 



MAKING THE ATTIC LIVABLE 

Still Another Part of the House Is Salvaged to Meet the 
Modern Requirements of a Growing Family 



\\ \RY H. NORTH I -A I) 



O.XK loves to dream of the old 
attic that occupied the entin- 
upper story of great-grandfather's 
\veather-l)eaten old home. It was a 
dark, fearsome place, fa-cinating to 
childhood. Who has not crept slowly 
up the creaking stairs to prowl amonu 
tlif bra-s nailed hair trunks? Even 
today the fragrance of sweet lavender 
seemingly greets us as we recall the 
lifting of the lid. 

Modern Spare Demands 

Today that is all gone. The mys- 
tery that lurked under the shadowy 
eaves is dispelled. For with modem 
conservation, the old-fashioned attic 
has been replaced by practical experi- 
ments that fit into present use in our 
homes. Additional space is an abso- 
lute necessity, not only with a grow- 
ing family, but in suburban homes, 
where week-end parties mean addi- 
tional room for the guests. 

Storage room, as in the olden days, 
is also a necessity, for there are trunks 
and out of season clothing to be 
housed, but this difficulty has been 
met through the designing of dust 
proof closets close under the roof. 

The gabled roof house is best 
adaptable for this usage, as the pro- 
jections have been broken sufficiently 




Giving father a chance means giving him a den or 

study where he (an be qu.et and can fuss around 

with h'.s hobbies 



to provide interesting spaces to work 
out odd ideas. This would be im]>- 
sible in archill-dun- that has a stnui'j 
Southern feeling, the low spn-adint; 
roof line furnishing no inspiration for 
the working out of livable attic space. 
I he house need not necessarily be 
F.nglish in -tyle, but must have a well 
pitched roof, for ample ventilation i- 
a necessity, and this can only l>e sati- 
factorily worked out through window- 
or ventilators so planned that they 
add to rather than detract from the 
charm of the exterior of the house. 

\\'e have only to go back to the 
Middle Ages to realize that even in 
those days ample space was developed 
in the upper stories; particularly is it 
true in Gothic and early Renaissance 
architecture which is found not only 
in France, but in Germany and the 
Netherlands. The fact that the steep 
roofs of that period allowed for rooms 
to te designed for a variety of pur- 
poses, has been taken advantage of 
by the architects of today, who have 
made a careful study of every type. 

The Attic Temperature 

It has been claimed that the great 
objection to utilizing the space in the 
upper story for living purpose-, i-' 
(Continued on page 60) 




Provided the 
construction of 
the house per- 
mits, an attic 
dance room is 
ideal. The mu- 
sic is placed in 
an alcove and 
there are dress- 
ing rooms at the 
end. F. Patter- 
son Smith, archi- 
tect 



24 



House & Garden 



A MUSEUM THAT EARNS ITS KEEP 



WE used to think of a museum as a tomb of the past. There were 
ample reasons why we held to this opinion. Museums were de- 
positaries of old, rare and beautiful works of art where the discerning 
or the desirous foregathered, whenever the spirit moved them, to behold 
and enthuse. That was about all. 

During the past three years this worn-out legend has been scraped 
together with kings and untaxed incomes and all the other non-essential 
and evil flotsam of a recent dark age. Museums have become the de- 
positaries of the future. They link up the past with the present. They 
reincarnate the beauty of a by-gone time for the guidance of present- 
day manufacturers and the delectation of people. 

This is the significant work that the Metropolitan Museum of Art 
in New York City has accomplished under the stress of war. The story 
is best told by the words of its own accounting of stewardship: "Manu- 
facturers and designers have found it to their advantage to use the 
museum, and this means that they have found it to their business 
advantage. No greater test of the value of art as related to progress 
could be offered. Design has been able to demonstrate its own salabil- 
ity, which indicates a by no means insignificant step in our valuable 
art producing trades, trades which represent an annual expenditure of 
no less than $500,000,000 for home furnishings alone." 

Just how do these designers and manufacturers benefit from the 
museum? 

WHETHER the field is metal work, tiles, plaster, stained glass, or 
costume design, whether the manufacturer makes reproductions of 
colonial furniture or re-designs a silver goblet for commercial use, 
whether he works from Byzantine ivories or Flemish tapestries, in jewel- 
ry or architectural terracotta, 
whether he is designer or man- 
ufacturer, decorator or crafts- 
man, the resources of the mu- 
seum have been offered to him 
and he has studied objects of 
art from an inspirational view- 
point, very much as he would 
use a book for study. 

To continue the report of 
this work: "An Italian gesso- 
covered and painted picture 
frame may seem a long cry 
from the modern market, yet 
it has been studied by a New 
York manufacturer of tapes- 
tries. An Athenian vessel 
twenty centuries old has been 
passed by thousands of visi- 
tors until a designer of com- 
mercial containers saw in this 
as in nothing else that had 
come to her notice a possibil- 
ity for a modern jar to hold 
cosmetics. A millefleurs tap- 
estry remained the despair of 
scores of artists and designers 
until a manufacturer of rugs 
determined to take advantage 
of this design for the improve- 
ment of American rugs. A 
designer of dress fabrics saw 
possibilities in the armor col- 
lection. A china painter stud- 
ied Russian laces. Embroid- 
ered crests assisted in the de- 
sign of American sport skirts. 
Florentine glass bottles offered 
suggestions for printed voiles. 
Ecclesiastical vestments were 
found full of suggestion for 
wall papers. The color for 
painted chairs was found in 
Chinese pottery. A paper soap 



fundamentals of design the manufacturer or his designer seeks his 
inspiration wherever it may be found and the differences of material, 
style, artist, period, race, or purpose are not considered barriers. Thus 
they have at their command the entire field of industrial art design 
of. all ages, and their only limitation is that they shall properly express 
in terms of their own materials the design and purposes of the pieces 
which they themselves are producing." 

THE work of the museum in facilitating the study of designers is 
manifold. One method, for example, is the sale of photographic 
reprints to students and designers. Sixty-five thousand of them are 
sold annually. 

"To meet these requirements on the part of the modern manufactur- 
ing and designing world, the Metropolitan Museum maintains a large 
and efficient force of assistants and an extensive system of study rooms, 
lantern slide and photograph collections, lending collections, and other 
physical means of assistance. There are a number of docents or 
museum instructors familiar with every detail of the galleries and 
their contents and there is a specially trained associate whose province 
it is to assist in bringing together the seeker and his objective, to act 
as a sort of liaison officer between the museum and the world of art in 
trade. This member of the staff is a person qualified to assist manu- 
facturers and designers from the standpoint of their own requirements. 
He makes it his business to visit shops and workrooms, he is familiar 
with the processes of manufacture and keeps abreast of the market, so 
that he shall be able to visualize trade values in museum facilities and 
thus help manufacturers toward their own objectives." 

In these endeavors lies the promise of a great result. 



wrapper design saw its be- 
ginnings in snuff boxes. 

"These are a few of the 
actual cases of recent weeks, 
all showing that in tracing 




B 1 



HEARTHSIDE 

So many things to love in that small house of ours, 

The sunlight swept across the breakfast-board, 
The brass bowls blooming with their nodding sheaves of flowers, 

The genial fireplace where stout logs have roared; 
There is a little window looking to the East 

Where stars peeped in on us through twilight haze; 
The mottled plates we kept against the seldom feast 

Shining from their shelves in bright arrays; 
The wide, soft rug fair-colored as some enfabled mead, 

With stiff Levantine blossoms, weaver-sown; 
The stately chairs, the pipe-stand, and rows of books to read; 

The sweater on the settle lightly thrown. 
So much I love . . . their peace, content and happiness, 

And friendliness to make each corner bloom, 
And more than all, the clock, so solemn of address, 

That murmurs to itself down the still room. 

ARCHIE AUSTIN COAXES. 



lEHIND all this activity, 
this reincarnation of past 
beauty is a great aspiration. 
Our manufacturers are learn- 
ing that their factory is not 
merely a business venture, but 
"a work bench of national 
taste." Every chair or light- 
ing fixture or yard of goods 
is a factor in the great mosaic 
of national culture fostered by 
the industrial arts. 

The Metropolitan Museum, 
to have recourse once again to 
its report, "maintains that 
'Made in America' on an ob- 
ject of furniture or furnish- 
ings is inadequate unless it 
also connotes designed by an 
American-trained craftsman." 

Here is an irrefutable an- 
swer to those who would ac- 
cuse the American people of 
lacking good taste. Here also 
is an answer to those who look 
upon museums as tombs. For 
a laudable standard of activ- 
ity is being set by this museum 
that must be copied if they 
dare to justify their existence 
by every other museum in 
the country. 

No longer are the people 
to be satisfied with "good 
enough" wares in their homes. 
That old fallacy of maintain- 
ing a low level in order to 
give the people what they want 
is beautifully exploded. Give 
them the best, and they will 
buy, 'for the average man's 
tastes are very much above the 
average. Teach him to live- 
surrounded by beautiful ob- 
jects and he enters into a new 
life. Teach him to go to his 
museums and the things that 
were dead will live. 



.17 arch, 191 9 



25 




WHITE AS A COLOR FOR HOUSES 



Not only because it is just as durable as other colors, 
but because it is more pleasing and more useful, white 
is the best for country houses. It accents the house 
in the landscape. It reflects the sunlight so that its 
shadows are all the more shadowy. It forms a per- 



fect background for vines and shrubs and adjacent 
trees to silhouette against. And it imparts a clean, 
fresh air so desirable for the home. If you doubt it, 
study this portico of the F. P. King residence at 
Tarrytown, N. Y. Aymar Embury II, architect 



House & Garden 




An exquisite set of Capo 
Di Monte figurines de- 
picting the hours. From 
the collection of Mrs. 
Lydia Avery Coonley 
Ward 



CAPO DI MONTE PORCELAINS 

A Ware Thai Came Out of Naples for the Delectation 
of the Discerning Collector 

GARDNER TEALL 



SHOULD you chance upon Lady 
Blessington's "Idler in Italy" 
few there are, nowadays who 
bother to look into these old-fash- 
ioned travel books of the early 1 9th 
Century you will find there this 
note of that remarkable lady's visit 
to the Palace of Portici, built by 
Charles III of Naples in 1738, on 
the highroad to Salerno, some five 
miles beyond the gates of the 
Neapolitan metropolis : 

The Salon in Portici 

"One of the salons at Portici pe- 
culiarly attracted our attention. 
The ceiling and walls were covered 
with panels of the most beautiful 
china of the ancient and celebrated 
manufactory of Capo di Monte, of 
which specimens are now become 
rare. The panels have landscapes 
and groups finely painted and are 
bordered with wreaths of flowers of the size of 
nature of the richest and most varied dyes, in 
alto relievo, among which birds of the gayest 
plumage, squirrels, and monkeys, all of china, 
are mingled. The chandeliers and frames of 
the mirrors are also of porcelain, and the effect 
is singularly beautiful. The floor was former- 
ly covered in a similar style to the panels on 
the walls, but the King when obliged to fly 
from Naples intended, it is said, to remove the 
decoration from this chamber, and had only 
detached those of the floor when he was com- 
pelled to depart." 

Revolution and alto relievo, tempests in tea- 
pots, bulls in china shops, squirrels and mon- 
keys in porcelain 
what a picture the 
Countess of Blessing- 
ton's description pre- 
sents for the imagina- 
tion to work upon ! I 
do not for the mo- 
ment recall whether 
the indefatigable and 
disconcerting Tauch- 
nitz was responsible 
for reviving in yel- 
low-jacket the "Idler 
in Italy" or whether a 
copy of the old book 
in its first, and per- 
haps only edition, was 




Three oval dishes or platters oj Capo di Monte. From 
the collection in the Metropolitan Museum oj Art 




On both sides of this tea pot are land- 
scapes of great beauty, banded in gold 




There is great beauty in the figure decorations of these Capo 
di Monte pieces. The gold makes a worthy frame for them 



the one which fell into my hands 
one rainy day when walking 
abroad in Naples seemed too much 
like assuming the skilfulness of 
Neptune and torrents washed down 
the hillside strada of the Parco 
Margherita just below my window. 

A Porcelain of Naples 

I am not a capricious person, 
but the paragraph I have just 
quoted suddenly revived an early 
interest in the old porcelain of 
Naples, that which bears the name 
of Capo di Monte. Years before, 
when a small boy, someone had 
given me a little cup bearing un- 
derneath the mark of the capital 
letter N with crown above. The 
nefarious fraud which accompanied 
this gift was the solemn assurance 
on the part of the giver she was 
another boy's Sunday-school teach- 
er that the N stood for Napoleon and the 
Crown for Emperor. Indeed, I was shame- 
lessly assured that the great Napoleon himself 
had drunk from this cup himself (lethe or 
nepenthe was not designated), perhaps even the 
Empress Josephine and, later, Maria Louisa 
had done likewise. I was even led to believe 
that the King of Rome had, in his weaning 
days, been fed from this very cup. Alas' a 
terrible thing happened. After only a week's 
possession of so holy a relic, a Knowing One 
appeared and bluntly dissipated the romance. 
"It is Capo di Monte, a very decent bit, but 
Napoleon had nothing to do with it, young 
man, and whoever told you that yarn is as 
stupid as those who 
stuff children with fairy 
stories." That was all. 
I hated the Knowing 
One from that moment, 
for I loved and under- 
stood fain' stories. For 
the Other Boy's Sun- 
day School Teacher I 
naturally lost regard. 
It was not, I argued, 
that she didn't know it 
was Capo di Monte, 
hut that she should 
have pretended she 
knew it was the Em- 
peror Napoleon's! 



M arc*, 191 9 



27 



Nevertheless. I think, for 
many years ;it least, my opin- 
ion of 'the O. B.'s S. S.'T. wa< 
mucli higher than tliat which I 
held for the Knowing One who 
had so broken my dream. 
And why, since he shattered 
the Napoleon myth, did he not 
reseat Capo di Monte with an 
investure of the interest and 
romance that surrounded it? 
\Vhy didn't he take the trouble 
to tell me about the squirrels 
and monkeys in porcelain, the 
King in flight and all the rest 
of it? Why couldn't he have 
been as interesting as Lady 
Blessington? Or why could 
he not have told me that the 
1> N" stood for Naples, the. 
Crown above it indicating the 
royal manufactory, and that 
this mark was that of the ware 
of the later period, as the mark FRF 
with Crown above had signified 
Fabbrica Reale di Ferdinando ( King 
Ferdinand IV) on pieces of the sec- 
ond period of the Capo di Monte 
porcelain fabricated in the Kingdom 
of Naples? 

I suppose the Knowing One went 
his way firmly believing he had set 
me on the right path. That I had 
been brought up to try to be polite 
alone saved him from immediate dis- 
illusion. How ungrateful we often 
really are for imagined benefits 
conferred ! 

The Porcelain Factory 

I shall thank Lady Blessing- 
ton for starting me off the next 
day, which was a glorious one 
of sunshine and violets that is 
the real Naples to visit the 
places connected with the old 
porcelain manufactory and to 
ferret out collections that I 
might stud}- them and so be 
brought back to a state of grace 
which would incline my heart to 
harbor a prayer for the Know- 
ing One "T|j|t his forgiveness 
might be found in what I might 
myself discover. 

Down the Strada Nuova di 
Capodimonte I drove, as I had 
often driven before, but this day 
with a new interest. The south 
branch of the street at the Ton- 
do brought me to the entrance 
gate of the park of Capodi- 
monte. Getting out, a walk of sev- 



Whlte Capo di 

Monte figure 

%roup. From the 

Metropolitan 



A Capo di Mon- 
te figure group 
in white. From 
the Metropolitan 



Three fine pieces 
of early Capo di 
Monte. Courtesy 
of John Hutaff, 
Inc. 



A white Capo di 
Monte basin of 
remarkable lines 
ind unusual con- 
ception 




en minute* brought me to the 
Pala<c, begun by ('harks I'll 
in 17S.S but not finished until 
1839 in the reign of Ferdinand 
II. Hen- in tin Museum is an 
extensive and most interesting 
collection of Capo di Monte 
porcelain -upplcmcnted by a 
collection of imitations of later 
|ieriod. Here, just below the 
Palace a soft porcelain manu- 
factory \\.i- established in 
1742, 'by Charles III. who, as 
Duke of Parma had exchanged 
his coronet for the crown of 
the Two Sicilies. In 1738 he 
married a Saxon princess, but 
although the Prince of Ottai- 
ano, Charles's ambassador to 
Vienna, secretly treated for 
porcelain workers to be sent to 
Naples, I do not think the de- 
signs of Capo di Monte sug- 
gest as much German art-influence as 
some writers have credited them with 
showing. Charles was a collector of 
the porcelains of Saxony, the sec ret - 
of the making of which were being 
jealously guarded by Bottger, and he 
himself had determined to attempt 
porcelain within his new kingdom. 
So interested did he become in the 
venture that tradition insists he him- 
self learned the potter's art and 
amused himself in this way in the 
royal manufactory. 

Early Period Wares 

In the early period white shell 
wares were produced, and the 
best pieces have a warmth of 
tone akin to the Fukien por- 
celains. Early pieces also imi- 
tated oriental wares and were 
marked with a Star of eight 
points, and a little later with 
varieties of a Fleur-de-lis. 
These were the pieces of what 
is designated by authorities on 
such matters as the First Peri- 
od of Capo di Monte porcelain 
and they have a particular in- 
terest and charm. 

Giovanni Caselli who was 
Charles's Director of the Capo 
di Monte Works in 1743 had. 
twenty years before, served 
under Francesco Farnese as 
''Primo disegnatore di camei e 
pietre incise e primo ritrattista 
di miniature" and as "Guarda- 
roba segreto della Duchessa 

(Continued on page 68) 




Capo di Monte cups and saucers of unusually fine decoration. In the early period of this Neapolitan art white shell ware was 

produced with a tone much akin to Fukien porcelains 



28 



House & Garden 



REMODELED HOME 

OF THE 

PAST 




Walk down any country road and you will pass dozens of houses that offer possibilities for remodeling into permanent 

homes or summer residences. The artist visualized what this house would be like when completed. Compare it with the 

photograph below. The changes have given it a substantial appearance and a semblance of better architecture 



A REMODELED HOME of the PAST 

What Could Be Done to a Roadside House to 
Make It a Country Home 

Sketches by J. .!/. ROSE 



IN selecting a house for re- 
modeling there are several 
points that must first be de- 
termined. First, is it in a 
condition that justifies re- 
modeling ? Second, how 
much of it requires changing ? 

The first point is readily 
determined by going over the 
house carefully with your 
architect. The second is gov- 
erned by family requirements 
and the amount you want to 
spend. 

An example of the possi- 
bilities in an old house is 
shown here. The artist se- 
lected an old house by the 
roadside and rebuilt it to fit 
the all-year requirements of 
a small family. 

As it stood, the house was 
ugly and had little charm, yet 
the main building is good and 
dignified in a simple, homely 
way. This would make a 
modern home of no mean pro- 
portions, an all-year-round 




The original house has evidently twice been enlarged, once with the wing and 

the second time when the shingled, one-story, false-front rooms were added 

Yet it has merit worth saving and improving 



home possessed of comfort 
and even luxury. 

By cutting off the objec- 
tionable little lean-to, and ex- 
tending the roof lines of the 
addition, a very well-balanced 
house plan can be evolved. 
The introduction of dormers, 
the creation of terraces, a 
sleeping porch, a sun room 
and the installation of three 
bathrooms with a slight re- 
arranging of partitions, make 
it livable and presentable. 

Cream paint and emerald 
green trim will enhance its 
charm, but the house is all 
too flagrantly exposed to the 
public view. It needs lavish 
planting to make the most of 
what is there; but the ground 
is level and slopes graciously, 
there are a few good trees, 
and there is every indication 
of a soil well adapted to lux- 
uriant growth. This embel- 
lishment is an essential part 
of the reconstruction. 




As improved, the house has a sun 
room added, a wide dormer 
breaks the roof and the entrance 
is turned and given a new hood. 
The addition is carried out be- 
yond the chimney line and a Pal- 
ladian window inserted 



At one end has been added a sun 
porch that can be glassed in for 
all-year use. Doors from the liv- 
ing and dining rooms give access 
and there are rear steps to the 
garden. The two windows light 
bedrooms 




A living room lighted on two sides 
and with a fireplace occupies a cor- 
ner of the first floor. The dining 
room is behind this, facing the gar- 
den. In the wing is a breakfast al- 
cove, kitchen and maid's room 



Among the. interesting factors in this 
reconstructed house are the differing 
floor levels which add quaint atmos- 
phere to the rooms 




Upstairs two bedrooms are provided 
in the main part of the house with a 
bath and hall. The wing is taken 
up by an owner's suite of bedroom, 
bath and sleeping porch. All rooms 
have plenty of light and ventilation 



CROSS SECTION SHOWING DIFTEBeNT FLOOR LEVELS 



House & Garden 



Among the early spring perennials is the sqwrrel- 

corn, a plant of the rich, open woods. When the. 

site is right it is an exquisite addition to the wild 

garden 



The curious flowers of the Jack-in-the-pulpit are 

succeeded in September by balls of brilliant scarlet 

berries, fit spotlights for the deep woods in which 

they gleam 



Delicacy of form 

and color amid 

harsh surroundings 

a wild larkspur 



Open woods and 
prairies are the nat- 
ural home of the 
shooting-star 



Two splendid per- 
ennials for the wild 
garden are the tril- 
lium and anemone 




THE 



TRUE 



WILD 



GARDEN 



A Successful Garden of Wild Flowers Is Not a Garden at AH, but Rather a Stage of Natures 
Setting A Few of the Principles 11' Inch I 'nderlie Its Creation 

ROBKRT S. LEMMON 



Pkototnpkl by J. 11. t'irlj 



IT cannot be made l)\ 
man's hand alone, the 
real wild garden. As the 
artist fails to transmit 
through brush and oils 
the strange magic of the 
moonl>eam, or the sun- 
light's full gaiety and 
warmth, so the flower 
gardener fails to recon- 
struct the indefinable 
charm of wild flowers in 
any setting which savors 
of the artificial. You 
can have the most per- 
fectly designed, artfully 
planted and immaculate- 
ly maintained rock gar- 
den in the world, and if 
it seems made it will nev- 
er have the appeal of even 
a single cluster of he 
patica blossoms catching 
the blue of the late March 
sky among sun-warmed 
hillside boulders. 

Discouraging? By no 
means. A true wild gar- 
den is impossible except 
when Nature alone has 
made it? No, not that. 
My contention is merely 
that you and Nature must work together if 
your garden of wildlings is to be a complete 
success; that Nature's cues must always be fol- 
lowed ; that while you may choose many of the 
actors, and plan the rough setting of the stage, 
the details and fine touches which spell per- 
fection must be in her hands alone. 

Why Flowers Appeal 

If we stop to consider why any given flower 
appeals to us, we shttll usually find that it does 
so first because of one of two qualities: deli- 
cacy, and scme peculiarly striking appearance 
or habit, ften these are combined, as in the 
trailing arbutus, the purple fringed orchid 
standing lone and sentinel-like in the dark 
woods, the carpet of squirrel-corn spread across 
the floor of winter-worn leaves. The evening 
primrose, too, is a remarkable example of such 
a combination. To the etherial beauty and 
fragrance of its blossoms is added their habit 
of opening at dusk, when the gloom masks 
their somewhat ungraceful stalks and full at- 
tention can be centered on the uncurling petals. 

But if we go somewhat deeper than these 
first impressions, we come upon one underlying 
reason which is practically universal among 
the attractive wild flowers. This is nothing 
more or less than the contrast between plant 
and surroundings. 

Look for a moment at the photograph of the 
larkspur on the opposite page. How effective 
is the contrast between those expectantly poised 
little blossoms and the harsh bareness of the 
ground about them! Or take the trilliums, 
and the single anemone below them both of 
unmatched whiteness and youth, springing 
from the very base of an age-old tree. And 
the violets, too, delicately fragrant and fragile 



Its odd form draws 
attention to the wild 
mandrake, waxen 
flowered beneath 
sheltering leaves 



An example of Na- 
ture's frequent con- 
trasts between plant 
and setting. Wild 
violets in May 




in the lee of their guardian boulder is no; 
contrast one of their chief charms? Shooting- 
star and squirrel-corn, rock fern and colum- 
bine, saxifrage and mountain pink these and 
many other wild plants demonstrate clearly in 
their natural haunts the power of contrast. 
Remove them to delicate surroundings, to the 
marked evidences of artificiality, and they lose 
charm immeasurably. 

And then there is the appeal of color con- 
trast scarlet lobelias against the dark banks 
of the woodland stream; bluets spangling the 
green of the meadow; the white saucers of 
sanguinaria on brown March hillsides. It has 
been said that Nature's colors never clash. 



However that may be. 
lliere i- no doulit that 
-lie continually achieves 
marvelou- com l>i nations 
of complementary tone- 
In the aetual making 
of the wild garden you 
should keep these prin- 
i iples in mind and apply 
them a- the occasion 
warrants. Whatever the 
site, flowers should be 
chosen which would nat- 
urally grow there 
forced effects a 1 w a \ * 
look forced. Not only 
would the unnatural 
plant appear out of 
place, but it would re- 
fuse to thrive in nine 
cases out of ten. Fit- 
ness is' the thing; almost 
any wild flower, vine, 
shrub or tree will suc- 
ceed if properly trans- 
planted to the right en- 
vironment. 

Too frequently those 
who would have such a 
garden of native plants 
create for it an air of 
cultivation, of having 
been planted. This can be done only at the 
expense of much of the very charm which is 
being sought. While the surroundings chosen 
must sometimes of necessity be created, yet if 
the chief features are copied from some actual 
situation which you have seen in your country 
rambles, they will in time take on the appear- 
ance of having always been there will become 
in their entirety a perfect representation of 
Nature's landscaping. To attain this result 
you must start right, studying carefully the 
possibilities of the situation, laying the founda- 
tions only after the conception as a whole is 
well in mind, and then, when the planting is 
complete, letting the garden grow into a wild 
thing without interference from you. 

Study Before You, Start 

Go out into the woods and fields and marsh- 
lands when the first alder catkins redden the 
brookside; when the coral and gold caps of 
the columbine dot the rock ledges; when in the 
damp aisles among the trees the orange lilies 
are blooming and the great pink heads of the 
mallows make gay the August meadows; when 
the cardinal flower flames along the stream 
banks and the early wild asters are opening; 
when the autumn's full glory of leaf and stem 
and grass blade is at its height along the fence- 
rows. Go out at these times and to these places, 
and if you see instead of merely look you will 
learn many things which cannot be taught in 
magazines or books. You will learn how in- 
variably the setting supplements the flower, 
and how Nature alone perfects the picture. 

Thus should it be in your own wild garden. 
To make the right start and then let Nature be 
the head gardener these are your aims. It is 
bv such roads that you will come to success. 



32 



House & Garden 




Campbell 



A PATIO GARDEN 



in 



BOSTON 



Somehow, you don't expect a tropical patio garden 
in Boston. It comes as a pleasant surprise. The pink 
brick walls and red flooring, the cement stairs leading 
to the gallery, the little fountain set low in the floor, 



the great wrought iron lantern swung from the ceil- 
ing, the trailing vines and young palm groves, the 
Far East rattan furniture all combine to make a 
room of rare beauty Harry B. Russell, architect 



There is intriguing architectural 
detail on this side of the patio. 
The stairs climb up past great 
steps that spill their trailing vines. 
The little casement window and 
the angel suggest an Arabian 
Nights' romance. And the door- 
way and balcony are exquisite 



Along the opposite side runs a 
gallery with its vine-swept rim. 
Here too a little angel floats com- 
placently against the white wall. 
Prom this view one can appreci- 
ate the unusual beauty of the 
wrought iron lantern. The color 
of the cement is rose gray 




An iron grill gate closes the entrance 
to the upper floor. Us silhouette 
standing out against the rose gray 
cement stairs and pink walls. High 
up in a cage hang a pair of love 
birds a quaint little touch in a ro- 
mantic garden 



34 



u u .t K tjr \j a r a K n 




In the first year the room contains only the essentials and these represent the greatest expenditure. It has a color scheme of blue 

and mulberry. Each piece is selected for its permanent value, good workmanship and taste. The cost the first year figuring on 

current prices plus the cost of making curtains, etc., amounts to $525.16 



THE THIRD YEAR LIVING ROOM 

How the Bride and the Beginning Housewife Can Build Up a Room 
of Permanent Furnishings in the Best Taste 

AGNES FOSTER WRIGHT 



THE vagueness of a bride is only 
equalled by the charm of that 
vagueness. 

Could anything be less romantic than 
a matter of fact, common-sense, know- 
what-she-wants bride! 

I find the average bride, when she 
commences to furnish her new home, 
first buys something pretty, then buys 
something else pretty, then buys some- 
thing "awfully cute" and with these 
as a foundation begins to furnish. The 
first purchase is a lamp and shade, the 
second a sofa cushion and the third an 
"awfully cute" desk set. It's such an 
ungrateful task to jerk her down to 
earth by formulated furnishing and 
statements of cost. However 

Taking an average size room and 
average size windows I plan to furnish 
it, so that in three years we have a really 
handsome, adequate living room It 
will arrive at that state through careful, 
deliberate purchasing. In the end it is 
complete, although additions may be 
made, as one's family and means grow. 

The first year the initial outlay is 
considerable. The essentials are in 
every case of first class quality ; for in- 
stance, the couch is of down and hair, 
but we economize by covering it in 





Over-mantel 

painting to 

match room 

costs SI 15 



Flat Italian 

vases, for the 

mantel piece, 

at S16 




black Parma sateen, which is a heavy- 
twilled variety of upholsterer's sateen, 
excellent and adequate for the purpose, 
costing $1.80 a yard and taking ten 
yards in all. 

The second year the expenditure is 
comparatively small, first because we 
are just getting over the expense of the 
first year and also because of the possi- 
ble advent of a baby. The third year 
we finish the furnishing by the perma- 
nent hangings and covering and carpet. 
From then on, it is a matter of non- 
essential additions. 

We presuppose the room to have a 
fireplace, two French doors and two 
sash windows. The walls are a light 
buff color. 

For a rug we buy sixteen yards of 
excellent quality taupe carpeting at $4 
a yard and have the stripes sewed into 
a 9' x 12' rug. That gives a nice foun- 
dation, and in the third year, when we 
buy a chenille rug, this carpeting can 
be remade into bedroom rugs, or hall 
runners. 

The curtains are made of a smart 
glazed imported chintz, peacock design 
in blue and mulberry on a black back- 
ground, and the color shows splendidly 
with the light coming through the de- 



sign. They need not be lined. 
They an- liound with the best qual- 
itv taffeta to withstand sun wear: 
curtains should never he Ixiund 
in a cheap quality of any material. 
While not essential, little taffeta 
tie-backs would add to the smart- 
aeat of the curtains. The chintz 
COSto .Sl.''0 and it needs eight 
vanK since tliere are no hems, for 
the two windows, and three-quar- 
ters of a yard of 50" taffeta costs 
$4.50. Making and fixtures cost 
$10, Imt this is an item which 
the bride should strike off as she 
should make them herself. She can 
also make the beige scrim curtains, 
two yards long, for the French 
doors for which she should pay 
about 32 cents a yard, costing $2. 56 
and for under curtains costing $3. 
On the 6' Parma sateen covered 
couch put two chintz pillows to 





match the curtains with a '.)" bind- 
ing of the taffeta left from the cur- 
tains. These two will cost com- 
plete $1 1. At the end of the couch 
put an Italian walnut table at 
S 1.x. 50 with a rose lamp and parch- 
ment shade which should COSl 
$17.50. This complete* the sofa 
group on one side of the fireplace. 
Opposite it .HIK'S a <>' long narrow 
oak or walnut table costing S''5, the 
center of which could IK- used a- .1 
desk, with a black gla-- de-k -it. 
costing ScX. A straight Italian chair 
in walnut and antique gold to use 
by the table a- a desk ihair costs 
$22.50, and is heavy and firm, -nit 
able for a man. On the table put 
magazines and bcx>ks and a large jar 
ot shiny laurel leaves, which add an 
awfully nice note to a room. At the 
end of the table put a large com- 
fortable wicker chair, enameled 



Italian walnut 
desk and chair 
are added in the 
second year. 
SI 10 complete 



A first year 
straight chair 
with dull gold 
showing in the 
carving, $22.50 




Wing - chair for 
the second year. 
In plain velvet it 
may be had for 



The first year 
wicker chair cost 
&2S, upholstered 
in glazed chintz, 
and enameled 
black 



I" 










In the second year the couch and table change position. The additions are a desk and desk chair, an upholstered wing-chair, and an over- 
mantel painting the one extravagance of the year to give rich color to the walls. The "PoUy" chair is sent upstairs where, with a chaise 
tongue, it will help complete the furnishings of a bedroom. The cost this year is S342.SO 



36 



// o u s e & Garden 




By the third year the room is complete. The couch which has been re-upholstered in velvet faces the fireplace and the long table is backed 

to it. The wicker chair goes out on the porch. Carpeting is supplanted by a chenille rug, and the carpeting used in one of the bedrooms. 

The curtains are now of rich mulberry damask and the old curtains moved upstars. Expenditures this year, S497.52 



black, with seat and back cushion in the glazed 
chintz. This costs complete $25. It is com- 
fortable and while not elegant is adequate and 
later will be useful on the porch or upstairs. 
Between the lamp and chair place a wrought 
iron adjustable standing lamp in black and 
dull gold with a parchment shade. This will 
throw a light for the person who reads in the 
chair or writes at the table desk, and costs 
complete $31.50. 

In the right hand corner between the window 
and the hall door a low coffee or 
tea table in walnut and gold is 
placed beside a low "Polly with a 
Past" chair, upholstered in Parma 
sateen piped in blue sateen, costing 
$30 for the chair and taking 11/3 
yards of the Parma sateen to cover. 
The cost of the revolving drop leaf 
table is $18.50. This makes a 
nice group for sewing and can 
easily be moved up by the couch 
in serving coffee or tea. 

On the mantel are two flat Ital- 
ian vases for $16, which, with the 
addition of a bowl of flowers in the 
center, make a sufficient over-man- 
tel ornamentation. I have not men- 
tioned the fixtures for the fireplace 



as one person likes a coal basket, another a 
hob-grate and another andirons. 

Thus we have the room complete for the first 
year, adding, of course, the personal touches 
of flowers, baskets, pictures, books and maga- 
zines. Book-cases should be built-in. 

The Second Year 

The second year we change the position of 
the couch and sofa, as the desk and table do 
not look well near one another, and we add a 





high-backed upholstered chair in mulberry 
striped velvet to repeat the color in the chintz. 
The chair costs $60 and the upholstery $6.75 
and it takes four yards. The little "Polly" 
chair goes up into one of the bedrooms where, 
with recovering, it matches a chaise longue. 

We add at the window a real desk and desk 
chair this second year. These are in walnut 
with interesting hand-carving on the back. 
The desk costs $78 and the chair $32 and 
nothing could be nicer than these as in adding 
to our furnishing we keep in mind 
to purchase only the best things. 
So far there has been nothing cheap 
and second rate. The wrought iron 
lamp is moved over by the desk, 
and we replace it by an Italian 
pottery lamp on the table with a 
shade of striking design, complete 
$25. On the table we put a linen 
and hand-made lace scarf at $5.50 
as the desk set has been removed. 
And now, for the one extrava- 
gance of the year we add an over- 
mantel painting of flowers toned in 
mulberry and blue green to har- 
monize with the color scheme. It 
is copied from an old museum 
(Continued on page 82) 



The first curtains 
are glazed chintz in 
blue, mulberry and 
buf) on black. 31" 
wide, $1.90 a yard 



Part of the first year furnish- 
ing consists of a "Polly" chair 
upholstered in black sateen, 
$32.40, a revolving top coffee 
table, $18.50, and lamp, $17.50 



Mulberry damask of 
antique finish is used 
for third year cur- 
tains. It costs $9.75 
a yard, 50" wide 







March, 1919 



37 




I faithful reproduction 
of a Chinese antique ruy, 
of the Kien Lung period 
Has a ground color ol 
imperial yellow with 
In n 1,1 if til design in dark, 
light blue, peach blow 
and ivory. Rugs such 
as this may be had in 
any shape, site or color 
effect, at prices flinging 
from $35 a sq. yard up, 
according to quality 



CARPETS and RUGS 



These may be purchased through the 
House <5" Gartlen Shopping Serzice, 
19 Weil 44th Street, New York City 








An Axminsler 
carpeting U'ith a 
Chinese design in 
blue and jattm 
on gold, ISO a 
yard; the border 
is priced at 
$3.25 a yard 



(Center) Self- 
striped carpeting 
in taupe, tele de 
negre, red and 
deep purple, > 4 
of a yard wide, 
.S6.50 a \ard 








,......, i.. ,,,., 

(I>.<1<141,.., I, 



<...n... ;;,.,;; 





Wilton carpeting 
in Chinese design 
of gold on black 
ground, black on 
crimson, or black 
on green , $4 
yard wide at 
$6.50 a yard 



A bedroom rug 
comes in all wool 
check. Rose and 
cream, blue and 
cream and black 
and cream. $5.60 
a sq. yard 



House & Garden 



38 




THE HUMORISTS and LANDSCAPISTS 
of JAPANESE PAINTING 

What Matahci, Korin, Sosen, Yeisen and Buncho Accomplished 
W. G. BLAIKIE MURDOCH 



The Romance oj 

Cenji Monogotari, 

by Oharugoko 



A Flower Study, by 
Matsnmura Keibun. 
Early 19th Century 



THE Japanese 
portraitists and 
hieratic artists mostly 
painted on silk, but 
the historians, the hu- 
morists and the land- 
scapists generally 
worked on a thin, 
transparent paper, so 
absorbent that, be the 
brush pressed the least 
thing too heavily, the 
paint will at once 
spread in many unde- 
sired directions. Nor 

can work of this sort . 

be altered by washing, or scraping, as will 
Western media, which difficulty proved grandly 
bracing to the Japanese, just as a difficult metr 
stimulates a poet's ingenuity. '"Why, this is 
not drawing but inspiration," said Constable, 
on first seeing Blake's sketches; and owing in 
some degree to that very difficulty in the means 
whereby they were fashioned, the 
best Japanese landscapes seem the 
inspirations themselves ; a straight- 
forward reincarnation of what the 
artists felt. 

The genius of these men was for 
capturing the enchanted aspect 
Avhich things present to eyes stirred 
momentarily by emotion: their art 
is great because rich in that mystery 
whose lack, as observed before, is 
frequently salient in the hieratic 
paintings. And, indeed, it is a lack 
of this sort, a want of aloofness, 
which is the most frequent weak- 
ness in all Japanese art other than 
landscape, the genre in particular 
being too often only a prodigy of 
skill in realism, a marvel of decora- 
tive ability. 

The Patronage of Hideyoshi 

It speaks eloquently for the dy- 
namite-like nature of strong per- 
sonality that such a wealth of fine 
painting should have been done in 
the time of the Ashikayas. Be- 

"Vnder the Blossoms," a painting 
on silk by Chobunsai Yeishl 





Realistic .study of a 

heron executed by 

Tan-an 




Rabbits by Matsu- 

mura Keibun. Early 

19th Century 

cause, despite their 
own love of art, their 
rule was really the 
antithesis of condu- 
cive to artistic 
achievement. Nearly 
each of them was sig- 
nally incapable of 
keeping the country 
free from fierce civil 
wars, and it was this 
chaos which gave 
Hideyoshi his chance, 
at the close of the 16th 
Century, enabling 
him to take the helm 

into his hands. In sharp contradistinction to 
most autocrats, he had a keen taste for art; and, 
when his fortunes were nearing their apogee, he 
marked the promise of a poor young artist, 
Sanraku, whom he asked one Yeitoku to take 
into his studio as a pupil, Hideyoshi himself 
paying the requisite fees. Afterwards, when he 
built his palace of Momo Yama at 
Kyoto, Sanraku was the man chiefly 
asked for decorations there, his out- 
standing exploit being some mural 
paintings of hunting scenes, splen- 
didly vitalised. And so great was 
the fame won by these works that, 
when Hideyoshi was dead, and all 
who had served him were regarded 
as traitors, Sanraku was pardoned. 

Art and the New Rulers 

Under the Tokugawas, Japan 
commenced to experience a welcome 
tranquility, among the results being 
that, whereas hitherto there had 
been few buyers of secular art save 
the nobility, for these alone had 
enough money, there was now a 
quick increase of wealth with the 
trading classes, followed by much 
art patronage on their part. Hence 
there came into vogue the painting 
of pictures on screens, as too on the 
sliding doors hiding cupboards, or 
forming partitions between rooms, 
the usual medium for work of both 

"Girls at Play," a happy print by 
Eitaku Kobaiashi 



March, 1919 



these kinds being a 
hard paper, which 
lent itself to minute 
draughtsmanship. 
And since many of 
the new art-patrons, 
in eagerness to flaunt 
their wealth, desired 
houses characterized 
by gorgeousness, it be- 
a me customary tc 
paint the backgrounds 
of the screens com- 
pletely with gold. 

Yusho 

It is one of the 
prime glories of Japa- 
nese artists, that, em- 
ploying this mode 
which in endless 
hands would have 
yielded only the 
grandiloquent, they 
almost invariably 
achieved instead the 
grand, flowers being 
the theme with which 
they were most suc- 
cessful on the glowing 

repoussoir. A. glance at some of them will repay. 
A prince among men thus engaged was 
Yusho, who had worked along with Sanraku 
in Yeitoku's studio; while the early years of 
the 17th century witnessed the painting of sin- 
gularly delicate landscapes by Kano Koi, 
whose pupils included Tanyu, famous alike as 
animal-painter, landscapist, and poet. He is 
one of the comparatively few great Japanese 
masters of whom there is an authentic portrait, 
this work being in the Imperial University, 
Tokio; and showing an anxious, nervous, emo- 
tional person, it hints too at an exceptionally 
lovable disposition. 

Sesshiu thought to improve his skill by going 
to China, and, in many Japanese artists sub- 
sequent to his time, there is seen still that old 
tendency to look admiringly to the Middle 
Kingdom as a guide in technique, Tanyu 
being however virtually the last Japanese 
of true might inclining thus. Just after 

A portrait of Mukashi No Tenno, 
.painted orrtllk by an unknown artist 




"Boats on the Suniida," 
done on silk bv Moronobu 






hi- da\, there was a 
marked iiu rea.-e in tin 1 
output of h i -torical 
picture.-, a brilliant 
adept in such licini; 
Mit-uki. who. in the 
ardour of his admira 
tion for hi- remote 
predecessor, Tosa 
Mit-uiiobu. ( laimed 
to lie that master'- 
lineal de-ccndant. 

Matahei 

Hut by far the great- 
est Japanese painter 
of the mid-1600's \va- 
Matahei, keenly alive 
to the charm of his 
country's characteris- 
tic domestic utensils, 
and drawing these 
things with a loving 
precision, often, in his 
studies of ordinary 
people, merely eating 
or drinking, reading, 
writing or playing 
games in their homes. 
None of his compa- 
triots, before him, had made an art comparable 
with his from matter of this sort. And it can 
hardly be doubted that, in showing thus how 
lofty a beauty might be evolved from humble 
domesticities, he was a vast incentive to the 
far-famed woodcut men, who, starting work 
very soon after his time, called their prints 
"Pictures of the floating world", that is, the 
scenes of the passing hour. Their style of 
workmanship, in many cases, is literally an 
echo of his, Matahei 's screens always reflecting, 
nevertheless, a fine deliberateness, largely for- 
eign to his imitators. 

Moronobu and Korin 

Of the painters studying with him, much the 
best was Moronobu, who had begun life as a 
designer in an embroidery shop, and with 
whom a favorite topic was the Sumida 
river, with its motley pageant of boats; 
(Continued on page 66) 

A portrait of the poet Ariwara No Nari- 
hara, by Iwasa Matahei 



"Kwannon," by Mokkei, 
at Daitokuji near Kyoto 



These two kakemono studies of monkeys bv Mori 

Sosen show both the realism and humor of that 

Japanese artist. Sosen lived until 1821 




House & Garden 



40 



CANE and BUSH FRUITS for the KITCHEN GARDEN 

Some Reasons for Taking Them Up in a Serious Way and Granting ^ Them the Attention 
They Deserve in the Well Balanced Garden of Utility 



G. T. HUNTINGTON 



IX the planning of even a modest kitchen 
garden the desirability of the small 
fruits currants, raspberries, blackberries, 
etc _i s often overlooked. The thoughts 
of beginners especially are prone to center 
on vegetables, to the exclusion of the ber- 
ries which, while of perhaps less nourish- 
ing 'value, are nevertheless highly impor- 
tant articles of diet. 

The requirements of these cane and bus 
fruits are not exacting. Any fairly sunny, 
well drained soil which will produce a 
aood general vegetable crop will be suit- 
able Such necessary care as spraying, 
pruning, mulching, etc., is easily given 
and amounts to little enough compared 
with that which the regular vegetable gar- 
den demands. As for the fruit itself H 
will be of better quality and much less 
expensive than you can buy in market. 
Finally, it is possible on almost every 
place to find room for a few plants of 
small fruits along the edges of the paths, 
boundary fences or in some out-of-the-way 
corner which could not well be utilized for 
anything else. So, on the whole, the pro 
arguments far outvvay the con. 

Laying Plans 

As soon in the spring as the ground is 
dry enough to crumble is the time to plant. 
The stock should be ordered, therefore, at 
once; but before deciding what to get you 
should look the ground over carefully and 
decide exactly how much space will be 
available. In doing this the following 
planting distances should be kept in mind. 

Raspberries ought to be 
planted 3' or 4' apart in 
the row; blackberries and 
dewberries, 5'; currants, 
4'; gooseberries, 5'. If 
only a single row is to be 
planted, perhaps along a 
fence or at the edge of the 
garden, these figures will 
suffice. If, however, you 
decide upon two or more 
parallel rows, you must 
allow an average distance 
of 6' between the rows, to 
allow room for you to 
move about comfortably 
while attending to the cul- 
tivation, picking, etc. 

Deciding what sorts to 
plant is naturally gov- 
erned largely by personal 
preference for certain 
kinds of fruit. The space 
may therefore be allotted 
as best suits you, and un- 
til that is done the selec- 
tion of varieties of the dif- 
ferent things may be post- 
poned. 

All of the good nurseries 
supply varieties of small 
fruits in great numbers. It 
would be out of the ques- 



Just to show its pro- 
ductiveness, the worms 
were allowed to defoli- 
ate this gooseberry bush 
and expose the fruit 




tion to set down here anything like a com- 
prehensive list of these, but you will not 
go far wrong if you make your choices 
from among the following: 

Raspberries: The King (extra early); 
Cuthbert; Columbian; Reliance; St. Regis 
Everbearing; Cardinal; Palmer (black); 
Golden Queen (yellow). 

Blackberries: Mercereau (early); 
Early Harvest; Early King; Snyder. 

Currants: Perfection; Fay's Prolific; 
Lee's Prolific (black) ; White Grape. 

Dewberries: Premo (early); Lucretia. 
Dewberries ripen somewhat earlier than 
raspberries, but in other respects are quite 
similar to them. 

Gooseberries: Industry (English va- 
riety well suited to our climate) ; Hough- 
ton ''s Seedling; Downing; Golden Prolific. 

Planting and Pruning 

A liberal amount of well rotted manure 
dug into the soil where the plants are to 
go will prove a paying investment for 
higher quality fruit. For blackberries and 
raspberries, too, you must 
provide stakes, a trellis or 
some other support for 
their long, slender canes, 
but the gooseberries and 
currants need nothing of 
this sort. 

When setting out the 
raspberries and blackber- 
ries, cut off the shoots 
close to the ground, leav- 
ing only one or two "eyes" 
(Continued on page 80) 



Gooseberries are easily 
grown and deserve a 
place in the small fruit 
border. They are gen- 
erally made into jam 



Burying the long canes of black- 
berries and raspberries is a good 
plan to protect them from dam- 
age by winter winds and cold 



Before covering the canes with 

earth they should be carefully 

bent down to the ground parallel 

to the direction of the row 



March, 1919 



4t 



STARTING THE GARDEN 

The Importance of Early Planting and How It Can Be Made Successful- 
Hotbed Use and a Discussion of Soil Enrichment 



WILLIAM C. McCOLLOM 



ARDENS to be successful must be 
started at the proper time. All 
other garden essentials may be perfect, 
but if you fail to sow the seed when you 
should, you are certain to fail. 

Many of our best vegetables require 
the early start provided by the greenhouse 
or hotbed, or as a substitute the more 
troublesome but none the less productive 
method of starting the garden in the 
dwelling. Those fortunate enough to 
have a greenhouse usually have someone 
qualified to sow their seeds, but thou- 
sands of our home gardens where hotbed 
and dwelling are used for this purpose 
have no specially trained talent and it is 
to this class of readers that the present 
article is addressed. 

How to Sow Seeds 

When starting seeds in the greenhouse 
or dwelling, boxes, seed pans, old tin 
cans or any receptacle with tight sides to 
retain the soil may be used. The bot- 
toms must have some openings to allow 
the water to pass through, as the soil 
should retain only that moisture which 
its physical makeup will allow it to hold. 
Where proper drainage is not provided 
"damping off" is certain to collect its toll 
of seedlings. This is caused by a small 
parasitical growth which breeds in soils 
that are overwatered or poorly ventilated. 

The openings in the seed pans or 
"flats," as they are often called, should 
be covered with about 1" of coarse cin- 
ders or like substance, and to protect this 
from filling with soil it in turn must be 
covered with moss, hay or other rough 
material. Just a thin layer is all that is 
needed to prevent the soil from clogging 
up the drainage. The seed box can be 
filled with soil, level with the top; when 
firmed this~"will come to the proper dis- 
tance from the rim to allovy for watering. 

Loose, sluggish soils do not drain 
properly, so firm the soil well in the 
"flat." Then make the real bed for the 
seed by sifting on the surface about J^" 
of topsoil. The surface of this should 
be made level with a seed tamp or any 
smooth faced tool. In sowing, tear one 
corner from the seed packet and holding 
almost flat scatter the seed thinly on the 
surface by shaking it gently. A little 
practice will soon make anyone perfect in 
this method, which is preferred to sow- 
ing in drills because it equalizes the 
spacing of the seedlings. 

How deep must you sow the seeds? 
The general rule is twice their diameter 
but don't get a scale rule and a magni- 
fying glass and start to measure the 
thickness of lettuce seed ! A little judg- 
ment is sometimes worth a great deal of 
exactness. After sowing press the seeds 
into the surface or they will move con- 
stantly during the covering, making it 
almost impossible to cover them evenly. 
The covering is done by sifting on the 
surface a light layer of soil. The pan 




Pots or shallow boxes may be used for seed sowing 
in the house. Plenty of drainage material is necessary 




Fiber or moss placed over the drainage material will 
prevent the earth settling and clogging it up 




The seeds are scattered on the surface of the soil. At 
the right is a pot with the seedlings above ground 




Press the seeds down before covering them lightly with 
soil. The bottom of a tumbler does this werk well 



can then be placed in a light window ami 
well watered (in the greeniiou-*- >hading 
is practiced but i- not nrcvary in the 
home). 

Young plants do not need abundance 
of nourishment. The soil for seeding 
purposes must be light in texture to as- 
sure drainage, poor in fertility to produce 
a hardened growth, but adhesive enough 
so that it will adhere to the roots when 
transplanting. A good mixture can be 
made up by using equal parts of good 
turfy top soil well chopped or forced 
through a coarse screen, leaf mold either 
natural or prepared, and clean sharp 
sand. Do not under any circumstances 
add manure or other fertilizer to the seed- 
ing compost. 

Subsequent Handling 

When the young plants have started to 
develop their first character leaf they 
must be transplanted. If this is not at- 
tended to at the proper time the young 
plants will become soft and of little value. 
Boxes should be prepared as suggested 
for seed sowing, though it is advisable 
to give the plants some nourishment. 
Well rotted cow or stable manure is pre- 
ferred for this purpose; it should be run 
through a screen and about 10% added 
to the compost. The boxes or pans 
should be filled level and then firmed 
with the fingers. 

The seedlings can be lifted for trans- 
planting by prying beneath them with 
any flat instrument such as a table knife. 
Do not have the seed pan dry for this 
operation or the roots will be broken. To 
plant, make openings in the prepared 
boxes with a sharpened lead pencil or 
knitting needle; the opening can be made 
any size desired by twisting the pencil 
in a circle. Drop the roots of the seedling 
into the opening, setting the plant just a 
trifle deeper than it was in the seed bed. 
The soil can be pressed into contact with 
the roots by making another opening di- 
rectly alongside the one used for plant- 
ing. The box should be watered immedi- 
ately to settle the earth around the roots 
and can then be placed in the window, 
shading for a few hours during the mid- 
dle of the day until the young plants are 
established. It is also advisable to stir 
the surface of the soil with a sharpened 
stick to prevent it souring and to admit 
air to the soil. 

Building and Starting a Hotbed 

A portable frame of some kind is a 
MTV necessary piece of garden furniture. 
There are few periods in the entire year 
when such a frame is not only useful but 
quite necessary, its first use being for the 
starting of the garden seeds. For this 
service the frame is converted into a hot- 
bed, as follows: Excavate the earth to a 
depth of 2' and not less than 1' outside the 
lines of the frame. This hole can be filled 
(Continued on page 78) 



42 



House & Garden 




Staging a successful garden show demands study, care and plenty of hard work. Crowding of exhibits should 

always be avoided, and a logical and artistic arrangement is essential. In this case an excellent and consistent 

feature was the school children's exhibit of bird houses 



PLANNING A SUCCESSFUL GARDEN SHOW 

How One Garden Club Worked Out the Problem and Carried It Through Suggestions 
and Definite Rules Which Are Eased on Practical Experience 



THE widespread interest in war gardens 
last year stimulated the growing of new 
and rare varieties of both flowers and vegetables 
even by people who never before had attempted 
gardening. Many became enthused, despite 
the excessive heat, to the point of steady and 
prolonged effort to excel, and neighbors vied 
with each other in producing the finest speci- 
mens possible. Naturally, then, garden shows 
enjoyed a fresh impetus, and wherever given 
were well patronized, resulting in increased in- 
terest in growing and the determination to make 
next year's product even better and finer. Con- 
sequently we may expect to find the garden 
show more popular the coming season than ever 
before. 

Launching the Idea 

As the first step in the cooking of a hare is 
the catching of that animal, so the first work 
towards a garden show is the growing of the 
products to be exhibited. This necessitates 
planning the event months in advance, that 
people interested can inform themselves and 
prepare to show the very best they can raise. 
"Why, that six-pound egg-plant of mine I 
looked at the last thing at night and the first 
thing in the morning," exclaimed one enthusi- 
ast, "I was so afraid something would happen 
to it, I watched it like a baby!" 

Thus at the very start of the season the Gar- 
den Club to which I belong devoted the first 
of its fortnightly meetings to the consideration 
of what should be grown for the June Show, 
with special reference to the kinds best adapted 
to our soil and climatic conditions. Our presi- 



OLIVE HYDE FOSTER 

dent, herself a most successful gardener, told 
of her personal experiences, failures and suc- 
cesses; others added their suggestions, and 
every one made copious notes. We were asked 
to specialize in some particular kind of flower, 
to grow as many varieties of that as possible, 
and to keep a record of the result, with date of 
planting, amount of cultivation, and the cost 
of maintaining a garden. Also to keep a record 
of dealers patronized, fertility of seeds, quality 
of bulbs, plants and shrubs purchased, and re- 
sulting satisfaction. As a second show was 
scheduled for September, this would mean a 
whole season's data. 

For an exhibition so early in the season, 
especially when following a most backward 
spring, we could not count much on annuals, 
for all the flowers had to be grown by the ex- 
hibitor. This left us dependent on the early 
perennials, shrubs, tuberous plants and roses. 
How everybody cultivated! Beds were en- 
riched, plants and bushes sprayed, larkspurs 
staked, roses disbudded. Our second meeting 
was given over to a lecture by a well-known 
authority on the growing of perennials, just as 
another well-known florist had previously 
talked to us on the special cultivation of the 
iris. Each and even* member was looking 
eagerly forward to what she would be likely to 
have ready by the middle of June. 

As the appointed day drew near, the actual 
work of giving the show demanded time and 
attention. Committees had to be appointed 
with reference to the special adaptability of 
each person to do the work to be assigned. 
Those with recognized executive ability looked 



after engaging the hall, advertising the affair, 
ordering display tables, arranging for outside 
exhibits of a suitable nature, and soliciting re- 
freshments for the "Tea-garden", which was to 
be improvised on the stage. (Garden shows, 
like all other entertainments, involve consider- 
able outlay of money, and we were determined 
to make ours at least pay for itself.) Those 
having the technical knowledge and they are 
always few! planned the class form book 
under the supervision of Mrs. Elsie Tarr Smith, 
and the club botanist devoted days to compiling 
a booklet that would provide for the offerings 
of the smallest amateur grower as well as the 
one with the skilled gardener and a big estate 
at her command. Entry tags also had to be 
printed, and the ribbons for the different 
awards. 

Copies of the class form book were mailed to 
the members in plenty of time to be studied, 
and contained the following information : 

Rules 

The competitions of the Club are open to all 
Club members. 

Plants, flowers, fruits and vegetables must 
have been grown by the exhibitor. Exceptions : 
wild flowers and table decorations. 

Each exhibit must be taken to the entry desk 
to be entered and tagged before being staged. 

Each exhibit must be properly tagged with 
the name and variety. 

Three entries by different exhibitors will 
make a class, in which case an award will be 
made. 

(Continued on page 62) 



March, 1919 



43 



A LITTLE PORTFOLIO OI GOOD INTERIORS 




Of these lu<o bedrooms, which are in the residence of James Howe, 
Esq., at St. Louis, the top one has a background of cream walls. 
The rug is aid blue and the chair and chaise longue in the same 
shade. Furniture is ivory. Curtains of flowered linen bound with 
blue tafeta and cream net against the glass 



The master's bedroom has gray painted furniture with rose and 
blue flower decorations. The walls are cream panels. A dark rose 
rug repeats the color of the day bed upholstery. The pillow is 
gold taffeta with ruffles of blue, rose and gold. Curtains are gray 
taffeta with rose and blue binding. Warfield Shop, decorators 



House & Garden 







In the limns hall of the same residence antique furniture, wrought iron and tapestries have been effectively placed. The refectory table is covered 

V. . ___ j L. i_II ! n~i:^l. A -7- I- 1 - 7 .*-.. 1 ,,,.,. ?,,!. f ,h ft ', l 



l\l u r t n 




There is great beauty in rough plaster for a room, especially when combined with open beams, a stone mantel, terra cotta inserts 
and serving as a background for oak furniture. From the G. W. Davison residence, Greenwich, Ct. A. L. Harmon, architect 




Mb 

A combination of lacquer furniture and wails covered in a gay design of towers and birds makes an interesting bedroom in the residence of Joseph 
Thomas at MiddleburR. Virginia. A point of particular interest is the set-in bookcases at each side of the bed recess 



46 



House & Garden 



THE BEDROOM for MIDDLE AGE 



Its Color Schemes 
and Furniture 

ETHEL DAVIS SEAL 

WE hear so much 
about how to fur- 
nish the airy, fairy bed- 
room for the fluffy young 
thing: we deeply concern 
ourselves with the bride's 
boudoir and her proverbial 
fondness for pink. But 
who gives a thought to the 
vagaries of the middle- 
aged? 

Mother's room is taken 
for granted like history, 
and what does it matter if 
Aunt Susan's bedroom 
provides a somewhat in- 
congruous setting for her 
moss rose cheeks and 
gowns of gray? 

But all this depends 
upon the point of view. 
Though there is always a 
certain interest in helping 
the young for it is true 
that a very young girl de- 
sires possessions; she is 
charmed with her newly 
found place in the sun; 
that anything can exist 
solely for her, even a 
room, fills her with joy; 
and the first vague glim- 
mer of some day having a 
home of her own is crys- 
tallized in planning the 
color, the curtains and the 
carpet of her own room at 
home. . . . Still, the 
young girl has a universal 
personality : she fits with 
surprising ease into many 
settings, and if her choice 
falls in with rose or with 
green, she will look back 
at herself with equal en- 
thusiasm from her mirror. 

The young bride, too, 
has not so very much to 
gain or lose in the han- 
dling of her room. Usu- 
ally, if clever, she strives 
for a setting that will interpret her as she 
wishes to be in her husband's eyes. But here 
we find more a defining of her desires than 
what she has yet grown to be. No matter how 
completely furnished, the room is still in the 
making. 

What the 40's Want 

But the room of the woman of middle age, 
ah! here is the problem ! The woman who has 
known life, fought battles, carried away scars, 
who has grown into fullness of character, 
learned the depth of beauty, and that which 
abides. . . . Can you see a woman like this 
content with bare mahogany and blue, or in 
the midst of a room done in yellow? Rather 
consider how full of personality and charm 
her room could be if developed. Such soft- 
ness of background, the mellowed restfulness 
(Continued on page 70) 





The furnUure for a middle-aged bedroom m'.gkt consist of suck a state as 
this five pieces, icftir* include bed, n:ght stand, chest of draicen and 
dressing mirror; $218. It coma in broicn, blue, gray and ivory. The 
upholstered chair is a special shape at S42; the linen shaped covering 
-j.ould be extra, requiring about fve yards of 31" striped material 



For hangings is suggested 
a cretonne of peacock, buf 
and mulbtrry or peacock, 
black and old rose, 31', 
$250 a yard; lor uphols- 
tery, striped linen of the 
same colors, S1.25 



.4 ii interesting extra cha'r 
comes in a cottage design 
and costs, undecorated 
S14.50. The TcaUs of tht 
room would be plain and 
'* rug a greenish-gra- 
Wilton 




March, 1919 



47 



THE KITCHEN CABINET "THE MIXING CENTER'* 

Eliminating Steps and Extra Work, the Cabinet Reduces Kitchen 
Activities to a Reasonable Pleasure 

EVA NAGEL WOLF 



A 5 the housekeeper 
becomes wiser 
the kitchen grows 
, until there is 
onlv for the 



equipment. 

Contrast the old fash- 
ioned kitchen with 
the culinary depart- 
ment of the modern 
home. Not a utensil 
in sight, yet witness 
the dispatch with 
which a meal can be 
prepared not an un- 
necessary step or mo- 
tion! 

To effect such a re- 
sult the various "cen- 
ters" must be grouped 
so that there is little 
space intervening. 
The '"miring center" 
must be in close prox- 
imity to the "cooking 
center" and the 
"cleaning center" but 
a step away. 

Bv the "miring cen- 
ter" is meant the place 
where all the neces- 
sary utensils and non- 
perishable foods are 
assembled for prepa- 
ration before cooking or serving, 
"place" is the kitchen cabinet. 




r unit cabinet m -aelritt enomel steel of en the od?*nt*ges of being absolutely rtt and verm 
proof. It CMM be tdded to mi the enamfl a indestructible. Courtesy of Jones Cr Holland 



Such 



Whereas heretofore the cook was obliged to 
walk around the kitchen, she now remains in 
one spot. In mixing a cake, for instance, she 
lights the oven, collects on a tray the butter. 
eggs and milk from the refrigerator, carries it 
to the rahingi and does not move from her 
stool until the cake is ready for the oven. 



About twenty-five years ago the first kitchen 
cabinet was made. Many improvements have 
been added, of course, but the purpose is the 
same. Xo kitchen can pretend to be modern 
without a cabinet. 

To install a cabinet in an old-fashioned 
kitchen is the first step towards modernizing it. 
The amount of space conserved and the num- 
ber of steps eliminated, in bousing in one place 
the numerous things necessary to prepare the 
inevitable three meals a dav. is sufficient ex- 



cuse for any house- 
wife to order one im- 
mediately. 

In selecting a kitch- 
en cabinet one should 
not make the mistake 
of purchasing one too 
small. It is better to 
measure the available 
room in your kitchen 
and order one to fill 
that space. Remem- 
ber it is to be the sani- 
tary and dustproof 
home of all non-per- 
ishable foods and all 
necessary utensils. If 
expense is no object 
select a white en- 
ameled steel cabinet: 
it is a joy to look at 
and will add distinc- 
tion to your kitchen. 
However, the oak cabi- 
nets, white enameled 
inside, steam and wa- 
terproof finished out- 
side are counterparts 
of the de luxe white 
ones. An aluminum or 
porcelain table, as one 
prefers, divides the 
cabinet into two por- 
tions. The table can 



be extended 16". and a stool is added. 



TW Division f 

The space above the table is divided into two 
portions; the lower part contains bins for flour 
and sugar. The tilting flour bin is provided 
with a patent sifter which differs in the various 
models. Invariably the sugar bin is made of 
glass. The intervening space is filled with 
glass jars containing tea. coffee, spices, meas- 
uring cups and bowls, according to the size of 




The doors of the cob-net to 
the right iLde buck m the 
fftUon of m roU-top desk. Pot 
sbehxs nd extn -xorkmg 
boord sSde out. Accommoda- 
tion a i forded for extrm dishes 
nd preserves. Courtesy of 
the Booster Monmfocturjig Co. 



Bims for four mnd sugmr, 
shekel for bottles omd spices, 
sSdmg t-fys for pots with 
neks for the lids mnd slid- 
mg work shelf *nd dxtppear- 
mg door ore omomg the od- 
rontoges of tha type. Cour- 
tesy of the McDoagoa Co. 




48 



House & Garden 



the cabinet. The method of opening 
the doors of this particular portion of 
the cabinet differs in each model. The 
intelligent housekeeper realizes immedi- 
ately that when the doors are opened 
there will be more working space added 
to the table area, so it is necessary to get 
rid of the doors when the cabinet is to 
be used as a mixing center. Conse- 
quently there are doors on hinges that 
swing back, doors that roll back like 
the old-fashioned roll-top desk, and 
doors that lift up and disappear by be- 
ing shoved back out of sight; selection 
lies with the individual. 

In the topmost section, and it will 
be remembered that all articles are 
within arm's reach, there is ample space 
for the non-perishable foods. The 
doors to this section, which usually 
swing back, are provided with racks for 
order pad and pencil, cook books, bill 
file, etc. 

Below the Table 

Under the table two-thirds of the 
space is reserved for pots and pans; 
their respective lids are kept in a rack 
on the door. In large models directly 
over this space is a drawer for linen 
and under it a chopping board that 
pulls out. Three drawers of different 
size occupy the remaining third of the 
space below the table. The top drawer 




The sectional cabinet permits of additions. Of white 
enamel steel, glass fixtures. Courtesy of Janes & Kirtland 



is for small utensils, the second for 
pastry flour and meal, and the third 
provided with a metal top is reserved 
for bread and cake. 

In the latest model it is planned to 
equip the table with an electric motor 
which provides power for all the de- 
vices that used to be operated by hand, 
such as the egg beater, cream whipper 
and food chopper. 

Keeping the Cabinet Clean 

The cabinet is easy to keep clean. It 
should be taken apart, wiped with a 
damp cloth, sunned and aired at least 
once a week. After the special place 
for each article has been decided upon 
it should be kept there. 

When articles of the non-perishable 
variety are ordered in large quantities, 
only a small portion should be kept in 
the cabinet; the remainder should be 
stored in the pantry. The pantry also 
makes a splendid place in which to 
keep preserves and glass jars for extra 
quantities of foods. 

When space is found at one or both 
sides of the cabinet, units of metal or 
wood to match the cabinet can be added 
for keeping dust proof other articles 
necessary in the kitchen. The broom 
closet unit is especially recommended. 
In it can be kept from sight brushes, 
brooms, the vacuum cleaner, etc. 



HERALDRY AS 

How and Where to Use It 
H. K. PIKE 

TWO facts in connection with the decorative 
use of heraldry should be kept in mind: 

First, that heraldry is distinctly decorative 
and offers many legitimate possibilities of ap- 
plication which may contribute to the enrich- 
ment and charm of our homes. 

Second, that it is not undemocratic and in- 
appropriate in a republic, because, to a certain 
extent, it has had explicit governmental recog- 
nition in the United States by act of Con- 
gress and is continually employed in its public 
capacity by the officials of both the Federal 
Government and by the governments of the 
several states and cities. 

Washington and the other fathers of our 
country displayed their armorial bearings on 
silver, bookplates, coach doors, and in divers 
other ways, as had always previously been 
their wont, and they saw no impropriety in so 
doing. This fact, together with the 
governmental recognition and use of 
official corporate heraldry, just re- 
ferred to, should dispose of any hesi- 
tation on the part of individuals 
using heraldic devices. Of course, 
good taste will forbid the employ- 
ment of heraldry in an ostentatious 
manner or the display of personal 
arms by those not entitled to- bear 
them. In the absence of official pre- 
scription for the bearing of arms by 
individuals or families, the use of 
blazonry will naturally be guided by 
traditional custom. 

There are two elements, based on 
its very nature, that in the past have 
(Continued on page 72) 



A DECORATIVE ACCESSORY 




Into a stairs window can be in- 
troduced an armorial panel, such 
as this example which has been 
done in the medieval style by 
Nicola D'Ascenzo 



The chimney breast offers a logical place for 
the display of heraldry. In this case, which is 
from the residence of G. M. Allen, Esq., at 
Convent, N. J., an old fireplace has been in- 
troduced. Chas. I. Berg, architect 



Mare It, 19 IV 




The mo^l useful of the vege- 
table gardener's implements is 
the wheel-hoe. The single type, 
with attachments for covering, 
hilling, cultivating and making 
drills, is priced at $10.50 



A sprayer is essential to insect 
and disease control. This one 
operates by compressed air; $12 
with brass tank and $8 galvan- 
ized. Reel with 100' of garden 
line, $3.25 complete. Pruning 
shears, 65 cents to $1.25 





Spade, hoe and spading fork 
the three musketeers of the gar- 
den. The first costs from $1.50 
to $2.50; the second from 60 
cents to $1 ; and the third from 
$1.75 to $2.75, according to 
quality 



The double wheel- 
hoe below has the 
advantage of work- 
ing on both sides of 
the row simultane- 
ously. With the at- 
tachments shown it 
is priced at $12 



there must be, of course. The 
large one with wooden teeth and steel 
bow is 75 cents. The regular steel type 
costs from 75 cents to $1, the narrow 
steel one is 50 c^nts. The scuffle-hoe, 
an excellent weeding tool, is priced at 
$1 to $1.50 



THE BIG TWELVE 
IN GARDEN TOOLS 



The implements slnr^ n oil this Page arc 
the leally necessary ones which will help 
\i'n tu t/tiriJen success. The prices given 
arc merely approximate, as manufac- 
tur ini conditions tire changing so rapid 
/v that costs fluctuate almost from day 
to day. I it tim fie s should be addressed 
to the HOUSE & (IARDES Shopping Ser- 
vice, 19 West 44th St., N. Y. City. 




II o u s c 



a r a e n 




Hewitt 



The possibilities of stretches of well-kept green turf within the confines of the border are too seldom realized. 
Variety of color and form in the surrounding flowers furnishes contrast with the simplicity oj the sward and its 

dignified fountain 



THE RAINBOW GARDEN BORDER 

The Right Flowers to Plant in the Perennial Border to Insure Continuous 
Bloom Throughout the Spring, Summer and Autumn 



THE most beautiful effects achieved in all 
gardening are the most naturalistic effects. 
It is impossible to create anything more beau- 
tiful than nr. lure's rainbow, so why not try a 
rainbow garden border? It is undoubtedly a 
most beautiful setting for the rest of the gar- 
den. The formal garden may be surrounded 
by a neutral, naturalistic frame such as this 
in a very effective manner. If one follows the 
laws of harmony presented by the rainbow, if 
one chooses the flowers whose different shades 
of color blend insensibly into each other ac- 
cording to the law of harmony, one may be 
rewarded by a garden of most wonderful color. 

The success of the garden will depend en- 
tirely upon the care taken in selecting the 
proper flowers and their respective varieties 
to be planted; and, of course, what is most 
important of all and should be unnecessary 
advice except to amateurs, the individual atten- 
tion given to the border preparation, planting, 
and cultivation. 

A few practical suggestions, however, con- 
cerning border planting and preparation will 
not be amiss. 

1. Mark out the intended area for the new 
section. The border described here is 1 2' wide. 

2. Make use of an existing background if 
possible. A wall or natural shrubbery may 



FRANCES E. REHFELD 

be used for this purpose. The color of the 
background to the border must be green. 

3. Trench at least 2'. Put in decayed 
manure liberally, and in heavy soil, add sand. 

4. The back row of plants or flowers should 
be planted 3' from the outside of the 12' bor- 
der. The tallest plants should be placed at 
the back, and the shorter flowers toward the 
front. The distance between the different 
groups is 6'. Restricted room means a re- 
stricted amount of plants. 

5. Plant deep, mass for effect, and culti- 
vate all summer. 

6. Divide the width of the border into 
approximately four spaces. The heavy grow- 
ing plants in the back row will require 6' each. 
The lighter growing plants in the next row 
will require 3' each. The plants in front 
of them will require 3' each, planted in clumps 
of five. The plants in the front row require 
18", planted in clumps of three. 

Concerning Color Combination 

One may use the plan of the rainbow gar- 
den described on the opposite page, or what is 
much more interesting, design one's own gar- 
den from the lists of reliable material for a 
perennial garden border given at the end of 
this article. 



A few remarks concerning the importance 
of correct combination of color will be of great 
help to those who plan to design their own 
gardens. Without these principles in mind 
success can hardly be won. 

Green is the predominating color of nature. 
We must have green for the ground work in 
all our arrangements. If bright colors pre- 
dominate, they will oppress, but if they are 
associated with a delicate green setting, they 
cheer and satisfy the eye and mind. The art 
of the arrangement of flowers so far as color is 
concerned, consists in arranging plants so as 
to produce harmony, form and color in both 
foliage and flowers, as in flower garden groups, 
teds, belts, ribbon borders, and even in con- 
servatory arrangement. 

Black and white for all practical purposes, 
whether in painting or floriculture or land- 
scape gardening, may be considered colors. 
The simplest arrangement is a combination of 
primary and secondary colors, yet to have these 
combinations perfectly harmonious requires 
great skill in their arrangement. Nothing is 
less brilliant than flower beds in which the 
only colors to be seen are blue and white, and 
nothing more gaudy than a garden stocked 
with a profusion of yellow and little else. 
(Continued on page 58) 



March, 1919 



51 



KEY TO BORDER PLAN 



The border plan here described has been successfully carried out. The planting key is therefore given, so that in case one wishes a thoroughly reliable arrangement in 

UHC'S garden border rather than an intlaidttai experiment, the garden here described may be followed. 



HEDGE 

Tsuga eanadenxis Hemlock spruce. 

SHRUBS 

A. Ilex crenata Japanese holly. 

U. Syrtntfu CMfMBftf Rouen lilac. 

( ;. Juntpcrus communis var. f/ibernica Irish 
Juniper. 

D. Spiraea can Houttei Van Houtte's splrea. 

i; Forsythia vitidisslma (upright) (iolden bell 

K. PhUadelphus grandiflorus Syrlnga. 

( . Potentilla fruticosa Potantllla. 

II. i'inux muntana Mughus Dwarf Mughoplne 

1. Hypericum aureum. 

J. Philadelphia coronttrtus (var. nanus) Dwarf 
syrlnga. 

K. Deutzla gracUis DeuUla. 

L. Berberis vulgaris Common barberry. 

N. Berottis Thunbergit Japanese barberry. 

O. Spiraea Anthony Walerer Splrea. 

P. Lvnictra fragranlissima Fragrant honey- 
suckle. 

Q. Lontcera japontca Japanese honeysuckle. 

R. Evonymus alata Evonymus. 

8. Syringa vulgaris Common lilac. 

T. Spiraea prunifolia fl. pi. Bridal wreath. 

U. Spiraea Japonica Splrea. 

V. Symphoricarpos racemes us Snowberry. 

W. DierPilla hybrida (var. Le Printemps) 
Welgela. 



ARBORS AT THE FOUR ENTRANCES 

s. White Dorothy Perkins roses. 
.V. crimson Rambler roses. 
K. Tausendschon roses. 
W. Hiawatha roses. 



PERENNIAL BORDER OF FLOWERS 
PINK 

1 . Hepatiea trUoba Common hepatlca. 

2. Beliis perennis English daisy. 

3. I'hluf su''ul<ii'i Moss pink. 

4. Dicentra spectabilis Bleeding heart. 

o. Armeria marttitna Cushion pink or thrift. 
7. Dianttius ba rbatus Sweet William. 

5. QypsophUa repens Baby's breath. 
9. Papater orientals Oriental poppy. 

10. Dianthus barbatus (var. Blush Queen) 

Sweet William. 
It. DigUaiis purpurea Foxglove. 

12. Dieentra eiimia Dicentra. 

13. Lobelia cardinally Cardinal flower. 

14. Anemone Japonica (var. Prince Henry) 

Japanese wlndflower. 

16. Phlox pantcutata (var. La Vogue) Peren- 

nial phlox. 
1ft. Physostegia rirginiana False dragon-head. 

17. Phlox panteulata (var. Elizabeth Campbell) 

Perennial phlox. 



18. Anemone Japonica (var. Queen Charlotte) 

Japanese wlndflower. 

19. Liltum speciosum (van*, roseum and rubrum) 

Japanese Illy. 

20. Hibiscus motcheutos Marsh mallow. 

21. Spiraea palmata Crimson meadow-sweet. 

22. Paeonia albiflora Peony. 

23. AUhea rosea Hollyhock. 

ROSE 

24. Bettia perennis English daisy. 

25. stdum spectobUe 8tone crop. 

26. Paeonia albiflora vars. Peony. 

27. Paeonia albiflora vars. Peony. 

30. LUium speciosum roseum Japanese Illy. 

31. AUftea rosea Hollyhock. 

32. Dicentra spectabilis Bleeding-heart. 

33. Luplnus polyphyllus Lupin. 

34. Dictamnus fraxineUa Gas plant. 

35. Spiraea palmata elegant Crimson meadow- 

weed. 

CRIMSON 

36. Ali/ssum maritimum Alyssum. 

37. Liltum tenuiflorium Lily. 

40. Aquilegia canadensts Columbine. 

41. Anemone Japonica rubra Wlndflower. 

42. Tritoma pftueri Flame flower. 

43. Papaver orientate Oriental poppy. 

44. Achtllea millefollum (var. rubrum) Red 

yarrow. 

45. Lobelia cardinally Cardinal flower. 

46. Heuchera sanguinea Coral bells. 

47. Lychnis chalcedonica Maltese cross. 

48. AUhea rosea Hollyhock. 

49. 1'entstrmon barbatus (var. torregi) Red 

beard tongue. 

ORANGE AND ORANGE SCARLET 

50. Alyssum maritimum Alyssum. 

51. Centaurea sulphurta Mountain bluet. 

52. Alyasum argenteum Silvery meadow wort. 

53. PountUla Flve-flnger. 

54. Oenothera mlssouriensis Evening primrose. 

55. Lychnis chalccdonica Maltese cross. 

56. 1.